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581 - 590 of 1219 results for: all courses

FILMEDIA 165B: American Style and the Rhetoric of Fashion (AMSTUD 127, ARTHIST 165B)

Focus on the visual culture of fashion, especially in an American context. Topics include: the representation of fashion in different visual media (prints, photographs, films, window displays, and digital images); the relationship of fashion to its historical context and American culture; the interplay between fashion and other modes of discourse, in particular art, but also performance, music, economics; and the use of fashion as an expression of social status, identity, and other attributes of the wearer. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
| UG Reqs: WAY-A-II

FILMEDIA 178: Film and History of Latin American Revolutions and Counterrevolutions (HISTORY 78, HISTORY 178, ILAC 178)

In this course we will watch and critique films made about Latin America's 20th century revolutions focusing on the Cuban, Chilean and Mexican revolutions. We will analyze the films as both social and political commentaries and as aesthetic and cultural works, alongside archivally-based histories of these revolutions.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI

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)

FILMEDIA 234: Media Theory and the Sea (GERMAN 234, GERMAN 334)

This seminar serves as an introduction to media theory by turning to the sea as a medium. Designed for third- and fourth-year German majors, the course explores the way the ocean has served as a constant vehicle for poetic and philosophical reflection throughout history, from Homer's Odyssey to Paul Valery's Cemetery by the Sea. Combining theoretical studies of seafaring by Hans Blumenberg and Bernard Siegert with literary writings from Franz Kafka and Friedrich Hölderlin, this course highlights the way nautical activity becomes a theater of political and poetic concerns when our engagement with the ocean is viewed as a metaphor or a cultural technique. In recent years, the sea has also become a flashpoint for environmental concerns due to rising sea levels, leading to calls to take the material status of the ocean itself seriously. The sea, when viewed through the lens of environmental media, continues to serve as a canvas for the projection of human hopes and fears while opening up further questions about the relationship between nature, cultural practices, and theoretical texts. Readings for this course will be in German and English.
Last offered: Winter 2023 | UG Reqs: WAY-A-II

FILMEDIA 256Q: Horror Comics

This seminar will explore the vast array of horror comics. How does horror work in comics, as distinct from prose and cinema? How and why are non-moving images scary? The different narrational strategies of short stories, self-contained works, and continuing series will be explored, as will American, Japanese, and European approaches. Special attention will be given to Frankenstein, in novel, film, illustration, and comics. Example of such sub-genres as literary horror, horrific superheroes, cosmic (Lovecraftian) horror, ecological horror, as well as the horrors of bodies, sexuality, and adolescence will be encountered.Students will read many comics, some comics theory, and will do an in-class presentation on a comic or topic of their choosing. The course is a seminar, so discussion will be continuous and required. Enrollment limited.
Last offered: Winter 2023 | UG Reqs: WAY-A-II

FILMEDIA 264B: Starstuff: Space and the American Imagination (AMSTUD 143X, ARTHIST 264B)

Course on the history of twentieth and twenty-first century American images of space and how they shape conceptions of the universe. Covers representations made by scientists and artists, as well as scientific fiction films, TV, and other forms of popular visual culture. Topics will include the importance of aesthetics to understandings of the cosmos; the influence of media and technology on representations; the social, political, and historical context of the images; and the ways representations of space influence notions of American national identity and of cosmic citizenship.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II

FILMEDIA 290: Movies and Methods: The Judy Garland Seminar (AMSTUD 290, FILMEDIA 490)

Acting and performance have been prominent in cinema throughout the medium's history, but have received relatively little attention in film studies. Performance provides a compellingly different way of engaging with a film. The Judy Garland Seminar proposes, first, that we attend to the centrality of performance in film, and, second, that the work Garland produced across three decades demonstrates not only a coherence and consistency, but also a variety and richness, that merits close examination. Judy Garland was one of the most accomplished performers of her time, her seeming naturalism a function of her fierce discipline. Her career straddled multiple media: film, recording, live performance and television. From childhood, her life was lived in the public eye and her personal travails were as well known as the characters she incarnated on screen - in fact, her biography informs some of her later film roles. Garland's work in this period occurs primarily in two genres: musical comedy more »
Acting and performance have been prominent in cinema throughout the medium's history, but have received relatively little attention in film studies. Performance provides a compellingly different way of engaging with a film. The Judy Garland Seminar proposes, first, that we attend to the centrality of performance in film, and, second, that the work Garland produced across three decades demonstrates not only a coherence and consistency, but also a variety and richness, that merits close examination. Judy Garland was one of the most accomplished performers of her time, her seeming naturalism a function of her fierce discipline. Her career straddled multiple media: film, recording, live performance and television. From childhood, her life was lived in the public eye and her personal travails were as well known as the characters she incarnated on screen - in fact, her biography informs some of her later film roles. Garland's work in this period occurs primarily in two genres: musical comedy and melodrama (and what we can call the melodramatic musical). Some of her best films were directed by two of the foremost studio directors - Vincente Minnelli and George Cukor - intersections of star, genre, and director will inform the seminar, as will explorations of Garland's work on television and the concert stage. The seminar will begin with an overview of the writing around film acting and the star text while considering some of Judy's earlier film appearances. Classes will be divided between critical engagement with assigned readings and close readings of Judy Garland performances. The screening list will be supplemented with ample clips from other films, and earlier work will be compared to later performances wherever useful. Both a mainstream star and a gay cult icon, Garland's persona was read differently by different audiences, so the seminar will also consider the reception of Judy Garland and her significance then and now.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II | Repeatable 2 times (up to 10 units total)
Instructors: Bukatman, S. (PI)

FRENCH 12Q: Humanities Core: Great Books, Big Ideas -- Europe, Middle Ages and Renaissance (DLCL 12Q, HUMCORE 12Q, ILAC 12Q)

This three-quarter sequence asks big questions of major texts in the European and American tradition. What is a good life? How should society be organized? Who belongs? How should honor, love, sin, and similar abstractions govern our actions? What duty do we owe to the past and future? The second quarter focuses on the transition from the Middle Ages to Modernity, Europe's re-acquaintance with classical antiquity and its first contacts with the New World. Authors include Dante, Shakespeare, Machiavelli, Cervantes, and Milton. N.B. This is the second of three courses in the European track. These courses offer an unparalleled opportunity to study European history and culture, past and present. Take all three to experience a year-long intellectual community dedicated to exploring how ideas have shaped our world and future. Students who take HUMCORE 11 and HUMCORE 12Q will have preferential admission to HUMCORE 13Q (a WR2 seminar).
Last offered: Winter 2019 | UG Reqs: WAY-A-II

FRENCH 13: Humanities Core: Great Books, Big Ideas -- Europe, Modern (HISTORY 239C, HUMCORE 13, PHIL 13)

What is a good life? How should society be organized? Who belongs? How should honor, love, sin, and similar abstractions govern our actions? What duty do we owe to the past and future? This course examines tcourse examines these questions in the modern period, from the rise of revolutionary ideas to the experiences of totalitarianism and decolonization in the twentieth century. Authors include Locke, Mary Shelley, Marx, Nietzsche, Primo Levi, and Frantz Fanon. This course is part of the Humanities Core, a collaborative set of global humanities seminars that brings all of its students and faculty into conversation. On Mondays you meet in your own course, and on Wednesdays all the HumCore seminars (in session that quarter) meet together: https://humanitiescore.stanford.edu/.
Last offered: Spring 2022 | UG Reqs: WAY-A-II, WAY-ER

FRENCH 62N: Art and Healing in the Wake of Covid-19: A Health Humanities Perspective (ITALIAN 62N)

How have artists contributed to healing during the Covid-19 pandemic? How does art shape or express diverse cultural understandings of health and illness, medicine and the body, death and spirituality, in response to crisis? How do such understandings directly impact the physical healing but also the life decisions and emotions of individuals, from caregivers to patients? And finally, how do these affect social transformation as part of healing? This course examines the art of COVID-19, from a contemporary and historical perspective, using the tools of Health Humanities, a relatively new discipline that connects medicine to the arts and social sciences. Materials for this course include art from different media (from poetry and fiction to performance and installation), produced during COVID-19 in mostly Western contexts, in diverse communities and with some forays into the rest of the world and into other historical moments of crisis. They also include some non-fiction readings from the disciplines Health Humanities draws from, such as history of medicine, anthropology, psychology, sociology, cultural history, media studies, art criticism, and medicine itself. We will thus be introduced to basics of Health Humanities and its methods while addressing the pandemic as a world-changing event, aided by the unique insights of artists. The course will culminate in final projects that present a critical and contextual appreciation of a specific art project created in response to COVID-19; such appreciations may be creative art projects as well, or more analytical, scholarly evaluations.
Last offered: Spring 2022 | UG Reqs: WAY-A-II, WAY-SI
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