This course engages artistic approaches to digital technologies with an emphasis on how the history of new media art as well as contemporary trends, such as social networking, inform the production of digital art. Students will engage in studio assignments involving the creation of works that use digital technologies as both tool and medium. Special emphasis will be placed on digital sound art, digital imaging, animation, and basic interactivity for creative inquiry and cultural production. We will investigate how contemporary practitioners use digital, networked technologies for the creation of works dealing with conceptualism, formalism, community, identity, hacktivism, performance, and hypertext narratives. Prior experience with the software used in this course is not required. Not open to seniors. Studio art supplies fee: $50. If the course fills and you would like to be added to the wait list, please contact Stephanie Ashenfelder at stephanie.ashenfelder@rochester.edu.

BUILDING: SAGE | ROOM: BLDG

Introduction to the study of media from an anthropological perspective. We will examine constructions of media as objects of social scientific analysis, as both textual artifacts and social practice. Questions that guide the course are, What is "the media"? How have recent transformations in global capital and communications technology altered how we consume, analyze and produce media? What can the study of media tell us about social life and the imagination? We will seek to understand the medias role in producing national and transnational public spheres, focusing on a range of media formations, from multinational corporate structures to indigenous and diasporic productions, to question media's power to shape subjectivities and conceptions of cultural difference. We will examine print journalism, television, film, radio, advertising, and visual art in both local and global contexts. Students will be encouraged to incorporate media analysis and media production in their own ethnographic project.

BUILDING: LCHAS | ROOM: 161

Introduction to the study of media from an anthropological perspective. We will examine constructions of media as objects of social scientific analysis, as both textual artifacts and social practice. Questions that guide the course are, What is "the media"? How have recent transformations in global capital and communications technology altered how we consume, analyze and produce media? What can the study of media tell us about social life and the imagination? We will seek to understand the medias role in producing national and transnational public spheres, focusing on a range of media formations, from multinational corporate structures to indigenous and diasporic productions, to question media's power to shape subjectivities and conceptions of cultural difference. We will examine print journalism, television, film, radio, advertising, and visual art in both local and global contexts. Students will be encouraged to incorporate media analysis and media production in their own ethnographic project.

BUILDING: LCHAS | ROOM: 161

This course provides a detailed examination of the French filmmakers of the New Wave, from 1959 to 1967. We will examine the work of Jean-Pierre Melville, Claude Chabrol, Francois Truffaut, Jean-Luc Godard, Eric Rohmer, Agnes Varda, and Jacques Rivette. We will also explore the films' historical context and influence through some attention to their predecessors and successors. Knowledge of French helpful, but not necessary.

BUILDING: RRLIB | ROOM: 428

This course provides a detailed examination of the French filmmakers of the New Wave, from 1959 to 1967. We will examine the work of Jean-Pierre Melville, Claude Chabrol, Francois Truffaut, Jean-Luc Godard, Eric Rohmer, Agnes Varda, and Jacques Rivette. We will also explore the films' historical context and influence through some attention to their predecessors and successors. Knowledge of French helpful, but not necessary.

BUILDING: RRLIB | ROOM: 428

This course provides a transnational survey of film history, examining the technical and formal aspects of the medium in its production and exhibition. As we explore the development of cinema during this period, we will address a number of aesthetic and technological issues. For example, how did the development of sound technology affect film form? How did it affect cross-cultural cinematic exchange? What is the significance of genre across various film traditions? What did the studio system contribute to Hollywood's success in the international market? How did immigrant and exiled film personnel shape the industries they joined? Weekly screenings and film journals required.

BUILDING: RRLIB | ROOM: 428

This course provides a transnational survey of film history, examining the technical and formal aspects of the medium in its production and exhibition. As we explore the development of cinema during this period, we will address a number of aesthetic and technological issues. For example, how did the development of sound technology affect film form? How did it affect cross-cultural cinematic exchange? What is the significance of genre across various film traditions? What did the studio system contribute to Hollywood's success in the international market? How did immigrant and exiled film personnel shape the industries they joined? Weekly screenings and film journals required.

BUILDING: RRLIB | ROOM: 428

This course introduces the basic aesthetic and technical elements of video production. Emphasis is on the creative use and understanding of the video medium while learning to use the video camera, video editing processes and the fundamental procedures of planning video projects. Video techniques will be studied through screenings, group discussions, readings, practice sessions and presentations of original video projects made during the course.

BUILDING: SAGE | ROOM: BLDG

A descriptive and critical analysis of the nature of electronic mass media, broadcast practices and impact. Designed to provide a broad, rigorous orientation for understanding basic elements of media production as well as skills training in reporting, writing, editing, delivery and production of broadcast media.

BUILDING: LATT | ROOM: 431

This course will explore major developments in the East German cinema, including issues such as coming to terms with the fascist past, popular filmmaking and art cinema, cinema as a pedagogical tool, artistic dissent and state censorship, socialist ideologies of gender, and the politics of documentary. Each film will be explored in relation to its socio-historical context, providing students with an overview of East German film and culture.

BUILDING: DEWEY | ROOM: 4131

This course will explore major developments in the East German cinema, including issues such as coming to terms with the fascist past, popular filmmaking and art cinema, cinema as a pedagogical tool, artistic dissent and state censorship, socialist ideologies of gender, and the politics of documentary. Each film will be explored in relation to its socio-historical context, providing students with an overview of East German film and culture.

BUILDING: DEWEY | ROOM: 4131

Understanding social psychology of modern & contemporary Western/American family experience, & especially its means of abetting the concealment, repression, & suppression of people's emotional lives. Study of the films combines with the readings seek to develop critical understanding of the nuclear family & the conditions it may create for child-rape, racism, homophobia, murder & self-destructive behavior such as substance abuse, self- mutilation, & suicide. Sometimes the violence is arbitrary, sometimes inevitable, sometimes incomprehensible. Each case the course's attention is on the personal & collective machineries of repression, resulting rage in many individuals & frequent (now often familiar) violent results. Readings incl; Nancy Chodorow, Alice Miller, Kristin Kelly, & Stephanie Coontz. Films are taken from: A Price Above Rubies, A Thousand Acres, All My Sons, American Beauty, American History X, Bastard out of Carolina, Crimes & Misdemeanors, Dolores Claiborne, and others.

BUILDING: MEL | ROOM: 208

This course introduces students to the theory and practice of media studies. We will look at a range of both media and historical tendencies related to the media, including manuscript culture, print, and the rise of the newspaper, novel, and modern nation-state; photography, film, television and their respective differences as visual mediums; important shifts in attitudes towards painting; the place of sound in the media of modernity; and the computerization of culture brought about by the computer, social networks, video games, and cell phones. In looking at these, we will consider both the approaches that key scholars in the field of media studies use, and the concepts that are central to the field itself (media/medium; medium-specificity; remediation; the culture industry; reification and utopia; cultural politics). By the end of the class, students will have developed a toolkit for understanding, analyzing, and even using the media that shape their lives in late modernity.

BUILDING: HUTCH | ROOM: 140

The dawn of the age of movies coincided with the Russian Revolution, and film was Lenin’s favorite art form. The course surveys Russian film from the beginnings to the present. The course investigates the major role that cinema played in shaping the national and political identity of the Soviet Union, and looks at what was artistically interesting and popular about these films, some of whose directors, like Eisenstein and Tarkovsky, are among the world’s most influential filmmakers.

BUILDING: | ROOM:

Understanding social psychology of modern & contemporary Western/American family experience, & especially its means of abetting the concealment, repression, & suppression of people's emotional lives. Study of the films combines with the readings seek to develop critical understanding of the nuclear family & the conditions it may create for child-rape, racism, homophobia, murder & self-destructive behavior such as substance abuse, self- mutilation, & suicide. Sometimes the violence is arbitrary, sometimes inevitable, sometimes incomprehensible. Each case the course's attention is on the personal & collective machineries of repression, resulting rage in many individuals & frequent (now often familiar) violent results. Readings incl; Nancy Chodorow, Alice Miller, Kristin Kelly, & Stephanie Coontz. Films are taken from: A Price Above Rubies, A Thousand Acres, All My Sons, American Beauty, American History X, Bastard out of Carolina, Crimes & Misdemeanors, Dolores Claiborne, and others.

BUILDING: MEL | ROOM: 208

The dawn of the age of movies coincided with the Russian Revolution, and film was Lenin’s favorite art form. The course surveys Russian film from the beginnings to the present. The course investigates the major role that cinema played in shaping the national and political identity of the Soviet Union, and looks at what was artistically interesting and popular about these films, some of whose directors, like Eisenstein and Tarkovsky, are among the world’s most influential filmmakers.

BUILDING: LCHAS | ROOM: 121

This course combines a survey of major historical movements and styles in documentary film with an examination of more recent trends and challenges to the tradition. So, in addition to studying the expository political documentary, ethnographic film, and the direct cinema and cinéma vérité movements, we will explore forms including mock documentary, autobiographical film and video, and animated documentary.

BUILDING: MOREY | ROOM: 205

This course will explore the relationship between film and revolution in West German cinema from 1965 to the present. We will consider cinema's potential as a revolutionary medium, while also focusing on how revolution is thematized and constructed in both fiction and documentary films. The course will engage with issues such as coming to terms with the fascist past, recreating the cinema as a revolutionary artistic form, feminism as a revolutionary perspective, the domestic sphere as a revolutionary space, and the co-optation of the cinema's revolutionary potential through mass consumption.

BUILDING: MEL | ROOM: 218

This course will explore the relationship between film and revolution in West German cinema from 1965 to the present. We will consider cinema's potential as a revolutionary medium, while also focusing on how revolution is thematized and constructed in both fiction and documentary films. The course will engage with issues such as coming to terms with the fascist past, recreating the cinema as a revolutionary artistic form, feminism as a revolutionary perspective, the domestic sphere as a revolutionary space, and the co-optation of the cinema's revolutionary potential through mass consumption.

BUILDING: MEL | ROOM: 218

This course combines a survey of major historical movements and styles in documentary film with an examination of more recent trends and challenges to the tradition. So, in addition to studying the expository political documentary, ethnographic film, and the direct cinema and cinéma vérité movements, we will explore forms including mock documentary, autobiographical film and video, and animated documentary.

BUILDING: MOREY | ROOM: 205

How do visual artists and choreographers map the moving body? How do dancers translate notation from page to stage? This course examines the historical relationship between drawing and dance, as well as movement and mark-making more broadly conceived. We will focus on drawings, diagrams, sculptures, dances, photographs, websites, films, and videos by 20th century and contemporary artists and choreographers as a means of exploring space, place, distance, and identity. Designed for anyone with an interest in interdisciplinary artistic practices, dance history, and visual culture.

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An introduction to the three-act film structure. Students will read and view numerous screenplays and films, and develop their own film treatment into a full-length script.

BUILDING: LATT | ROOM: 210

An introduction to the three-act film structure. Students will read and view numerous screenplays and films, and develop their own film treatment into a full-length script.

BUILDING: LATT | ROOM: 210

We will screen and study approximately 12 gangster and crime films from the rich genre of such movies. We will also read some related fiction and some critical studies of the form. We will look at films spanning the history of cinema from "Little Caesar" to "The Godfather", examining the devices of the form, those elements that seem to define it, the relation of the subject to the culture, the meaning of the film, and so forth. The course will include lectures and discussion.

BUILDING: MOREY | ROOM: 321

We will screen and study approximately 12 gangster and crime films from the rich genre of such movies. We will also read some related fiction and some critical studies of the form. We will look at films spanning the history of cinema from "Little Caesar" to "The Godfather", examining the devices of the form, those elements that seem to define it, the relation of the subject to the culture, the meaning of the film, and so forth. The course will include lectures and discussion.

BUILDING: MOREY | ROOM: 321

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