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671 - 680 of 1219 results for: all courses

GLOBAL 135: Around the World in Ten Films (FILMEDIA 135, FILMEDIA 335)

This is an introductory-level course about the cinema as a global language. We will undertake a comparative study of select historical and contemporary aspects of international cinema, and explore a range of themes pertaining to the social, cultural, and political diversity of the world. A cross-regional thematic emphasis and inter-textual methods of narrative and aesthetic analysis, will ground our discussion of films from Italy, Japan, United States, India, China, France, Brazil, Nigeria, Russia, Iran, Mexico, and a number of other countries. Particular emphasis will be placed on the multi-cultural character and the regional specificities of the cinema as a "universal language" and an inclusive "relational network."nnThere are no prerequisites for this class. It is open to all students; non-majors welcome.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II

GLOBAL 145: Space, Public Discourse and Revolutionary Practices (ARTHIST 118A, CSRE 95I)

This course examines the mediums of public art that have been voices of social change, protestnand expressions of community desire. It will offer a unique glimpse into Iran¿sncontemporary art and visual culture through the investigation of public art practices such asngraffiti and street art, as well as older traditions of Naghali and Iranian Coffeehouse Painting.nnBeginning Iranian case studies will be expanded in comparison with global examples that spannprojects that include Insite (San Diego/Tijuana), Project Row Houses (Houston, TX) the DMZnProject (Korea), Munster Skulpture Projects (Germany), among others. Students will alsonexamine the infrastructural conditions of public art, such as civic, public, and private funding,nrelationships with local communities, and the life of these projects as they move in and out ofnthe artworld. This encompassing view anchors a legacy of Iranian cultural contributions in largerntrajectories of art history, contemporary art, and community arts practice. Guest artists,ncurators, and researchers with site visits included. Students will propose either new public artnproposals, exhibitions, or research to provoke their own ideas while engaging the ever changingnstate of public discourse in these case studies
Last offered: Autumn 2019 | UG Reqs: WAY-A-II

GLOBAL 193: History of World Cinema III: Queer Cinemas around the World (ARTHIST 164, ARTHIST 364, CSRE 102C, CSRE 302C, FEMGEN 100C, FEMGEN 300C, FILMEDIA 100C, FILMEDIA 300C, GLOBAL 390, TAPS 100C, TAPS 300C)

Provides 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. Specific topics may vary by term/year/instructor. This term's topic, Queer Cinemas around the World, engages with a range of queer cinematic forms and queer spectatorial practices in different parts of the world, as well as BIPOC media from North America. Through film and video from Kenya, Malaysia, India, The Dominican Republic, China, Brazil, Palestine, Japan, Morocco, the US etc., we will examine varied narratives about trans experience, same-sex desire, LGBTQI2S+ rights, censorship, precarity, and hopefulness. This course will attune us to regional cultural specificities in queer expression and representation, prompting us to move away from hegemonic and homogenizing understandings of queer life and media. Notes: Screenings will be held on Fridays at 1:30PM in Oshman Hall. Screening times will vary slightly from week to week.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, GER:DB-Hum | Repeatable 2 times (up to 10 units total)
Instructors: Iyer, U. (PI)

GLOBAL 249A: The Iranian Cinema: Image and Meaning

This course will focus on the analysis of ten Iranian films with the view of placing them in discourse on the semiotics of Iranian art and culture. The course will also look at the influence of a wide array of cinematic traditions from European, American, and Asian masters on Iranian cinema. This course must be taken for a minimum of 3 units and a letter grade to be eligible for WAYS credit.
Last offered: Autumn 2022 | UG Reqs: WAY-A-II

GLOBAL 249B: Iranian Cinema in Diaspora (COMPLIT 249B)

Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What more »
Despite enormous obstacles, immigrant Iranian filmmakers, within a few decades (after the Iranian Revolution), have created a slow but steady stream of films outside Iran. They were originally started by individual spontaneous attempts from different corners of the world and by now we can identify common lines of interest amongst them. There are also major differences between them. These films have never been allowed to be screened inside Iran, and without any support from the global system of production and distribution, as independent and individual attempts, they have enjoyed little attention. Despite all this, Iranian cinema in exile is in no sense any less important than Iranian cinema inside Iran. In this course we will view one such film, made outside Iran, in each class meeting and expect to reach a common consensus in identifying the general patterns within these works and this movement. Questions such as the ones listed below will be addressed in our meetings each week: What changes in aesthetics and point of view of the filmmaker are caused by the change in his or her work environment? Though unwantedly these films are made outside Iran, how related are they to the known (recognized) cinema within Iran? And in fact, to what extent do these films express things that are left unsaid by the cinema within Iran? NOTE: To satisfy a WAYS requirement, this course must be taken for a minimum 3 units and a letter grade. Please contact your academic advisor for University policy regarding WAYS.
Terms: Win | Units: 1-3 | UG Reqs: WAY-A-II
Instructors: Beyzaie, B. (PI)

GLOBAL 249C: Contemporary Iranian Theater (COMPLIT 249C)

Today, Iranian plays both in traditional and contemporary styles are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement "which was altogether westernizing itself blindly" face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the d more »
Today, Iranian plays both in traditional and contemporary styles are staged in theater festivals throughout the world and play their role in forming a universal language of theater which combine the heritages from countries in all five continents. Despite many obstacles, some Iranian plays have been translated into English and some prominent Iranian figures are successful stage directors outside Iran. Forty-six years ago when "Theater in Iran" (a monograph on the history of Iranian plays) by Bahram Beyzaie was first published, it put the then contemporary Iranian theater movement "which was altogether westernizing itself blindly" face to face with a new kind of self-awareness. Hence, today's generation of playwrights and stage directors in Iran, all know something of their theatrical heritage. In this course we will spend some class sessions on the history of theater in Iran and some class meetings will be concentrating on contemporary movements and present day playwrights. Given the dearth of visual documents, an attempt will be made to present a picture of Iranian theater to the student. Students are expected to read the recommended available translated plays of the contemporary Iranian playwrights and participate in classroom discussions. NOTE: To satisfy WAYS requirements, you must enroll in the course for a minimum of 3 units. Please contact your academic advisor for more information regarding University WAYS requirements.
Terms: Spr | Units: 1-3 | UG Reqs: WAY-A-II
Instructors: Beyzaie, B. (PI)

HISTORY 3S: A Global History of the Apocalypse: Millenarian Movements in the Modern World

This course will examine the rise, fall, and legacy of modern millenarian movements-- movements that claim that our corrupt world is about to be swept away, to be replaced with a particular version of paradise-- in a global perspective. Drawing on an array of sources ranging from proclamations, diaries, criminal confessions, newspaper accounts, cartoons, songs, photographs, and films, we will explore what, if anything, these movements had in common, and their connections to and influences on one another.
Last offered: Spring 2020 | UG Reqs: WAY-A-II, WAY-SI

HISTORY 4N: What is Nature? Discovering the History of Nature at Stanford

Nature is everywhere. It pops up in advertisements, in news stories, and popular culture. We talk about nature all the time, sometimes without even realizing it: conserving nature, loving nature, and being in nature. But what actually is nature? Are oak trees nature? What about gardens, sunsets, or garbage? Are human beings nature, or is nature a state one can enter into? Do you have to go outdoors to be in nature? In this course we'll get out of the classroom and use the Stanford campus to explore how people in the past have thought about nature and why it has been and continues to be such a potent idea that is so hard to define. Together in this seminar we'll examine the history and design of Stanford University. We'll explore a range of narrative approaches to nature stories. And we'll consider current problems and debates about nature from pollution, to drought, to wildfire, and climate change. The course will culminate in a fun, hands-on project.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II, WAY-SI

HISTORY 9S: Life Histories of Enslaved Africans around the Globe from the Early Modern Period to the Present

Is there any possibility of hearing silenced voices of enslaved people? If it is so, how and where can we find their own voices? If we find the sources, to what extent can our findings help us differentiate between the lived and remembered experience of bondage? Can experiences of enslaved people fall under one category or can we talk about differences in defining their statuses? Throughout this course, we will be endeavoring to answer these questions by looking at individual experiences. Moreover, we will aim to see whether we can sympathize with the members of this exploited class by arguing that it is of value to know about their experiences. As much as the course benefits from different historical methods and thoughts, the overarching agenda is to contribute to global history through the life stories of enslaved Africans.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Ozdemir, O. (PI)

HISTORY 12S: Multiculturalism in the Middle Ages: Muslims, Christians, and Jews in Medieval Spain (JEWISHST 12S)

Before the year 1492, Spain had been a dynamic and complex region of Muslim and Christian kingdoms populated by Christians, Muslims, and Jews for nearly 800 years. What political, economic, and military exchanges took place among peoples of the three faiths in medieval Spain? Did community leaders and governments attempt to regulate and prohibit fluid identity boundaries? How has 20th-century Spanish nationalism shaped our understanding of medieval Spain? How have 21st-century questions of multiculturalism impacted our view of medieval Spain? These are the kinds of questions that this course will explore through chronicles, poetry, letters, legal documents, art, and architecture.
Last offered: Spring 2022 | UG Reqs: WAY-A-II, WAY-EDP
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