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Major theoretical arguments and debates about cinema: realism,formalism, poststructuralism, feminism, postmodernism, and phenomenology. Prerequisites: FILMSTUD 4.

A broad engagement with Indian cinema: its relationship with Indian politics, history, and economics; its key thematic concerns and forms; and its adaptation of and response to global cinematic themes, genres, and audiences. Locating the films within key critical and theoretical debates and scholarship on Indian and world cinemas. Goal is to open up what is often seen as a dauntingly complex region, especially for those who are interested in but unfamiliar with its histories and cultural forms.

In what ways does contemporary art address the slowly unfolding catastrophes of melting ice and thawing permafrost in the Arctic due to climate change? How might contemporary art and experimental cinema help us come to grips with the emotional disturbance of living amidst the deep-seated changes that are happening in our environment? These are the key questions this course attempts to answer.nThe first part of the class attempts to outline the complex history of Arctic visual and cultural representations through an interdisciplinary lens. The second part focuses on the more recent artistic and cinematic responses to climate change in the arctic. For their final projects, students will be able to combine analytical writing with creative projects that could take the form of photography, installation art, web-based art, fiction, video or poetry.

May be repeated for credit.

Major theoretical arguments and debates about cinema: realism,formalism, poststructuralism, feminism, postmodernism, and phenomenology. Prerequisites: FILMSTUD 4.

The relationship between cinema and ideology from theoretical and historical perspectives, emphasizing Marxist and psychoanalytic approaches. The practice of political filmmaking, and the cinema as an audiovisual apparatus and socio-cultural institution. Topics include: dialectics; revolutionary aesthetics; language and power; commodity fetishism; and nationalism. Filmmakers include Dziga Vertov, Jean-Luc Godard, Bruce Conner, and Marco Ferreri. Theoretical writers include Karl Marx, Sergei Eisenstein, and Slavoj Zizek. Prerequisite: consent of instructor.

For Art History Ph.D. candidates. Prerequisite: consent of instructor.

For graduate students only. Approved independent research projects with individual faculty members.