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FILMSTUD 116: International Documentary (FILMSTUD 316)

Historical, aesthetic, and formal developments of documentary through nonfiction films in Europe, Asia, Latin America, and Africa.
Last offered: Autumn 2018 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED

FILMSTUD 132A: Indian Cinema (FILMSTUD 332A)

This course will provide an overview of cinema from India, the world's largest producer of films. We will trace the history of Indian cinema from the silent era, through the studio period, to state-funded art filmmaking to the contemporary production of Bollywood films as well as the more unconventional multiplex cinema. We will examine narrative conventions, stylistic techniques, and film production and consumption practices in popular Hindi language films from the Bombay film industry as well as commercial and art films in other languages. This outline of different cinematic modes will throw light on the social, political, and economic transformations in the nation-state over the last century.
Last offered: Spring 2018 | UG Reqs: WAY-A-II, WAY-ED

FILMSTUD 134: The Art Cinema of India (FILMSTUD 334)

India is the world's largest producer of films, and Bollywood is currently its most visible cinematic product on the festival circuit as well as university curricula. This course, probably the first of its kind in the American academic setting, will focus instead on the various art cinemas of India. From the well-known Satyajit Ray to his important contemporaries, Ritwik Ghatak and Mrinal Sen, from the social realist New Wave cinemas of the 70s and 80s to contemporary indie films, we will engage with the history of the "parallel cinema" movement. Considering the relationship of Indian art cinema to Third Cinema and to European art cinema will bring attention to transnational networks and exhibition circuits. The course will engage with scholarship on art cinema more broadly to understand how films are categorized as such through narrative, form, audience, auteurism, funding, censorship, and relationship to the nation-state.
Last offered: Winter 2019 | UG Reqs: WAY-A-II, WAY-ED

FILMSTUD 213: Theories of Melodrama (FILMSTUD 413)

Commonly derided for being over the top, with films in this mode put down as weepies, tear-jerkers, and women's films, melodrama as a genre and a cinematic mode has been reclaimed by feminist-queer-film scholars as providing a powerful site of ideological struggle and sustained engagement with individual and social subjection and suffering. Melodrama, a transgeneric mode of emotional dramaturgy, centered around body and community, delay and chance, realism and excess, affords radical critiques of discourses of gender, sexuality, race, class, and nation. We will consider melodrama's careful calibration of sensation and affect through its employment of cinematic form (color, music, editing etc.), and sweeping performative gestures. Through an analysis of films from Europe, Asia, Africa, Latin America, by auteurs such as Douglas Sirk, Ritwik Ghatak, Wong Kar-wai, Rainer Werner Fassbinder, and Pedro Almodovar, among others, we will study global and transnational flows in the adoption of the politics and aesthetics of the melodramatic mode. The seminar is conceived to be interdisciplinary and participants are encouraged to work with texts from disciplines other than film studies as well, including theatre, visual arts, music, dance, literature etc.
Last offered: Spring 2019 | UG Reqs: WAY-A-II, WAY-ED

FRENCH 129: Camus (COMPLIT 229B, CSRE 129, HISTORY 235F)

"The Don Draper of Existentialism" for Adam Gopnik, "the ideal husband of contemporary letters" for Susan Sontag, and "the admirable conjunction of a man, of an action, and of a work" for Sartre, Camus embodies the very French figure of the "intellectuel engagé," or public intellectual. From his birth in 1913 into a poor family in Algeria to the Nobel Prize in Literature in 1957, from Paris to the Mediterranean world, Camus engaged in the great ethical battles of his time, from the fight against nazism and communism, from questioning colonial rules to the Algerian War of Independence. Through readings and films, we will explore his multiple, long-lasting legacies. Readings from Albert Camus, Jean-Paul Sartre, Kamel Daoud, Mouloud Feraoun, Alice Kaplan, A.B. Yehoshua, Yasmina Khadra. This course is a WIM course. Students will work on their production of written French, in addition to speaking French and reading comprehension. Taught in French. Prerequisite: FRENLANG 124 or consent of instructor.
Terms: Spr | Units: 4-5 | UG Reqs: WAY-A-II, WAY-ED
Instructors: Ulloa, M. (PI)

FRENCH 133: Literature and Society in Africa and the Caribbean (AFRICAAM 133, AFRICAST 132, COMPLIT 133A, COMPLIT 233A, CSRE 133E, JEWISHST 143)

This course aims to equip students with an understanding of the cultural, social, and political aspects at play in the literatures of Francophone Africa and the Caribbean of the 20th and 21st century. Our primary readings will be Francophone novels and poetry. We will also read some theoretical texts. The assigned readings will expose students to literature from diverse French-speaking regions of the African/Caribbean world. This course will also serve as a "literary toolbox," with the intention of facilitating an understanding of literary genres, and terms. Students can expect to work on their production of written and spoken French, in addition to reading comprehension. Special guest: Moroccan author Meryem Alaoui. Required readings include: Aime Cesaire, Maryse Condé, Fatou Diome, Dany Laferriere, Leonara Miano, Albert Memmi. Taught in French. Prerequisite: FRENLANG 124 or consent of instructor.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED
Instructors: Seck, F. (PI)

FRENCH 187: Sex, Gender, and Violence: French Women Writers Today (FEMGEN 187X, FEMGEN 287X, FEMGEN 387X, 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 Marie Darrieusecq, Christine Angot, Annie Ernaux, Marie NDiaye, Virginie Despentes, Leila Slimani, Ivan Jablonka along with feminist theory. Taught in French.
Last offered: Winter 2019 | UG Reqs: WAY-A-II, WAY-ED

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

Analysis of medieval love, satirical and Crusade lyrics of the trouabdours. Study of deictic address, corporeal subjectivity, the female voice, love debates, and the body as a figure of political conflict. Course readings include medieval treatises on lyric and modern translations of the troubadour tradition. Works by Ovid, Bernart de Ventadorn, Bertran de Born, La Comtessa de Dia, Thibaut de Champagne, Raimon Vidal, Dante, and Pound. Taught in English. Course includes a lab component for creation of multi-media translation projects: trobar. stanford.edu.
Last offered: Winter 2018 | UG Reqs: GER:EC-Gender, WAY-A-II, WAY-ED

FRENCH 236: Casablanca - Algiers - Tunis : Cities on the Edge (AFRICAAM 236B, COMPLIT 236A, CSRE 140S, FRENCH 336, HISTORY 245C, URBANST 140F)

Casablanca, Algiers and Tunis embody three territories, real and imaginary, which never cease to challenge the preconceptions of travelers setting sight on their shores. In this class, we will explore the myriad ways in which these cities of North Africa, on the edge of Europe and of Africa, have been narrated in literature, cinema, and popular culture. Home to Muslims, Christians, and Jews, they are an ebullient laboratory of social, political, religious, and cultural issues, global and local, between the nineteenth and twenty-first centuries. We will look at mass images of these cities, from films to maps, novels to photographs, sketching a new vision of these magnets as places where power, social rituals, legacies of the Ottoman and French colonial pasts, and the influence of the global economy collude and collide. Special focus on class, gender, and race.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, WAY-ED
Instructors: Ulloa, M. (PI)

FRENCH 249: The Algerian Wars (CSRE 249, HISTORY 239G, JEWISHST 249)

From Algiers the White to Algiers the Red, Algiers, the Mecca of the Revolutionaries in the words of Amilcar Cabral, this course offers to study the Algerian Wars since the French conquest of Algeria (1830-) to the Algerian civil war of the 1990s. We will revisit the ways in which the war has been narrated in literature and cinema, popular culture, and political discourse. A special focus will be given to the Algerian War of Independence (1954-1962). The course considers the racial representations of the war in the media, the continuing legacies surrounding the conflict in France, Africa, and the United States, from Che Guevara to the Black Panthers. A key focus will be the transmission of collective memory through transnational lenses, and analyses of commemorative events and movies. nReadings from James Baldwin, Assia Djebar, Albert Camus, Frantz Fanon, Mouloud Feraoun. Movies include "The Battle of Algiers," "Days of Glory," and "Viva Laldjérie." nTaught in English.
Last offered: Spring 2018 | UG Reqs: GER:EC-GlobalCom, WAY-A-II, WAY-ED
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