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FEMGEN 208B: Women's Activist Response to War (HISTORY 208B, HISTORY 308B, HUMRTS 113)

Theoretical issues, historical origins, changing forms of women's activism in response to war throughout the 20th century, and contemporary cases, such as the Russian Committee of Soldiers Mothers, Bosnian Mothers of Srebrenica, Serbian Women in Black, and the American Cindy Sheehan. Focus is on the U.S. and Eastern Europe, with attention to Israel, England, and Argentina.
Terms: Spr | Units: 4-5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-SI
Instructors: Jolluck, K. (PI)

FEMGEN 266: Women's Voices in Contemporary Italian Literature (ITALIAN 266)

The traditional canon of Italian literature consists almost exclusively of male authors. Yet Italian women writers have been active since the time of Dante. This course presents an overview of women's prose fiction of the last 100 years, from Sibilla Aleramo's groundbreaking feminist novel Una donna (1906) to Elena Ferrante's La figlia oscura (2015). We will examine such concerns as the central issue of sexual violence in many female autobiographies; the experience of motherhood; the conflict between maternal love and the desire for self-determination and autonomy; paths to political awareness; reinventing the historical novel. Taught in English.
Terms: Aut | Units: 3-5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED

FILMSTUD 4: Introduction to Film Study

This course will introduce you to formal, historical, and cultural issues in the study of film. We will study the technological and social history of cinema and engage with philosophical and theoretical questions pertaining to film as a medium and as a cultural product, even as we undertake the formal analysis of fiction, documentary, and experimental films.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 100A: History of World Cinema I, 1895-1929 (FILMSTUD 300A)

From cinema's precursors to the advent of synchronized sound.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Oeler, K. (PI)

FILMSTUD 100B: History of World Cinema II, 1930-1959 (FILMSTUD 300B)

The impact of sound to the dissolution of Hollywood's studio system.
Last offered: Winter 2018 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 100C: History of World Cinema III, 1960-Present (FILMSTUD 300C)

This course will provide an overview of cinema from around the world since 1960, highlighting the cultural, political, and economic forces that have shaped various film movements over the last six decades. We will study some key film movements and national cinemas towards developing a historical appreciation of a variety of commercial and art film traditions. Through an exploration of films from Europe, Africa, Asia, and Latin America, we shall examine the industrial histories of non-Hollywood film production and exhibition practices that produce the particular cinematic cultures of each region.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 101: Fundamentals of Cinematic Analysis: Film Sound (FILMSTUD 301)

The close analysis of film. Emphasis is on formal and narrative techniques in structure and style, and detailed readings of brief sequences. Elements such as cinematography, mise-en-scène, composition, sound, and performance. Films from various historical periods, national cinemas, directors, and genres. Prerequisite: FILMSTUD 4 or equivalent. Recommended: ARTHIST 1 or FILMSTUD 102. Course can be repeated twice for a max of 8 units.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 3 times (up to 12 units total)
Instructors: Ma, J. (PI)

FILMSTUD 102: Theories of the Moving Image (FILMSTUD 302)

Major theoretical arguments and debates about cinema: realism,formalism, poststructuralism, feminism, postmodernism, and phenomenology. Prerequisites: FILMSTUD 4. WIM at 4 units only.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 110: Science Fiction Cinema (FILMSTUD 310)

Science fiction film's sense of wonder depends upon the development and revelation of new ways of seeing. The American science fiction film emphasizes the fundamental activity of human perception, its relation to bodily experience and the exploration of other worlds, new cities, and other modes of being, in such new technological spaces as the cyberspaces of the information age. It is perhaps the Hollywood genre most directly concerned with the essence of cinema itself.
Last offered: Autumn 2013 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 114: Reading Comics (AMSTUD 114X, FILMSTUD 314)

The modern medium of comics, a history that spans 150 years. The flexibility of the medium encountered through the genres of humorous and dramatic comic strips, superheroes, undergrounds, independents, journalism, and autobiography. Innovative creators including McCay, Kirby, Barry, Ware, and critical writings including McCloud, Eisner, Groenstee. Topics include text/image relations, panel-to-panel relations, the page, caricature, sequence, seriality, comics in the context of the fine arts, and relations to other media.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
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