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241 - 250 of 621 results for: all courses

FEMGEN 160: Performance and History: Rethinking the Ballerina (TAPS 160, TAPS 260)

The ballerina occupies a unique place in popular imagination as an object of over-determined femininity as well as an emblem of extreme physical accomplishment for the female dancer. This seminar is designed as an investigation into histories of the ballerina as an iconographic symbol and cultural reference point for challenges to political and gender ideals. Through readings, videos, discussions and viewings of live performances this class investigates pivotal works, artists and eras in the global histories of ballet from its origins as a symbol of patronage and power in the 15th century through to its radical experiments as a site of cultural obedience and disobedience in the 20th and 21st centuries.
Last offered: Winter 2017 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED

FEMGEN 183: Re- Imagining American Borders (AMSTUD 183, CSRE 183)

In this third volatile and violent year of the Trump presidency, American borders of all kinds seem to be dangerously tight. This is seen in the literal horror of immigrant detention centers filled with hungry, sick children taken from parents, ongoing mass incarceration and police attacks on young black and brown men and gendered violence targeting trans Americans and pro-choice movements. Additionally urban and rural antagonisms and constant social media anger with a kind of newly brutal linguistic framing are all underscoring a vision of an America of intractable difference. The hopeful transformation from the 2018 elections, which is having enormous reverberations in the present 2020 presidential campaigns, is interestingly also based in a discourse of difference. This course investigates sources of these borderlines and most crucially how novelists, filmmakers, poets, visual artists and essayists perceive racial, ethnic, gender, religious, sexual orientation and class borders in t more »
In this third volatile and violent year of the Trump presidency, American borders of all kinds seem to be dangerously tight. This is seen in the literal horror of immigrant detention centers filled with hungry, sick children taken from parents, ongoing mass incarceration and police attacks on young black and brown men and gendered violence targeting trans Americans and pro-choice movements. Additionally urban and rural antagonisms and constant social media anger with a kind of newly brutal linguistic framing are all underscoring a vision of an America of intractable difference. The hopeful transformation from the 2018 elections, which is having enormous reverberations in the present 2020 presidential campaigns, is interestingly also based in a discourse of difference. This course investigates sources of these borderlines and most crucially how novelists, filmmakers, poets, visual artists and essayists perceive racial, ethnic, gender, religious, sexual orientation and class borders in this country as they may re-imagine difference possibly via Vijay Prashad's polyculturalism or Gloria Anzaldùa's borderlands. Texts include those of Ta-Nehisi Coates, Boots Riley, Dee Rees, Ryan Coogler, Nelly Rosario, Janice Lobo Sapigao, Layli Long Soldier, Naomi Shihab Nye, Edwidge Danticat, Sherman Alexie, Shailja Patel, Kara Walker, and the podcast Ear Hustle, narratives created and produced from inside San Quentin, along with Shane Bauer's undercover expose of an American prison. Course guests will include actors and writers from the acclaimed web series, The North Pole, showing parts of the new second season of biting, humorous stories of gentrification, racism and immigration issues in West Oakland. And the Bay Area founder of the only women-run, inclusive mosque in the US, Rabi¿a Keeble, will speak with us about an American Islam with a Muslim community that embraces difference. Course work includes active discussion, journal entries, one comparative analytical essay and a creative final project/with analytical paper examining personal or community identities.
Last offered: Autumn 2019 | UG Reqs: GER:DB-Hum, GER:EC-AmerCul, WAY-A-II

FEMGEN 188Q: Imagining Women: Writers in Print and in Person (CSRE 188Q)

Gender roles, gender relations and sexual identity explored in contemporary literature and conversation with guest authors. Weekly meetings designated for book discussion and meeting with authors. Interest in writing and a curiosity about diverse women's lives would be helpful to students. Students will use such tools as close reading, research, analysis and imagination. Seminar requires strong voice of all participants. Oral presentations, discussion papers, final projects.
Terms: Aut | Units: 4-5 | UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-ED, Writing 2
Instructors: Miner, V. (PI)

FILMSTUD 4: Introduction to Film Study: French Cinema in Focus

This course provides an introduction to film through the lens of French national cinema. We study the historical formation of the moving image in France (and beyond); from its humble beginnings as a novel attraction, to its rise as a major medium in its own right, appreciated for both its commercial and artistic appeal. We examine the work of a number of influential auteurs and key periods in the development of French national cinema: including the work of early masters Jean Vigo and Jean Renoir, members of the French New Wave Jean-Luc Godard and Agnès Varda, as well as contemporary filmmakers Mathieu Kassovitz and Olivier Assayas. In addition to undertaking a historical overview of French cinema, this course familiarizes students with a variety of approaches to the analysis of film style and form: mise-en-scène, cinematography, editing, sound, performance, etc. While no prior knowledge of French cinema or film analysis is required, a willingness to engage deeply and critically with film is fundamental.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Cohen, D. (PI)

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.
Last offered: Autumn 2019 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 100B: History of World Cinema II: Currents in Francophone Film, 1970-present

This course surveys developments in global French-language cinema since 1970, a period marked by a radical reconsideration of national identity, social and sexual politics, and collective memory. Special attention is given to an international roster of francophone films and filmmakers outside of France, from Quebec to Martinique, Belgium to Senegal. Directors like Mati Diop, Euzha Palcy, Chantal Akerman, Abderrahmane Sissako, and Xavier Dolan offer new and shifting currents with which to rethink a decolonized national cinema, sociopolitical turmoil, and the role of the contemporary film viewer.
Terms: Aut, Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

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.
Last offered: Spring 2020 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 101: Close Cinematic Analysis (FILMSTUD 301)

The close analysis of film, with an emphasis on sound, music, and audio-visuality. 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. This course fulfills the WIM requirement for Film and Media Studies majors.
Terms: Spr | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 3 times (up to 12 units total)
Instructors: Ma, J. (PI)

FILMSTUD 102: Theories of the Moving Image (FILMSTUD 302)

What makes the moving image unique in its capacity for telling stories, influencing thoughts, and stirring emotions? What are the potentials and risks of cinema's affective power? This course looks at concepts developed by filmmakers, film critics, and philosophers to explain affinities between mind and moving image, to envision cinema¿s promise, and to identify its limitations. We will read a range of authors, some classic, some contemporary, including André Bazin, Laura Mulvey, and D. A. Miller. Films will include classics such as Julie Dash's Daughters of the Dust (1991) and recent releases such as Hirokazu Koreeda's Shoplifters (2018). Students will learn to speak and write confidently about influential theories and methods in the field of film and media studies. They will learn to formulate research questions that are in dialogue with vital concepts. Through close analysis, they will assess how theories of film and media speak, or fail to speak, to their own experience. And ideally, students will venture to engage in theoretical speculation of their own.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Oeler, K. (PI)

FILMSTUD 110: Science Fiction Cinema (FILMSTUD 310)

Science fiction film's sense of wonder depends upon the development and revelation of new ways of seeing. The American science fiction film emphasizes the fundamental activity of human perception, its relation to bodily experience and the exploration of other worlds, new cities, and other modes of being, in such new technological spaces as the cyberspaces of the information age. It is perhaps the Hollywood genre most directly concerned with the essence of cinema itself.
Last offered: Autumn 2013 | UG Reqs: GER:DB-Hum, WAY-A-II
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