Latin American and Latinx Studies Program 473 McNeil Building 3718 Locust Walk Philadelphia, PA 19104-6209 lals@sas.upenn.edu (215) 898-9919 Catastrophic flooding events are increasing in frequency, as are extreme droughts. Network . Using cinema as a lens with which to see the society, we will touch upon major events of the twentieth century including national division, military dictatorship and democratization movements, IMF economic crisis, youth culture, hallyu (the Korean wave), and damunhwa (multiculturalism initiative). There are no pre-requisites for CIMS 382. Emphasis is placed on time-based design and storytelling through animation performance and montage. Other questions we will ask include: What particular indigenous modes of storytelling do African films employ? Visit coronavirus.upenn.edu, the University's dedicated coronavirus COVID-19 web page, for the latest updates. In what different ways (through what platforms, interfaces, and screens) do people in different continents access televisual content? Rota's music for Visconti will be examined in Senso, the Leopard, and Rocco and his Brothers, along with his Transatlantic collaboration for The Godfather. Can we study television in countries where we do not know the existing local languages? Students will gain an understanding of the unique approaches needed to appeal to museum visitors in a public setting, so we can make viable experiences for them. CIMS 380 Contemporary Spanish Literature, Topics vary. Specific course topics vary from year to year. Guests will include screenwriters, agents, producers, directors, distributors, film festival curators and film critics. "le realisme poetique," "la Nouvelle Vague," etc. Students must be prepared to travel to Addis Ababa and Washington D.C. as described in the syllabus, and must hold a passport. will be awarded upon completion. Students then learn how to composite two or more of these methods with matte painting, computer animation or video. Chenshu Zhou (she, her) is Assistant Professor of Cinema Studies in the Department of History of Art at the University of Pennsylvania. Gwendolyn DuBois Shaw, an associate professor of Latin American and Latino Studies, Cinema Studies, and Gender, Sexuality, and Women's Studies, discusses the largest-ever exhibition of portraits of First Ladies. This MLA course in the history of art explores an aspect of Art History and Theory, specific course topics vary. We will consider what elements mobilize and connect the film industries of the Axis Powers: style, genre, the aestheticization of politics, the creation of racialized others. Penn O365 Email. Topics will include literary and cinematic representation of Japan s war experience and post-war reconstruction, negotiation with Japanese classics, confrontation with the state, and changing ideas of gender and sexuality. With an eye to film's place in its historical and political context, the course will explore the "Golden Age" of German cinema in the Weimar Republic, when Berlin vied with Hollywood; the complex relationship between Nazi ideology and entertainment during the Third Reich; the fate of German film-makers in exile during the Hitler years; post-war film production in both West and East Germany; the call for an alternative to "Papa's Kino" and the rise of New German Cinema in the 1960's. Students are required to attend screenings or watch films on their own. We will spend the first few weeks of the semester surveying major trends in modern Middle Eastern history. We will conclude with the transformation of several film industries into propaganda tools during World War II (including the Nazi, Soviet, and US film industries). Please see the Spanish Department's website for the current course description: https://www.sas.upenn.edu/hispanic-portuguese-studies/pc. CIMS 036 The Middle East through Many Lenses. Google@SAS email. Also Offered As: ARTH 293, COML 295, ENGL 295, CIMS 300 Topics in Italian History, Literature, and Culture. Beginning with early roots in operetta, we will survey the works of prominent writers in the American musical theatre, including Kern, Berlin, Gershwin, Porter, Rodgers, Hart, Hammerstein, Bernstein, Sondheim and others. Italian language, literature, and cinema; study abroad; law and business. Also Offered As: CLST 019, ENGL 015, GSWS 017, LALS 016, CIMS 016 Freshman Seminar in Cinema and Media Studies. Should we cry or should we laugh at Chekhovian characters who commit suicide, or are killed, or simply cannot move to a better place of living? Morricone's work with various directors will be discussed in The Good, the Bad, and the Ugly, The Battle of Algiers, and Teorema, as well as for American films such as Malick's Days of Heaven and Tarantino's The Hateful Eight. SAS File Servers. All expenses for travel, accommodation, and food will be covered, but students will need to hold a passport. This is a workshop-style course for those who have thought they had a terrific idea for a movie but didn't know where to begin. Class sessions will combine lectures, discussion, audio-visual materials, and creative as well as analytical writing exercises. Where does the story begin and who has recounted, rewritten, and rearranged it over the centuries? Weekly screenings required. We will spend subsequent weeks intensively discussing assigned readings along with documentary films that we will watch in class. Topics include: the city as site of avant-garde experimentation; technology and culture; the city as embodiment of social order and disorder; traffic and speed; ways of seeing the city; the crowd; city figures such as the detective, the criminal, the flaneur, the dadny; film as the new medium o the city. the most significant material we will use to learn this history will be films, novels, and short stories. We will explore virtual reality projects, including narrative and documentary films, commercial applications, and games. Also Offered As: ARTH 107, COML 099, ENGL 078. This course provides an introduction to foundational skills common in digital humanities (DH). At the same time, those formal features will be closely linked to historical and cultural distinctions and changes, ranging from the Paramount Decision of 1948 to the digital convergences that are defining screen culture today. Visual Studies at the University of Pennsylvania prepares students to forge innovative connections across the disciplines that study vision and images.Students acquire a critical awareness of seeing and the problems and possibilities for investigating, thinking, and writing about seeing in the 21st century. Canvas. Eschewing defensiveness, ignorance, and innocence, and opening to meaningful change by engaging the writings of anti-racist and anti-imperialist thinkers, including those focused on the transformation of higher education, this course examines the responsibilities scholars take on when we affirm that "Black Lives Matter," and acknowledges that higher education, including the humanities, is actively implicated in the structures and operations of white privilege and anti-black racism as well as in other intersectional modes of exclusion, including all forms of discrimination based on race, ethnicity, national original, ability, class, sexuality, gender, and beliefs. In addition, students will complete a final project that is intentionally open in terms of form. This course explores the world of "fascist" cinemas ranging from infamous propaganda pieces such as The Triumph of the Will to popular entertainments such as musicals and melodramas. Using the Cannes Film Festival as its focal point, the program examines the ways in which international film functions in the context of celebrity, marketing, and festivals. It examines the strange and mutually defining kinship between fascism more broadly and film. The Transatlantic Cinema of Louis Malle. The Cinema Studies certificate is designed to meet the academic interests of: ... 898-7326 or lps@sas.upenn.edu. To encourage the international perspective that we believe is essential for any good film and media scholar, 3 of the remaining 10 courses for the major (or 1 of the remaining 4 courses for the minor) must focus on cinemas outside of the U.S. context. Specific course topics vary from year to year. There are no prerequisites. Please see the Spanish Department's website for the current course description: https://www/sas/upenn.edu/hispanic-portuguese-studies/pc, Also Offered As: COML 390, GSWS 391, LALS 396, SPAN 390. This course will explore fantasy and the fantastic in short tales of 19th- and 20th-century French literature. And how do these films challenge the dominant western trope of Africa as a spectacle, instead offering novel ways of picturing everyday African experiences that we rarely glimpse in western media? The past three decades have seen an unprecedented shift in the African media landscape. Drawing from texts on critical film and Korean studies, we will pay particular attention to how the selected works re-present, resist, and interweave the sociopolitical climate they concern and are born out of. What categories begin to emerge under the umbrella category of "African film and media," and where do diasporan film and media practitioners and critics fit in this landscape? A variety of approaches -- thematic, psychoanalytic, cultural, narratological -- will be used in an attempt to test their viability and define the subversive force of a literary mode that contributes to shedding light on the dark side of the human psyche by interrogating the "real," making visible the unseen and articulating the unsaid. CIMS 584 20th-Century Italian Fiction and Film. Location and knowledge production are inextricably connected, and by considering African media production from these multiple sites, and collaborating with multiple stakeholders, this course offers a directly engaged pedagogy of the complex artistic, cultural, social, and political dynamics of African audiovisual creation. In addition to contemporary theories that investigate the development of cinema and visual culture during the first half of the 20th century, we will read key texts that contributed to the emergence of film theory. This course presents an in-depth look at the storytelling power of image and sound in both narrative and documentary motion pictures. We trace the creation of counterterrorism police in late imperial Russia and its methods to infiltrate, demoralize, and dismantle the terrorist networks, and reengineer their social base. We discuss the rules of drama and dialogue, character development, stage vs. screen-writing, adaptation of nondramatic works, remaking of plots, author vs. genre theory of cinema, storytelling in silent and sound films, the evolvement of a script in the production process, script doctoring, as well as screenwriting techniques and tools. This course draws on fictional, dramatic and cinematic representations of Russian history based on Russian as well as non-Russian sources and interpretations. This course examines the Russian and East European contribution to world cinema after WWII - Stalinist aesthetics and desalinization, WWII in film, the installation of totalitarianism in Eastern Europe and the Cold War in film, the fall of the Berlin Wall, the collapse of the Soviet Union and the post-soviet condition, cinematic representations of Yugoslavia's violent breakup; the new Romanian waive. The course will cover both the history of copyright law and current debates, legislation, and cases. Also Offered As: COML 261, GRMN 259, GRMN 550, CIMS 261 Topics In 20th-Century Literature. The minimum total course units for graduation in this major is 33. Maria Alley Senior Lecturer in Foreign Languages Language Program Coordinator malley@sas.upenn.edu. Please see the Spanish Department's website for the course description: https://www.sas.upenn.edu/hispanic-portuguese-studies/pc. Course Projects (CIMS) Browse All … We will view a wide range of Hollywood motion pictures since 1900, as well as films by blacklisted artists, feminists, and independent producers. As the popularity of mythical creatures in films and literature grows, there is one creature that remains prominent: the dragon. How have television audiences been transformed by algorithmic cultures of Netflix and Hulu? Notes: Course taught in English. It seeks to participate in the development of more just and inclusive academic modes and spaces by fostering time and structure for thought and self-reflection, by generating ideas for implementation, and by learning from our readings as well as from each other. How do fans circumvent geo-blocking to watch live sporting events? Visiting lecturers will critically discuss the individual roles of production in the context of the history of film. In our screenwriting courses, students learn how to analyze and work within the structure of mainstream narrative films, write their own screenplays, and workshop them in collaboration with other writers. In short, we will try to cover all aspects of making a film, and explore that often-tricky intersection of art and commerce. Admission to the course will be by permission only and students are required to submit a short statement of interest (max. Under Browse by Subject, select Cinema & Media Studies. Not only has the wide availability of satellite media across the continent made international film and television programing part of African popular culture, but moreover the growing film industries within the continent, most notably Nollywood, have altered how Africans are carving an image of themselves on the big and small screens. We will examine a variety of works that represent the social, political, economic and cultural circumstances of post-revolutionary Iran. As a result of climate change, the world that will take shape in the course of this century will be decidedly more inundated with water than we're accustomed to. Should any fatal outcome be considered tragic? This course examines the development of the modern American theatre from the turn of the century to the present day. From the 1922 silent film "Hungry Hearts" through the first "talkie," "The JazzSinger," produced in 1927, and beyond "Schindler's List," Jewish characters have confronted the problems of their Jewishness on the silver screen for a general American audience. Finally, we will take what we have learned out of the classroom, working with the Philadelphia Museum of Art curators to create virtual realty experiences based around the museum's objects and exhibits. Also Offered As: AFRC 393, ARTH 393, ENGL 301, GSWS 394, CIMS 396 Studies in Spanish American Culture, Also Offered As: GSWS 396, LALS 397, SPAN 396, CIMS 397 History of Spanish American Culture, Topics vary. Along the way, we will discuss issues pertaining to gender, religion, nationialism, ethnicity, and the function of cinema in present day Iranian society. Also Offered As: COML 245, ENGL 102, GSWS 102. Russian and East European Studies: Cinema, Arts and Letters, BA The major in Russian and East European Studies provides a program of study that enables a broad multi-disciplinary and multi-cultural understanding of the languages, literatures, cultures, histories, and societies of Russia, Central and Eastern European, and the Balkan and Baltic regions. For example, recognizing that discussions about race and racism require immense emotional labor from BIPOC people in particular, BIPOC students should not be asked to use their personal experiences to frame questions under discussion or to represent any group. Seniors have the option to complete an honors thesis if they have a minimum GPA of 3.5 in the major. Notes: All readings and discussions in English. Topic varies. CIMS 166 Arab/Israeli Conflict in Literature and Film. Associate Director, Cinema Studies Program; Administrative Director, Penn-in-Cannes and Penn-in-Florence / SAS. There are no prerequisites of this course. Online events. Specific course topics vary from year to year. IMPORTANT: This class has TWELVE total Monday evening film screenings, of which you are required to attend AT LEAST SEVEN. Can we find significant differences between French and non-French approaches, or between films shot on location that have the ring of "authenticity" and studio-bound productions using reconstructed sets? Topics include the emergence of film technology and early film audiences, the rise of narrative film and birth of Hollywood, national film industries and movements, African-American independent film, the emergence of the genre film (the western, film noir, and romantic comedies), ethnographic and documentary film, animated films, censorship, the MPPDA and Hays Code, and the introduction of sound. SAS Web Sites. See the Cinema Studies website at for a description of the current offerings. Italian Studies considers itself as both autonomous and in relationship with a constellation of other disciplines and scholars located in a variety of Penn departments (esp. In partnership with local, regional, and international film and media centers, we will study a range of films--features, shorts, documentaries, and television shows--paying close attention to the means and sites of production as well as the formal qualities that distinguish these works. Specific course topics vary from year to year. The course particularly focuses on how global television cultures have been transformed due to shifts from broadcasting technologies to (Internet) streaming services? Specific course topics vary from year to year. Every year CINE 240 Italian Cinema (ITAL 204, ITAL 222) Occasionally CINE 205 Visions of Rome in Italian and American Cinema (CLST 206) CINE 340 Topics in Italian Cinema and … In the Cinema course block, you engage in an interdisciplinary, critical study of film history and theory and develop skills in interpreting visual media. NYU CINEMA STUDIES STUDENT CONFERENCE. The coursework focuses attention on the intersections between film and video and other art forms, including photography, painting, drawing, music, and literature. Finally, it is precisely because the musical is a popular theatrical form that we can discuss changing public tastes, and the financial pressures inherent in mounting a production. This question is often asked by critics and directors who still are puzzled with Chekhovs definition of his four major plays as comedies. A select, limited number of films are available to stream. Department of English University of Pennsylvania Fisher-Bennett Hall, room 127 3340 Walnut Street Philadelphia, PA, 19104-6273 Phone: (215) 898-7341 Also Offered As: AFRC 572, COML 575, ENGL 572, Also Offered As: COML 590, ENGL 590, GSWS 589, LALS 590, CIMS 582 Fantastic Literature 19th/20th Centuries. This topic course explores multiple and different aspects of Cinema and Media. provides a program of study that enables a broad, multi-disciplinary and multi-cultural understanding of the languages, literatures, cultures, histories, and societies of Russia, Central and Eastern European, and the Balkan and Baltic regions. Also Offered As: ARTH 389, COML 391, ENGL 392. This topic course explores multiple and different aspects of Cinema Studies. CIMS 150 Water Worlds: Cultural Responses to Sea Level Rise & Catastrophic Flooding. Assistant Professor of English and Cinema and Media Studies jaleksey@upenn.edu. An exploration of modern discourses on and of the city. Also Offered As: AFRC 294, ARTH 274, ARTH 674, ASAM 294, LALS 274. Looking at publishing, music, film, and software, we will ask how the law drives the adoption of new media, and we will consider how regulation influences artistic decisions. Requirements will include readings in film history and film analysis, an analytical essay, a research paper, a final exam, and active participation. This truly interdisciplinary program will introduce students to the wide range of methodologies used to study film and media, and this intersection with other disciplines makes Cinema and Media Studies an ideal component of a double major. More than any other medium, the motion pictures fostered new ideals and images of modern womanhood and manhood in the United States. In so doing, we will closely examine how each cinematic medium addresses the societal power structure and the role of the "Other" it represents in terms of class, race, gender, and sexuality in the construction of contemporary Korean society. How was literacy cultivated, and what were the social implications? More than seventy years later, fascist cinemas challenge us to grapple with issues of more subtle ideological insinuation than we might think. No knowledge of film theory is presumed. I would like a student to help find sources, images, and also make clips for my film courses. Hurricane-related storm surges,tsunamis, and raging rivers have devastated regions on a local and global scale. This course explores a broad media landscape through new critical and conceptual approaches. There are overviews here on such topics as Censorship, Film Theory Before 1945, and Women in Film. These issues and the nature of individual and collective memory will be discussed from a psychological point of view. Students will also be introduced to the key critical concepts (such as the notion of the "auteur" film genre) informing the discussion of films in France. Additionally, some academic departments and programs have their own media collections (e.g., Cinema & Media Studies, History, Gender, Sexuality & Women's Studies). In addition to reading Chekhovs works, Russian and western productions and film adaptations of Chekhovs works will be screened. The exhibit is currently on view at the Smithsonian's National Portrait Gallery. Also Offered As: COML 300, ENGL 231, ITAL 300, CIMS 301 French Identity in the Twentieth Century. In addition to a range of short assignment-based exercises, students will be expected to complete three short projects over the course of the semester. We will also briefly survey the history of South Korean cinema that has evolved hand-in-hand with the history of modern Korea itself, walking through its five different phases (1945-Korean War era;1955-1972 "Golden Age"; 1973-1979 censorship era; 1980-1996 democratization era; and 1997 onwards). 3440 Market Street, Suite 100 Philadelphia, PA 19104-3335 (215) 898-7326 summer@sas.upenn.edu Writers and film directors examined may include: Kawabata Yasunari, Hayashi Fumiko, Abe Kobo, Mishima Yukio, Oe Kenzaburo, Yoshimoto Banana, Ozu Yasujiro, Naruse Mikio, Kurosawa Akira, Imamura Shohei, Koreeda Hirokazu, and Beat Takeshi. Also Offered As: ARTH 289, COML 292, ENGL 292. Prerequisite: Two 200-level French courses taken at Penn or equivalent are required for FREN 382. Major filmmakers in discussion include Kalatozov, Tarkovsky, Wajda, Polanski, Forman, Mentzel, Sabo, Kusturitsa, Konchalovsky, Mikhalkov and others. Films to be discussed will be by internationally acclaimed filmmakers, such as Abbas Kiarostami, Mohsen Makhmalbaf, Rakhshan Bani-Etemad, Tahmineh Milani, Jafar Panahi, Bahman Ghobadi, among others. 3440 Market Street, Suite 100 Philadelphia, PA 19104-3335 (215) 898-7326 summer@sas.upenn.edu See the Cinema Studies website at for a description of the current offerings. If it leads to change then it can be useful, since it is then no longer guilt but the beginning of knowledge. Ultimately, this course aims to use film and media production to intervene in a larger discourse on how Africa is figured in the global humanities, not as an absent or passive actor but one actively engaged in producing art and humanistic knowledge that has much to teach us and the world. student must enter first term. Can the arts lead us to a different understanding of the lives lived through what seems like unending crisis? We discuss various techniques and strategies of the propaganda wars, post-truth media environment, etc. Foremost this course will examine Black stereotypes in American films and television--and the manner in which those stereotypes have reflected national attitudes and outlooks during various historical periods. We will consider these dynamics against a backdrop of constant fluctuations in educational policies, the book market, and the circulation of texts within and beyond Russia as we work together to develop an understanding of the imperial Russian reading public(s). Composers Nino Rota and Ennio Morricone serve as case studies, in partnership with directors Fellini, Visconti, Leone, Pontecorve, Pasolini, and Coppola. Our video production courses, offered through Fine Arts, focus on the acquisition of basic media language skills and insist upon evidence of a … The theatricals of terrorism are of particular interest, its bombastic acts, mystification, and techniques of spreading disorganizing fear in the global media environment. In an effort to better understand how the horror film makes us confront our worst fears and our most secret desires alike, we will look at the genre's main iconic figures (Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde, etc.) This survey course introduces students to major trends, genres, directors, and issues in the cinemas of East Asian countries/regions, including Japan, Korea, China, Hong Kong, and Taiwan. Charting key developments over more than a hundred years from the early twentieth century to the present, this course examines films as aesthetic objects, asking questions about film form, narrative, and style. What images come to mind when we hear the words Sicily and Sicilians? Readings will include "recits fantastiques" by Merimee, Gautier, Nerval, Maupassant, Breton, Pieyre de Mandiargues, Jean Ray and others.