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FILMSTUD 50Q: The Video Essay: Writing with Video about Film and Media

In this course, we will explore what it means to write with video, and we will learn to make effective and engaging video essays about historical and contemporary audiovisual media. Specifically, we will examine formal, aesthetic, and rhetorical strategies for communicating in the medium of video, and we will conduct a series of hands-on exercises utilizing digital video editing software to construct arguments, analyses, and interpretations of film and other media (including television, video games, and online media). Compared with traditional, text-based engagements, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. In this medium, authors no longer struggle to describe audiovisual contents in words that can never do justice to the rich array of details that are immediately apparent to spectators eyes and ears; instead, video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any eas more »
In this course, we will explore what it means to write with video, and we will learn to make effective and engaging video essays about historical and contemporary audiovisual media. Specifically, we will examine formal, aesthetic, and rhetorical strategies for communicating in the medium of video, and we will conduct a series of hands-on exercises utilizing digital video editing software to construct arguments, analyses, and interpretations of film and other media (including television, video games, and online media). Compared with traditional, text-based engagements, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. In this medium, authors no longer struggle to describe audiovisual contents in words that can never do justice to the rich array of details that are immediately apparent to spectators eyes and ears; instead, video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier to write effectively with video than it is to compose an essay with pen and paper. Similar types of expository and argumentative planning are involved in both forms, while the new technology introduces its own characteristic challenges and choices, including decisions about the spatial and temporal organization and transformation of audiovisual materials, the addition of onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we will 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 films and other moving-image media. Through weekly assignments and group critique sessions, we will learn to express ourselves more effectively and creatively in audiovisual media. As a culmination of our efforts, we will assemble a group exhibition of our best video essays for public display on campus.nnNo 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)

FILMSTUD 112: Women in French Cinema: 1958- (FEMGEN 192, FRENCH 192)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The myth of the feminine idol in French films in historical and cultural context since the New Wave until now. The mythology of stars as the imaginary vehicle that helped France to change from traditional society to modern, culturally mixed nation. The evolution of female characters, roles, actresses, directors in the film industry. Filmmakers include Vadim, Buñuel, Truffaut, Varda, Chabrol, Colline Serreau, Tonie Marshall. Discussion in English; films in French with English subtitles. 3 units, 4 units or 5 units. Class meets Tuesday/Thursday 1:30-2:50pm; film screenings Monday 6:00-8:30pm. NOTE: FILMSTUD students must take this course for 3 units only.
Last offered: Winter 2019 | UG Reqs: WAY-A-II, WAY-CE

FRENCH 154E: Film & Philosophy CE (ITALIAN 154E, PHIL 193E, PHIL 293E)

Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Last offered: Winter 2019 | UG Reqs: WAY-CE

FRENCH 166: Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 266, FRENCH 366, MUSIC 133, MUSIC 333)

Students cook a collection of unfamiliar recipes each week while learning about the cultural milieus in which they originated. The course focuses on the fourteenth and fifteenth centuries, a time of great banquets that brought together chefs, visual artists, poets, musicians, and dancers. Students read late-medieval cookbooks under the guidance of professional chefs, learn songs and poetry with the help of visiting performers, and delve into a burgeoning scholarly literature on food history and sensory experience. We will also study trade routes and food networks, the environmental impact of large-scale banquets, the science of food, and the politics of plenty. This course may count towards the Medieval component of the French major, and corresponds to DLCL 121, a course requirement for the Medieval Studies Minor. Students interested in applying for course must email the professor (jrodin@stanford.edu) by 20 September with a statement of up to 350 words that includes: (a) reasons for wanting to take the class; (b) relevant background in cooking/medieval studies/etc.; (c) stated commitment to attend all ten course meetings; and (d) any dietary restrictions/preferences.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Rodin, J. (PI)

FRENCH 192: Women in French Cinema: 1958- (FEMGEN 192, FILMSTUD 112)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The myth of the feminine idol in French films in historical and cultural context since the New Wave until now. The mythology of stars as the imaginary vehicle that helped France to change from traditional society to modern, culturally mixed nation. The evolution of female characters, roles, actresses, directors in the film industry. Filmmakers include Vadim, Buñuel, Truffaut, Varda, Chabrol, Colline Serreau, Tonie Marshall. Discussion in English; films in French with English subtitles. 3 units, 4 units or 5 units. Class meets Tuesday/Thursday 1:30-2:50pm; film screenings Monday 6:00-8:30pm. NOTE: FILMSTUD students must take this course for 3 units only.
Last offered: Winter 2019 | UG Reqs: WAY-A-II, WAY-CE

FRENCH 266: Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 166, FRENCH 366, MUSIC 133, MUSIC 333)

Students cook a collection of unfamiliar recipes each week while learning about the cultural milieus in which they originated. The course focuses on the fourteenth and fifteenth centuries, a time of great banquets that brought together chefs, visual artists, poets, musicians, and dancers. Students read late-medieval cookbooks under the guidance of professional chefs, learn songs and poetry with the help of visiting performers, and delve into a burgeoning scholarly literature on food history and sensory experience. We will also study trade routes and food networks, the environmental impact of large-scale banquets, the science of food, and the politics of plenty. This course may count towards the Medieval component of the French major, and corresponds to DLCL 121, a course requirement for the Medieval Studies Minor. Students interested in applying for course must email the professor (jrodin@stanford.edu) by 20 September with a statement of up to 350 words that includes: (a) reasons for wanting to take the class; (b) relevant background in cooking/medieval studies/etc.; (c) stated commitment to attend all ten course meetings; and (d) any dietary restrictions/preferences.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Rodin, J. (PI)

ILAC 111Q: Texts and Contexts: Spanish/English Literary Translation Workshop (DLCL 111Q)

This course introduces students to the theoretical knowledge and practical skills necessary to translate literary texts from Spanish to English and English to Spanish. Students will workshop and revise a translation project throughout the quarter. Topics may include comparative syntaxes, morphologies, and semantic systems; register and tone; audience; the role of translation in the development of languages and cultures; and the ideological and socio-cultural forces that shape translations.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Santana, C. (PI)

ILAC 113Q: Borges and Translation (DLCL 113Q)

Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.
Last offered: Autumn 2017 | UG Reqs: WAY-A-II, WAY-CE

ILAC 241: Fiction Workshop in Spanish

Spanish and Spanish American short stories approached through narrative theory and craft. Assignments are creative in nature and focus on the formal elements of fiction (e.g. character and plot development, point of view, creating a scene, etc.). Students will write, workshop, and revise an original short story throughout the term. No previous experience with creative writing is required. Readings may include works by Ayala, Bolaño, Borges, Clarín, Cortázar, García Márquez, Piglia, Rodoreda, and others. Enrollment limited.
Last offered: Winter 2018 | UG Reqs: WAY-A-II, WAY-CE

ILAC 242: Poetry Workshop in Spanish

Latin American and Spanish poetry approached through elements of craft. Assignments are creative in nature and focus on the formal elements of poetry (meter, rhythm, lineation, rhetorical figures and tropes) and the exploration of lyric subgenres (e.g. ode, elegy, prose poem). Students write original poems throughout the quarter. No previous experience with creative writing is required. Prerequisite: 100-level course in Spanish or permission of instructor. Enrollment limited.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-CE
Instructors: Santana, C. (PI)
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