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FEMGEN 262: Sex and the Early Church (CLASSICS 262, 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 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.
Last offered: Autumn 2018 | UG Reqs: WAY-A-II, WAY-ED

FEMGEN 287X: Sex, Gender, and Violence: French 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 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

FILMSTUD 4: Introduction to Film Study

This course will introduce students to formal, historical, and cultural issues in the study of film. We will explore 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: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 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: Levi, P. (PI)

FILMSTUD 6: Introduction to Media (FILMSTUD 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.nnFilm & Media Studies majors and minors must enroll for 5 units.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II

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

This course begins at the end of the nineteenth century, when the purpose of cinema was questioned and debated, film grammar was just being invented, distribution and exhibition were haphazard, and writers internationally were registering surprise and wonder at the new medium. It ends with modernist masterpieces of the 1920s, subtle (and still relevant) critical debates about the aesthetics and politics of film, and the development of viable sound technologies. What could film have become and did not? How did storytelling come to dominate the development of the new medium? How and why did various national cinemas develop distinctive stylesâ¿¿classical Hollywood, French Impressionism, German Expressionism, Russian montageâ¿¿that shape screen arts to this day? How did influential critics understand cinema and the ways it could reflect and effect social change? To explore these questions you will work mainly with primary textsâ¿¿the films themselves, and criticism written contemporaneously with them. Lectures will help you place these filmic and critical texts within a larger narrative about the first thirty-five years of cinema.
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)

This course will explore the history of cinema in the sound era. Specifically, the focus of our aesthetic/formal and contextual (industrial, socio-political, cultural) study will be on European cinema in the post-WWII era, and the proliferation of the so-called New Waves in the cinemas of Italy, France, Germany, Poland, Great Britain, Czechoslowakia, and more.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Levi, P. (PI)

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: 3-5 | 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: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit
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.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Oeler, K. (PI)
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