Students write true stories about art, music, theater, film and dance that read like a novel. Writing assignments include a profile of an artist or performer, a review of a performance or an exhibit, and a personal essay exploring how a work of art, theater or music influenced the author. The essays read like fiction, relying on character, pacing, scenes, structure and sensory details. Unlike fiction, these stories are based on facts gathered through research, observation and interviews.

Filmmaking is storytelling. This story can be told by the actors or by its visuals. Every film employs a production designer who, with the director and cinematographer, is in charge of the visual design of the film. Students learn how a production designer breaks down a script to determine which scenes should be shot on location and which should be built as sets. Each student makes design choices for the entire script. Whether picking out locations or creating sets to be shot on a soundstage, this class examines what makes one design choice better than another.

The integration of the design elements of line, texture, color, gesture and movement into unified production styles. Further study of the history of clothing, movement in costume, construction techniques and rendering. Production work may be required outside of the class meeting time. Prerequisites: THE 254. Instructor permission required.

Michel Tremblay and contemporary Canadian playwrights. Emphasis on plays by and about women, within the context of political and personal issues of gender, class, race, sexuality and cultural identity in English Canadian and French Canadian and Native Canadian drama of the past five decades. Other playwrights explored are Judith Thompson, George Walker, Erika Ritter, David French, Rene Daniel DuBois, Margaret Hollingworth, Anne-Marie McDonald, Sally Clark, Tomson Highway, Hannah Moscovitch and Sharon Pollock.

In this course, students survey plays written by American writers of East Asian, South Asian and Southeast Asian descent, starting with the first wave of Asian American playwrights in the 1960s to more contemporary work. Students learn the fundamentals and vocabulary of dramaturgical analysis and employ these skills in class discussion and written assignments. Intersectional identities are emphasized and readings include work by biracial, queer and transgender writers.

This interdisciplinary course teaches students how to translate feminist scholarship for a popular audience. Students practice how to use knowledge and concepts they have learned in their women and gender studies classes to write publicly in a range of formats, including book and film reviews, interviews, opinion editorials and feature articles. The course explores the history and practice of feminist public writing, with particular attention to how gender intersects with race, class, sexuality, disability and citizenship in women’s experiences of public writing.

This course considers the manner in which norms of gender and sexuality are reflected, reinforced and challenged in popular culture. The class uses theories of knowledge production, representation and meaning-making to support an analysis of the relationship between discourse and power; the engagement with these theoretical texts helps track this dynamic as it emerges in popular culture. Key queer theoretical concepts provide a framework for examining how the production gender and sexuality impacts cultural production.