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FEMGEN 106Q: Gender and Media

From childhood, individuals are presented with texts and images about what it means to be female, what it means to be male, but rarely what it means to question that binary. These images and texts also present what it means to be in relationship with one another, and what it means to reject established gender roles. In this course, students will examine and research how lessons learned from popular culture impact the treatment and expectations of people individually as well as in relationship with each other. Specifically, we will analyze the ways in which news articles, movie clips, magazine advertisements, television commercials as well as other texts present gender identities as binary as well as gender roles of those binary structures. How are the roles and bodies of all genders presented as objects open to scrutiny, critique, exploitation, abuse, and awe? After examining rhetorical strategies and devices, we¿ll read excerpts from texts by social critics such as Susan Bordo who analyze culture and it¿s presentation of bodies. Through case studies of films and campaign ads, visits to spaces on campus that construct gender binaries, and field trips to off campus sites, we will explore how representations of gender challenge or reinforce messages in popular media.
Terms: Win | Units: 3-4 | UG Reqs: Writing 2
Instructors: Hanlon, P. (PI)

FEMGEN 120Q: Storytelling for Reproductive Justice

Through what artistic and aesthetic techniques can we most effectively harness the power of political storytelling? In this creative writing course, we?ll read narrative journalism, personal essays, and contemporary fiction that expand and complicate our understanding of what?s at stake in the fight for reproductive justice. We will hear firsthand from activists about the writers and thinkers that shaped their work, the relationship between reading and changemaking, and the importance of amplifying new, more expansive definitions of reproductive justice. We?ll consider how a craft-based approach allows us to avoid the didactic and lean into the complexity, nuance, and intimacy that the best political writing has to offer. Students will be supported in conceptualizing, executing, and revising an individual creative writing project - fiction, personal narrative, or hybrid form - that represents a thoughtful contribution to the question: What does reproductive justice mean to you? In the more »
Through what artistic and aesthetic techniques can we most effectively harness the power of political storytelling? In this creative writing course, we?ll read narrative journalism, personal essays, and contemporary fiction that expand and complicate our understanding of what?s at stake in the fight for reproductive justice. We will hear firsthand from activists about the writers and thinkers that shaped their work, the relationship between reading and changemaking, and the importance of amplifying new, more expansive definitions of reproductive justice. We?ll consider how a craft-based approach allows us to avoid the didactic and lean into the complexity, nuance, and intimacy that the best political writing has to offer. Students will be supported in conceptualizing, executing, and revising an individual creative writing project - fiction, personal narrative, or hybrid form - that represents a thoughtful contribution to the question: What does reproductive justice mean to you? In the first half of the course, we?ll be engaged mostly with the stories of others - using the reproductive justice theoretical framework to contextualize fiction, memoir, and political narrative. During this time, students will begin formulating an idea for their final creative project, and the final four weeks of the class will focus on drafting and revision. Our inquiries will focus on questions of craft and the power of narrative technique to lead us to more complex, personal, and inclusive understandings of reproductive justice.
Terms: Spr | Units: 3
Instructors: Howse, R. (PI)

FEMGEN 150N: Queer Sculpture (ARTSTUDI 150N)

Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal these are among the attitudes that make up queer in its contemporary usage. -David J. Getsy. This hands-on studio based course explores queer as a form of art production. Artists and thinkers use queer to signal defiance to the mainstream and an embrace of difference, uniqueness and self-determination. To be intolerable is to demand that the normal, the natural and the common be challenged. To do this is not to demand inclusion, but rather to refuse to accept any operations of exclusion and erasure that make up the normal and posit compulsory sameness. Queer Sculpture is also about the strategic effort to appropriate and subvert conventional art practices and tactics that may involve everything from shifts in the content of a work and its targeted audience to the methods by which it is produced and its formal properties. The polit more »
Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal these are among the attitudes that make up queer in its contemporary usage. -David J. Getsy. This hands-on studio based course explores queer as a form of art production. Artists and thinkers use queer to signal defiance to the mainstream and an embrace of difference, uniqueness and self-determination. To be intolerable is to demand that the normal, the natural and the common be challenged. To do this is not to demand inclusion, but rather to refuse to accept any operations of exclusion and erasure that make up the normal and posit compulsory sameness. Queer Sculpture is also about the strategic effort to appropriate and subvert conventional art practices and tactics that may involve everything from shifts in the content of a work and its targeted audience to the methods by which it is produced and its formal properties. The political imperatives of a queer or queered position will shape thematic investigations of practices related to utopic futurity, anti-assimilationist practices, failure, abstraction, the archive, camp, drag and alternative families. Classes will require reading, discussing, and making. Students will produce artwork for critiques and participate in discussions of the readings. The course includes guest artists and fieldtrips to local LGBTQ archives.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: Berlier, T. (PI)

FEMGEN 150Q: Challenging Sex and Gender Dichotomies in Biology and Medicine (SOMGEN 150Q)

This course explores and challenges the physiological basis for distinguishing human "males" and "females", expands the concepts of "intersex" beyond reproductive anatomy/physiology (i.e. beyond the genitalia), and discusses some known consequences of "gender biases" in medical diagnoses and treatments. The influence of gender (sociocultural) "norms", i.e. gendered behaviors and relations, on human biology is juxtaposed with the role of biological traits on the construction of gender identity, roles and relationships, thereby focusing on the interactions of sex and gender on health and medical outcomes. Problems that may arise by labeling conditions that vary in incidence, prevalence and/or severity across the "male-female" spectrum as "men's" or "women's" health issues will be discussed. In addition, the importance of recognizing the spectrum of sex and gender, as well as sexual orientation, in clinical practice from pediatric to geriatric populations, will be highlighted, with consideration of varying perspectives within different race/ethnic, religious, political, and other groups.
Terms: Spr | Units: 3 | UG Reqs: WAY-EDP, WAY-SI

FILMEDIA 50Q: The Video Essay: Writing with Video about Media and Culture

In this seminar, we explore what it means to 'write with video,' and we learn to make effective and engaging video essays. Specifically, we examine strategies for communicating through video, and we conduct hands-on exercises using digital video editing software to construct arguments, analyses, and interpretations of film, television, video games, online media, art, and culture. Compared with traditional text-based arguments, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. Video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier than an essay composed with ink and paper. Like the written essay, the new technology introduces its own challenges and choices, including decisions about organization of space and time, audiovisual materials, onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we develop our skills with editing software such a more »
In this seminar, we explore what it means to 'write with video,' and we learn to make effective and engaging video essays. Specifically, we examine strategies for communicating through video, and we conduct hands-on exercises using digital video editing software to construct arguments, analyses, and interpretations of film, television, video games, online media, art, and culture. Compared with traditional text-based arguments, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. Video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier than an essay composed with ink and paper. Like the written essay, the new technology introduces its own challenges and choices, including decisions about organization of space and time, audiovisual materials, onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we develop our skills with editing software such as Adobe Premiere Pro and Apple's Final Cut Pro while also cultivating our awareness of the formal and narrative techniques employed in cinema and other moving-image media. Through weekly assignments and group critique sessions, we learn to express ourselves more effectively and creatively in audiovisual media. As a culmination of our efforts, we assemble a group exhibition of our best video essays for public display on campus.nNo previous experience is required, but a willingness to learn new technologies (in particular, video editing software) is important.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: Denson, S. (PI)

FILMEDIA 87N: The New Wave: How The French Reinvented Cinema (FRENCH 87N)

When the French New Wave burst onto the stage in 1959, it changed forever the way films are made and the ways we think about cinema. Shooting on location with small crews, light cameras, unknown actors and improvised scripts, a group of young film critics turned filmmakers circumvented the big studios to craft low-budget films that felt fresh, irreverent and utterly modern. In just a few years, the Nouvelle Vague delivered such landmark works as Truffaut's 400 Blows, Godard's Breathless or Resnais' Hiroshima mon amour. Together with Agn¿s Varda, Eric Rohmer and Claude Chabrol, they redefined the essence of cinema as an art form as complex and multi-layered as literature. Yet, after having been hailed as revolutionary, the Nouvelle Vague was soon dismissed as 'rather vague and not all that new. 'Why did these films look so radically fresh? What is their common aesthetics, when each 'auteur' claimed an utterly personal style for him or herself? And what did their immediate success and ea more »
When the French New Wave burst onto the stage in 1959, it changed forever the way films are made and the ways we think about cinema. Shooting on location with small crews, light cameras, unknown actors and improvised scripts, a group of young film critics turned filmmakers circumvented the big studios to craft low-budget films that felt fresh, irreverent and utterly modern. In just a few years, the Nouvelle Vague delivered such landmark works as Truffaut's 400 Blows, Godard's Breathless or Resnais' Hiroshima mon amour. Together with Agn¿s Varda, Eric Rohmer and Claude Chabrol, they redefined the essence of cinema as an art form as complex and multi-layered as literature. Yet, after having been hailed as revolutionary, the Nouvelle Vague was soon dismissed as 'rather vague and not all that new. 'Why did these films look so radically fresh? What is their common aesthetics, when each 'auteur' claimed an utterly personal style for him or herself? And what did their immediate success and early fall from grace tell us about France in the early 60s? This survey course will explore a unique moment in French culture and the history of cinema, when radical politics, youth culture, and jazzy aesthetics coalesced into dazzling experiments on the screen that continue to influence world cinema to this day. Focus is on cultural history, aesthetic analysis, and interpretation of narrative, sound and visual forms. Satisfies Ways AII (Aesthetic and Interpretative Inquiry). Films in French with Subtitles. Taught in English.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II
Instructors: Alduy, C. (PI)

FILMEDIA 105N: Film and Fascism in Europe (COMPLIT 104N, FRENCH 104N, ITALIAN 104N)

Controlling people's minds through propaganda is an integral part of fascist regimes' totalitarianism. In the interwar, cinema, a relatively recent mass media, was immediately seized upon by fascist regimes to produce aggrandizing national narratives, justify their expansionist and extermination policies, celebrate the myth of the "Leader," and indoctrinate the people. Yet film makers under these regimes (Rossellini, Renoir) or just after their fall, used the same media to explore and expose how they manufactured conformism, obedience, and mass murder and to interrogate fascism. We will watch films produced by or under European fascist regimes (Nazi Germany, Italy under Mussolini, Greece's Regime of the Colonels) but also against them. The seminar introduces key film analysis tools and concepts, while offering insights into the history of propaganda and cinema. Taught in English.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II
Instructors: Alduy, C. (PI)

FILMEDIA 211N: Childish Enthusiasms and Perishable Manias

This course has a simple premise: Effective scholarship need not suck the joy from the world. G. K. Chesterton once wrote that 'it is the duty of every poet, and even of every critic, to dance in respectful imitation of the child.' What could it mean to do scholarship that respects a child's playful and exploratory engagement with the world? Such questions will be filtered through such 'unserious' media as amusement parks, comics, cartoons, musicals, and kidlit.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II
Instructors: Bukatman, S. (PI)

FRENCH 87N: The New Wave: How The French Reinvented Cinema (FILMEDIA 87N)

When the French New Wave burst onto the stage in 1959, it changed forever the way films are made and the ways we think about cinema. Shooting on location with small crews, light cameras, unknown actors and improvised scripts, a group of young film critics turned filmmakers circumvented the big studios to craft low-budget films that felt fresh, irreverent and utterly modern. In just a few years, the Nouvelle Vague delivered such landmark works as Truffaut's 400 Blows, Godard's Breathless or Resnais' Hiroshima mon amour. Together with Agn¿s Varda, Eric Rohmer and Claude Chabrol, they redefined the essence of cinema as an art form as complex and multi-layered as literature. Yet, after having been hailed as revolutionary, the Nouvelle Vague was soon dismissed as 'rather vague and not all that new. 'Why did these films look so radically fresh? What is their common aesthetics, when each 'auteur' claimed an utterly personal style for him or herself? And what did their immediate success and ea more »
When the French New Wave burst onto the stage in 1959, it changed forever the way films are made and the ways we think about cinema. Shooting on location with small crews, light cameras, unknown actors and improvised scripts, a group of young film critics turned filmmakers circumvented the big studios to craft low-budget films that felt fresh, irreverent and utterly modern. In just a few years, the Nouvelle Vague delivered such landmark works as Truffaut's 400 Blows, Godard's Breathless or Resnais' Hiroshima mon amour. Together with Agn¿s Varda, Eric Rohmer and Claude Chabrol, they redefined the essence of cinema as an art form as complex and multi-layered as literature. Yet, after having been hailed as revolutionary, the Nouvelle Vague was soon dismissed as 'rather vague and not all that new. 'Why did these films look so radically fresh? What is their common aesthetics, when each 'auteur' claimed an utterly personal style for him or herself? And what did their immediate success and early fall from grace tell us about France in the early 60s? This survey course will explore a unique moment in French culture and the history of cinema, when radical politics, youth culture, and jazzy aesthetics coalesced into dazzling experiments on the screen that continue to influence world cinema to this day. Focus is on cultural history, aesthetic analysis, and interpretation of narrative, sound and visual forms. Satisfies Ways AII (Aesthetic and Interpretative Inquiry). Films in French with Subtitles. Taught in English.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II
Instructors: Alduy, C. (PI)

FRENCH 104N: Film and Fascism in Europe (COMPLIT 104N, FILMEDIA 105N, ITALIAN 104N)

Controlling people's minds through propaganda is an integral part of fascist regimes' totalitarianism. In the interwar, cinema, a relatively recent mass media, was immediately seized upon by fascist regimes to produce aggrandizing national narratives, justify their expansionist and extermination policies, celebrate the myth of the "Leader," and indoctrinate the people. Yet film makers under these regimes (Rossellini, Renoir) or just after their fall, used the same media to explore and expose how they manufactured conformism, obedience, and mass murder and to interrogate fascism. We will watch films produced by or under European fascist regimes (Nazi Germany, Italy under Mussolini, Greece's Regime of the Colonels) but also against them. The seminar introduces key film analysis tools and concepts, while offering insights into the history of propaganda and cinema. Taught in English.
Terms: Spr | Units: 3-4 | UG Reqs: WAY-A-II
Instructors: Alduy, C. (PI)
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