Global Arc

This seminar examines the radical possibilities of collaboration as fundamentally a process of radical composition through which collaborators bridge different modalities of creative expression - textual composition, artistic composition, speculative composition, among others - that span multiple media, forms and practices. By modeling and exploring collaboration as radical composition, this course seeks to reframe it as more that a dynamic of participation and coordination, and to recognize it as a generative methodology for producing critical scholarly and creative work.

This class is equal parts screening, filmmaking, discussion, and artistic critique. We will watch, discuss, and dissect works by artists and filmmakers from across the globe that use personal form and distinct techniques to communicate idiosyncratically. Readings will explore contemporary notions of time and cinema while screenings prioritize nonfiction and fiction works (as well as art pieces) that have mainstream audience potential. Students will use video cameras to complete assignments that will expand their filmic language as they work over the semester toward the completion of a short film that employs a singular structure.

An examination of the central texts and abiding issues of the theory of cinema. Properties of the shot as a unit of film construction and its relationship to the space of reality are analyzed. Different kinds of film structures and their theoretical underpinnings are studied.

A seminar examining the ways in which filmmakers have used one of the other arts as part of the self-definition of cinema as an autonomous art. One or two such interactions will be the focus of the course, and will vary by term (e.g., painting, architecture, poetry, narrative fiction).

A third-level film/video course to further develop video production skills. Students have the option of spending the term either creating a single long work or a series of short pieces. Short weekly shooting exercises. Students view one film each week outside of class time. Two studio classes, five hours per week. Prerequisite: 361 or 362 and instructor's permission.

Advanced work in special areas of the various visual media or in areas where the traditional media intersect (for example, typography, video, photo printmaking). Specific topics will change from year to year, and prerequisites will vary.

Advanced work in special areas of the various visual media or in areas where the traditional media intersect (for example, typography, video, photo printmaking). Specific topics will change from year to year, and prerequisites will vary.

This course will focus through stories and essays the issues of violence, alienation, justice, dignity, punishment, conscience, economic inequality, redemption and transformation. It will examine these issues through the lens of great creative writers, as well as the creative writing of students.

This course explores ideas of individual ethics and political community, the ethics of political rule, freedom and slavery, democracy and representation, and equality and inequality in political thought. Readings will be drawn from both canonical and contemporary authors, including Sophocles, Machiavelli, Locke, Rousseau, and Tocqueville. This is an introductory course, which emphasizes both thematic and historical approaches to political theory, and its role in informing contemporary civic engagement.

An introduction to the classical myths in their cultural context and in their wider application to human concerns (such as creation, sex and gender, identity, transformation, and death). The course will offer a who's who of the ancient imaginative world, study the main ancient sources of well known stories, and introduce modern approaches to analyzing myths.