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551 - 560 of 1219 results for: all courses

FEMGEN 192: Women in Contemporary French Cinema (FILMEDIA 112, FRENCH 192, FRENCH 392)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The evolution of female characters, roles, actresses, directors in the French film industry from the sexual liberation to #metoo. Women as archetypes, icones, images, or as agents and subjects. Emphasis on filmic analysis: framing, point of view, narrative, camera work as ways to convey meaning. Themes include: sexualization and desire; diversity and intersectionality in films; new theories of the female gaze; gender, ethnicity and class. Filmmakers include Roger Vadim, Agnès Varda, Luis Buñuel, Claude Chabrol, Colline Serreau, Elena Rossi, Tonie Marshall, Houda Benyamina, Eléonore Pourriat, Céline Sciamma. VISIT BY FILM DIRECTORS Elena Rossi and Sciamma (pending).nnFilms in French with subtitles; Discussion in English; 3 units, 4 units or 5 units.
| UG Reqs: WAY-A-II, WAY-CE

FEMGEN 205: Songs of Love and War: Gender, Crusade, Politics (FRENCH 205, FRENCH 305, ITALIAN 205, ITALIAN 305)

The course examines the medieval love lyric tradition, including the troubadours, trouvères, and the Italian dolce stil nuovo. Focus on how to understand this tradition in the context of other non-Western lyric and its performative and material contexts such as manuscripts. Study of female lyrics, secondary readings on voice, lyric theory, and medieval textuality. Will be taught in English. FRENCH 205 fulfills DLCL 121: Performing in the Middle Ages core course.
Last offered: Spring 2023 | UG Reqs: GER:EC-Gender, WAY-A-II, WAY-EDP

FEMGEN 236: Literature and Transgression (COMPLIT 236)

Close reading and analysis of erotic-sexual and aesthetic-stylistic transgression in selected works by such authors as Baudelaire, Wilde, Flaubert, Rachilde, Schnitzler, Kafka, Joyce, Barnes, Eliot, Bataille, Burroughs, Thomas Mann, Kathy Acker, as well as in recent digital literature and online communities. Along with understanding the changing cultural, social, and political contexts of what constitutes "transgression" or censorship, students will gain knowledge of influential theories of transgression and conceptual limits by Foucault, Blanchot, and contemporary queer and feminist writers.
Last offered: Autumn 2019 | UG Reqs: WAY-A-II, WAY-EDP

FEMGEN 258X: Black Feminist Theater and Theory (AFRICAAM 258, CSRE 258, TAPS 258)

From the rave reviews garnered by Angelina Weld Grimke's lynching play, Rachel to recent work by Lynn Nottage on Rwanda, black women playwrights have addressed key issues in modern culture and politics. We will analyze and perform work written by black women in the U.S., Britain and the Caribbean in the 20th and 21st centuries. Topics include: sexuality, surrealism, colonialism, freedom, violence, colorism, love, history, community and more. Playwrights include: Angelina Grimke, Lorriane Hansberry, Winsome Pinnock, Adrienne Kennedy, Suzan- Lori Parks, Ntozake Shange, Pearl Cleage, Sarah Jones, Anna DeVeare Smith, Alice Childress, Lydia Diamond and Zora Neale Hurston.)
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-EDP

FEMGEN 262: Sex and the Early Church (CLASSICS 262, FEMGEN 362R, RELIGST 262, RELIGST 362)

Sex and the Early Church examines the ways first- through sixth-century Christians addressed questions regarding human sexuality. We will pay particular attention to the relationship between sexuality and issues of gender, culture, power, and resistance. We will read a Roman gynecological manual, an ancient dating guide, the world's first harlequin romance novels, ancient pornography, early Christian martyrdom accounts, stories of female and male saints, instructions for how to best battle demons, visionary accounts, and monastic rules. These will be supplemented by modern scholarship in classics, early Christian studies, gender studies, queer studies, and the history of sexuality. The purpose of our exploration is not simply to better understand ancient views of gender and sexuality. Rather, this investigation of a society whose sexual system often seems so surprising aims to denaturalize many of our own assumptions concerning gender and sexuality. In the process, we will also examine more »
Sex and the Early Church examines the ways first- through sixth-century Christians addressed questions regarding human sexuality. We will pay particular attention to the relationship between sexuality and issues of gender, culture, power, and resistance. We will read a Roman gynecological manual, an ancient dating guide, the world's first harlequin romance novels, ancient pornography, early Christian martyrdom accounts, stories of female and male saints, instructions for how to best battle demons, visionary accounts, and monastic rules. These will be supplemented by modern scholarship in classics, early Christian studies, gender studies, queer studies, and the history of sexuality. The purpose of our exploration is not simply to better understand ancient views of gender and sexuality. Rather, this investigation of a society whose sexual system often seems so surprising aims to denaturalize many of our own assumptions concerning gender and sexuality. In the process, we will also examine the ways these first centuries of what eventually became the world's largest religious tradition has profoundly affected the sexual norms of our own time. The seminar assumes no prior knowledge of Judaism, Christianity, the bible, or ancient history. Undergraduates register for 200-level for 5 units. Graduate students register for 300-level for 3-5 units.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-EDP

FEMGEN 264S: Race, Gender, Justice (COMPLIT 264T, CSRE 264S, TAPS 264S)

The question of justice animates some of the most influential classics and contemporary plays in the dramatic canon. We will examine the relationship between state laws and kinship obligations in Sophocles's Antigone. We will trace the transnational circulation of this text and its adaptations in Gambaro's Argentinian Antigona Furiosa, and Fugard and Kani's South African The Island. We will read Shakespeare's Othello and consider questions of racism, misogyny, and intimate partner violence, investigate the reverberations of these themes in the OJ Simpson trial, and explore its afterlife in Toni Morrison's Desdemona. We will take up questions of sexual violence via John Patrick Shanley's Doubt and Ariel Dorfman's Chilean classic, Death and the Maiden. We will examine themes of police brutality and racial vulnerability in Anna Deavere Smith's Twilight and Aleshea Harris's What to Send Up When it Goes Down. Through close readings of plays, we will explore the inter-articulation of intimac more »
The question of justice animates some of the most influential classics and contemporary plays in the dramatic canon. We will examine the relationship between state laws and kinship obligations in Sophocles's Antigone. We will trace the transnational circulation of this text and its adaptations in Gambaro's Argentinian Antigona Furiosa, and Fugard and Kani's South African The Island. We will read Shakespeare's Othello and consider questions of racism, misogyny, and intimate partner violence, investigate the reverberations of these themes in the OJ Simpson trial, and explore its afterlife in Toni Morrison's Desdemona. We will take up questions of sexual violence via John Patrick Shanley's Doubt and Ariel Dorfman's Chilean classic, Death and the Maiden. We will examine themes of police brutality and racial vulnerability in Anna Deavere Smith's Twilight and Aleshea Harris's What to Send Up When it Goes Down. Through close readings of plays, we will explore the inter-articulation of intimacy and violence, intimidation and transgression, vengeance and forgiveness within the context of larger struggles for gender and racial justice. We will read plays in light of contemporary reckonings with the US criminal justice system: the #MeToo movement and the Black Lives Matter movement. While the former appeals to the criminal justice system to restore victims¿ rights, the latter urges a thorough dismantling of the carceral state. How do we understand these divergent responses to augment or abolish punitive structures? Meets WM requirement for TAPS.
Last offered: Autumn 2022 | UG Reqs: WAY-A-II, WAY-EDP

FEMGEN 287X: Sex, Gender, and Violence: French and Francophone Women Writers Today (FEMGEN 187X, FEMGEN 387X, FRENCH 187, FRENCH 287, FRENCH 387)

Long before the 2017 #Metoo campaign, French women writers have explored through powerful fictions and autobiographies the different shades of economic, social, psychological, physical, or sexual violence that is exerted against, but also by and between, women. How does literature - the power of words - address, deconstruct or comfort power dynamics (during sex and between the sexes) that are usually silenced, taboo or unspeakable? Themes explored: sex and gender, sex and power, rape culture, sexual and moral taboos (incest, abortion, pornography, infanticide, lesbianism), the body as social stigma or source of meaning. Special attention given to narrative and descriptive strategies designed to avert, expose, deconstruct or account for specifically feminine experiences (rape, orgasm, pregnancy). Authors include Nobel Prize Annie Ernaux, Virginie Despentes, Marie Darrieusecq, Christine Angot, Marie NDiaye, Leonora Miano, Leila Slimani, Vanessa Springora along with feminist theory. Discussion in English. Readings in French or English, students choice
Terms: Aut | Units: 1-5 | UG Reqs: WAY-A-II, WAY-EDP
Instructors: Alduy, C. (PI)

FILMEDIA 4: Introduction to Film Study

Introduction to Film Study introduces you to film as art, as entertainment, a field of study, and an everyday cultural practice. This course enables you to analyze films in terms of their formal elements, themes, and narrative structures. You learn to 'read' details of cinematic 'language' such as the arrangement of shots (editing), the composition and framing of a shot (cinematography), the overall look of a film (mise-en-scene), and its sound environment. We not only identify such cinematic details, but also consider how they contribute to the overall meaning of a film. Thinking about film and writing about film are intricately linked and inform each other deeply. Learning to write about film with sophistication requires a grasp of the mechanics of writing, familiarity with film terminology, and an understanding of film theory and history. This course helps you develop skills in critical viewing, reading, and writing. We explore basic concepts that have been important to the study of film, such as genre, authorship, and stardom to comprehend how films make meaning within their social, political, cultural, and historical contexts.
Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMEDIA 4S: Language of Film

This course familiarizes students with various elements of film language (cinematography, editing, sound, etc.) and introduces them to a range of approaches to cinematic analysis (authorship, genre, close formal reading, socio-historical considerations). Different types of films (narrative, documentary, and experimental) will be surveyed. Classical narrative cinema will be compared with alternative modes of story-telling.
Terms: Sum | Units: 3 | UG Reqs: WAY-A-II
Instructors: Han, G. (PI)

FILMEDIA 6: Media and Mediums (FILMEDIA 306)

What is a medium? This course starts from the assumption that the answer to this question is not as obvious as it might at first appear. Clearly, we know some media when we see them: radio, film, and television are in many ways paradigmatic media of the twentieth century. But what about the computational, networked media of the twenty-first century? Are these still media in the same sense, or has the nature of media changed with the emergence of digital technologies? And what, for that matter, about pre-technical media? Is painting a medium in the same sense that oil or acrylic are media, or in the sense that we speak of mixed media? Is language a medium? Are numbers? Is the body? As we shall see, the question of what a medium is raises a number of other questions of a theoretical or even philosophical nature. How is our experience of the world affected or shaped by media? Are knowledge and perception possible apart from media, or are they always mediated by the apparatuses, instrument more »
What is a medium? This course starts from the assumption that the answer to this question is not as obvious as it might at first appear. Clearly, we know some media when we see them: radio, film, and television are in many ways paradigmatic media of the twentieth century. But what about the computational, networked media of the twenty-first century? Are these still media in the same sense, or has the nature of media changed with the emergence of digital technologies? And what, for that matter, about pre-technical media? Is painting a medium in the same sense that oil or acrylic are media, or in the sense that we speak of mixed media? Is language a medium? Are numbers? Is the body? As we shall see, the question of what a medium is raises a number of other questions of a theoretical or even philosophical nature. How is our experience of the world affected or shaped by media? Are knowledge and perception possible apart from media, or are they always mediated by the apparatuses, instruments, or assemblages of media? What is the relation between the forms and the contents of media, and how does this relation bear on questions of aesthetics, science, technology, or politics? The lecture-based course addresses these and other questions and seeks in this way to introduce a way of thinking about media that goes beyond taken-for-granted ideas and assumptions, and that has a potentially transformative effect on a wide range of theoretical and practical interests.Film & Media Studies majors and minors must enroll for 5 units.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II
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