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Course Catalogue 2014 /2015

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Course Catalogue 2014 /2015 1 Contents Art, Architecture, Music & Cinema page 3 Arabic 21 Business & Economics 22 Chinese 36 Communication, Culture, Media Studies 36 (including Journalism) Computer Science 59 Education 64 English 65 French 79 Geography 86 German 92 History 98 Italian 111 Latin 112 Law 113 Mathematics & Finance 114 Political Science 119 Psychology 127 Russian 133 Sociology & Anthropology 135 Spanish 137 Tourism 152 2 COURSE PROGRAM: Art, Architecture, The three cinematic eras: Original: - The Lumière brothers : realistic art Music & Cinema - Mélies : the beginnings of illusion Avant-garde : IMPORTANT: ALL OUR ART COURSES ARE - Expressionism TAUGHT IN FRENCH UNLESS OTHERWISE - Surrealism INDICATED Classical : - Hollywood studios E3/1e : INTRODUCTION TO FRENCH FILMS - Censorship Fall Semester - Griffith's contribution Cinema genres : THIS CLASS IS TAUGHT IN ENGLISH - Social films - Westerns Lectures: 1 ½ hours per week ECTS credits: 3 - The Dark Art - Fantasy OBJECTIVE: - Disaster films This course aims to proVide students with a historical - War films and theoretical introduction to the study abd analysis of French cinema. The fundamental Vocabulary and BIBLIOGRAPHY: language of film studies will be introduced through a - Jean Louis Leutrat : Le Cinéma en perspectiVe program of screenings of French classic films from the : Une histoire, Nathan UniVersité, collection 50s and 60s in order to explore aesthetic ans 128, 1992 psychoanalytic approaches to film. Among others, - Siegfried Kracauer : De Caligari à Hitler, L'Age films such as Ascenceur pour l’échafaud (Lift to the d'homme, 1973 Scaffold, Louis, Malle, 1958), Le feu follet (The fire - Lotte Eisner : L'Écran démoniaque, Losfeld, within, Louis Malle, 1963), A bout de souffle ( 1965 Breathless, Jean-Luc Godard), Les cousins (Claude - Michel Cieutat : les Grands thèmes du cinéma Chabrol, 1958) will compose the program and help us américain, Cerf, 7ème Art, 1988. to put into perspectiVe some important issues brought - Raymond Bellour : Le Cinéma américain, out by the films. Albatros, 1979. - Antoine De Baecque, Histoire du cinéma, ASSESMENT: Cahiers du cinéma, CNDP During the last class, written final exam with an extract from a film. The exam will last 2 hours. AS1/1c : AESTHETICS OF STATIC ART Fall Semester E3/2b : INTRODUCTION TO CONTEMPORARY PHOTOGRAPHY AND DOCUMENTARY FILM Lectures: 2 hours per week ECTS credits: 2 Sprinf Semester OBJECTIVE: THIS CLASS IS TAUGHT IN ENGLISH To familiarize students with different scales of reading : description, analysis and criticism, from a large scope Lectures: 1 hour per week ECTS credits: 3 of both dimensions of images, from the Renaissance to the 20th century OBJECTIVE: This course aims to proVide students with an COURSE PROGRAM: introduction to the scope of anthropological and Leonardo da Vinci stated that static images were like aesthetic approaches to contemporary French silent poetry. Images remain present in our society, photography and documentary film. Thus, photographs from illuminated manuscripts to abstract paintings, and films will be studied and analysed as artistic tools from medieVal icons to photography. Visual arts can for a Visual exploration of contemporary topics and not be reduced to an illustration of history, as it issues. Photographs and documentary films made by contributed to its creation. Made up from aesthetic, French artists, such as Chris Marker, Sophie Calle, cultural, or political codes, images are to be seen AND Raymond Depardon, Christian Boltanski, will allow us read. to bring to light important topics of art and ___________________________________________ postmodern society. AS1/2a : FILM CRITICISM ASSESMENT: Fall Semester During the last class, written final exam lasting 2 hours. Lectures: 1 ½ hours per week ECTS credits: 3 ________________________________________ OBJECTIVE: AS1/1b : HISTORY OF THE CINEMA : To giVe students an understanding of cinematographic FROM THE BEGINNINGS TO 1942 language and the different elements of film-making Fall Semester (script, filming, editing etc.); to learn how to critique any giVen film through examining the use of time, Lectures: 2 hours per week ECTS credits: 3 space and characters; to study film clips in detail and propose different ways to analyse them with the OBJECTIVE: central theme being the image of the artist in cinema. To discoVer the great moVements in the history of American and European cinema from 1895 to 1942. COURSE PROGRAM: - Technical language in the film industry. 3 - Analysing space, time and characterisation AS1/3a : LISTENING TO CONTEMPORARY MUSIC within a film. - AN AESTHETIC APPROACH - Analysis of Various film clips on the theme of Fall Semester the artist. - Clips by Camille Claudel, Frida Kahlo, Diego Lectures: 1½ hours per week ECTS credits: 1.5 RiVera, Van Gogh, Basquiat etc. OBJECTIVE: BIBLIOGRAPHY: To analyse the use of language in this type of music - AUMONT, J. 1990, L’image, Paris, Nathan, and to understand what it has inherited from preVious coll. " Fac ". kinds of music, since the beginning of the 20th century, - AUMONT,J.,MARIE M., 1989, L'Analyse des as well as its originality. This process will enable each films, Nathan UniVersité, Paris one to make sense of the music heard analyse the - AUMONT,J. BERGALA A., MARIE M., many and Varied elements which may make up one VERNET,M., 1993, Esthétique du film, song or tune. Nathan UniVersité, Paris. - GARDIES A., 1993, Le Récit filmique, COURSE PROGRAM: Hachette Supérieur, Collection Contours "Contemporary music" is a term coined by the Littéraires, Paris. music world to describe Various musical trends which - GARDIES A, BESSALEL J., 1995, 200 mots- haVe developed oVer the last 20 or so years. clés de la théorie du cinéma, Cerf, Septième Contemporary music, unlike other forms of Art, Paris. popular music, places the context aboVe the text and __________________________________________ encourages mixtures of Various musical genres. The Various genres haVe deVeloped on account of the AS1/2c : HISTORY AND STRUCTURE OF THE FILM increasing number of technological possibilities in the INDUSTRY music industry, which means that they can not only be Fall Semester created on computers, but also broadcast and sold Via the Internet. Lectures: 1½ hours per week ECTS credits: 3 OBJECTIVE: AS1/3b : SCRIPTWRITING To study and understand the history and the economic Fall Semester issues at stake in the film industry, from seeing a film in a cinema to seeing it on television or on DVD. Lectures: 1 ½ hours per week ECTS credits: 1.5 COURSE PROGRAM: OBJECTIVE: From the beginning of the film industry, the art of film- To teach students how to write a film script. By the making has been organised with retail issues in mind. end of the course, students should be able to write a The films we see haVe already been processed by a synopsis, a script summary and a full script. number of structures, all of which haVe evolVed oVer time. COURSE PROGRAM: In this class students will study the principal areas of - What is a script ? What does the scriptwriter’s the film industry and their links with the actual artistic job inVolVe ? production. - Structure and narratiVe technique Comparing the French and American industries, - The characters and their moVements students will understand how films are born, how they - The plot – internal and external conflicts are financed, how they make their way into the - Space and setting cinemas and then into people's homes. The course will - Time : chronology and sequence take a look at the "wars" that diVide the production - PerspectiVe structures and the whole question of censorship and - Image building even sabotage. - Presenting your script - Summarising your script BIBLIOGRAPHY: Students are required to write a synopsis in the first - AUGROS Joël, L’Argent d’Hollywood, Paris, class, which will be reworked in each class until there L’Harmattan, 1996. is a full script that can be used for production. - AUGROS Joël et KITSOPANIDOU, L’économie du cinéma américaine. Histoiree d’une BIBLIOGRAPHY: industrie culturelle et de ses stratégies, Paris, - J-M. Lainé & S. Delzant, L'écriture du Armand Colin 2009 scénario, Paris Eyrolles, 2007 - BENGHOZI Jean-Pierre, Le cinéma, entre l’art - B. Snyder, Les règles élémentaires pour et l’argent, L’Harmattan, Paris, 1989. l'écriture d'un scénario ( traduit de - BORDWELL DaVid et alii, The Classical l'américain par Brigitte Gauthier) Paris, Dixit, Hollywood Cinem. Film Style and Mode de 2007. Production to 1960, Routledge, 1985. - S. Field, Comment identifier et résoudre les - BOURGET Jean-Loup, Hollywood, la norme et problèmes d'un scénario ( traduit de la marge, Nathan Cinéma, Paris 2002 l'américain par Brigitte Gauthier)Paris, Dixit, - GOMERY Douglas, L’Âged’or des studios, 2006. Paris, Éditions de l’Étoile, 1987. - L. Dellisse, L' invention du scénario: prévoir, - HORKEIMER Max et ADORNO Theodor, La structurer et vérifier le récit, Bruxelles, Les dialectique de la raison, Gallimard (1944), Impressions NouVelles, 2006. Paris 1974. - V.J. Propp, Morphologie du conte (Traduit du - MORIN Edgar, Les stars, Seuil, Paris, 1972. russe par Claude Ligny) Paris, Gallimard,1970. 4 - J.A.Greimas et coll. L'analyse structurale du - The performance récit, Paris : Seuil, 1981 _______________________________________ BIBLIOGRAPHY: A bibliography will be giVen during the first class. AS1/3c : TECHNICAL APPROACHES TO PHOTOGRAPHY AS1/5b : ART WORKSHOP Fall Semester Fall Semester Classes: 1½ hours per week ECTS credits: 1.5 Lectures: 1½
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  • Creating Continuity Between Computer Art History and Contemporary Art

    Creating Continuity Between Computer Art History and Contemporary Art

    CAT 2010 London Conference ~ 3rd February Bruce Wands _____________________________________________________________________ CREATING CONTINUITY BETWEEN COMPUTER ART HISTORY AND CONTEMPORARY ART Bruce Wands Chair, MFA Computer Art Director of Computer Education Director, New York Digital Salon School of Visual Arts 209 East 23 Street New York, NY 10010 USA [email protected] www.mfaca.sva.edu www.nydigitalsalon.org Computer art was started by a small group of pioneering artists who had the vision to see what digital tools and technology could bring to the creative process. The technology at the time was primitive, compared to what we have today, and these artists faced resistance from the traditional art establishment. Several organizations, such as the New York Digital Salon, were started to promote digital creativity through exhibitions, publications and websites. This paper will explore how to create continuity between computer art history and a new generation of artists that does not see making art with computers as unusual and views it as contemporary art. INTRODUCTION The origins of computer art trace back over fifty years as artists began to experiment and create artwork with new technologies. Even before computers were invented, photography, radio, film and television opened up new creative territories. Many people point to the photographs of abstract images taken of an oscilloscope screen that Ben Laposky called Oscillons as some of the first electronic art images, which foreshadowed the development of computer art. While the system he used was essentially analog, the way in which the images were created was through mathematics and electronic circuitry. Another artist working at that time was Herbert Franke, and as the author of Computer Graphics – Computer Art, originally published in 1971, and followed in 1985 by an expanded second edition, he began to document the history of computer art and the artists who were involved.