Courses: ILVS 51 Art of the Moving Image ILVS 72 TV in the Age Of

ILVS Courses: ILVS 51 Art of the Moving Image ILVS 72 TV in the Age of Change ILVS 80 Walter Benjamin and the Crisis of Experience ILVS 83 War Stories ILVS 85 From Beijing to Bollywood: Cinema of India & China ILVS 87 Arab and Middle Eastern Cinemas ILVS 91-01 Special Topics: Film and the Avant-Garde ILVS 91-02 Special Topics: Radical Islamic Love: Lit + Cinema ILVS 91-03 Special Topics: Latino Theater and Film ILVS 91-04 Special Topics: Game Design ILVS 91-05 Special Topics: Artist’s Books: A Hybrid ILVS 91-06 Special Topics: Sew-cial Activism ILVS 91-07 Special Topics: Survey of Renaissance Art ILVS 100 Classics of World Cinema ILVS 132 The Book of Genesis & Its Interpreters ILVS 191-01 Adv. Special Topics: The Realist Novel ILVS 191-02 Adv. Special Topics: Art and Anthropology ILVS 191-03 Adv. Special Topics: Visual Rhythm

Special Courses: ILVS 93/94 Directed Study ILVS 193/194 Advanced Directed Study ILVS 198 Senior Honor’s Thesis

ILVS 51 Art of the Moving Image Oren I+ MW 3:00-4:15 Exploration of cinema's basic aesthetic characteristics: its stylistic features, such as editing, cinematography, and sound, as well as its major narrative and non-narrative forms. Screenings include a variety of films from the US and abroad that exemplify cinema's myriad forms and styles: mainstream and avant-garde, fiction and non- fiction, narrative and non-narrative, black-and-white and color, silent and sound. Discussion of the extent to which cinema's aesthetic features are shared by television and interactive media such as video games, as well as what is artistically distinctive about these newer moving image media. Cross-listed as FMS 20 and DR 93-23. Mandatory film recitation either MW 6:00-8:00pm or F 9:00am – 1:00pm.

ILVS 72 TV in the Age of Change Oren ARR R 3:30-6:00 Examines how new technologies and shifting viewing habits are transforming television; how storytelling is changing in light of TV’s industrial and technological evolution and our global, networked, media environment; and how contemporary viewing habits are reshaping our theories of audiences, styles, and viewing pleasures. Focuses on story creation, changing genres, programming conventions and global

18 July 2018 trends, shifting technologies, social media, TV fans and streaming content—and how all these influence television narratives and our media culture. Cross-listed as FMS 165.

ILVS 80 Walter Benjamin and the Crisis of Experience Pfeifer J+ TR 3:00-4:15 Advanced survey of key works by the German literary theorist and cultural critic, focusing on his theories of experience. Includes the afterlife of the past; violence, destruction, fate, and law; language, literature, and translation; reception of Kant, Marx, and Husserl; childhood and memory; and the uses of theology. Ancillary readings from Goethe, Proust, Baudelaire, Freud, Brecht, Kafka. May be taken at the 100 level. Cross-listed as GER 80 and PHIL 91-03.

ILVS 83 War Stories Carleton E+ MW 10:30-11:45 Examination of how war has been represented in fiction, non-fiction, memoir, film, and documentary. Priority given to Russian and East European materials, supplemented by other European, Asian, and American texts of the 19th and (mainly) 20th and 21st centuries. Focus on strategies employed by writers, journalists, historians, and film makers in depicting war in different cultures and from differing points of view. Operative questions include: challenges of representing war in a text or onscreen; commonalities and differences in how war is rendered; and how these questions impact the understanding of conflicts. The course goal is to develop sophisticated skills for understanding, deciphering, critiquing and dissecting the ways in which war and conflict are presented, and to recognize the ideological and aesthetic strategies behind these representations. All texts and discussion in English. Cross- listed as RUS 75 and PJS 75.

ILVS 85 From Beijing to Bollywood: Cinema of China and India Zhong/Modhumita ARR TR 3:00-5:15 Through selected films and critical essays, this new course introduces a comparative perspective in order to understand two neighboring countries in Asia, their modern cultural production, and their social transformations. In particular, an examination of nationalism, revolution, and globalization as filmic expression. In English. No prerequisites. Cross-listed with CHNS 83, ENG 48 and FMS 68.

ILVS 87: Middle Eastern Cinemas Kim ARR T 4:30-7:30 An overview of the social role of cinema in the Arab world and the broader Middle East focusing on a historical perspective on the development and expansion of cinema in these parts of the world, as well as several thematic windows through which the relationship of cinema to these societies is examined. In English. Cross-listed as ARB 57 and FMS 76.

ILVS 91-01 Special Topics: Film and the Avant-Garde Turvey ARR T 3:30-6:00 The role of film within avant-garde art, primarily in Europe and North America. Artists from the 1920s such as Fernand Leger and Marcel Duchamp, as well as

18 July 2018 filmmakers belonging to cross-media movements such as Dada and Surrealism. Post- war artists in the United States updating film genres while pioneering new ones, like the lyrical film and the collage film. Considers Structural film of the 1960s and the pluralism of film since the 1970s. The proliferation of moving image installations in art galleries and museums. Attention to the historical conditions that gave rise to these developments, the theories behind them, and the use of avant-garde film by feminists and others for socio-political critique. Cross-listed as FMS 179 and FAH 159. Mandatory film screenings: Thursday 6:00-9:00.

ILVS 91-02 Special Topics: Radical Islamic Love: Lit + Cinema Cornwall 10+ M 6:00-9:00 Some of the greatest love stories ever told are almost completely unknown in the West. Since the seventh century, many Muslims have thought of love as more than a “mere emotion,” but rather a transformative force in life. Through masterpieces of literature and film, this course will explore the power of love to change people; to transgress norms; and even to re-organize society. While context for the readings will be provided in class and short articles on cultural theory will sharpen our thinking about the capacious category of love, the focus of the class will be on reading and watching the works themselves for how they think about love. Cross-listed as ARB 91-01.

ILVS 91-03 Special Topics: Latino Theater and Film Montez E+MW MW 10:30-11:45 An introduction to Latino theatre, film, and performance as a potent creative and political force in the United States. Representative works by Latino playwrights, performance artists, and filmmakers will be discussed in light of issues such as labor and immigration, gender and sexuality, generation gaps in Latino culture, hybridized identities, interculturalism, and the United States' relationship with Latin American nations. May be taken at the 100 level with consent. Cross-listed as DR 51, FMS 83, AMER 94-07, LST 51-01.

ILVS 91-04 Special Topics: Game Design Wiser ARR T 6:00-9:00 Game Development provides a rich opportunity to learn about software development methodologies such as managing teamwork, project scope, and user experience. In this course students will learn to develop fun and meaningful interactive experiences using paper and digital prototyping, including the use of programming, art, and audio production software. Cross-listed as COMP 50.

ILVS 91-05 Special Topics: Artist’s Books: A Hybrid Blacklow ARR F 9:00-12:00, 2:00-5:00 Do you want to spend more time creating hand-made books? This class gives you the opportunity to concentrate on the pursuit and completion of a semester-long book project of your own choice---a book that requires research and planning, as well as, purposeful execution. You are encouraged to cross-pollinate your book works with information covered in other areas of study. In addition, you will learn paper mechanics (pop-up structures), historic photographic printmaking (aka “sun printing”: cyanotype and Van Dyke brown printing), and go on field trips to rare book and artist’s book collections. Essays on subjects such as mapping, identity, and

18 July 2018 surveillance Do you want to spend more time creating hand-made books? This class gives you the opportunity to concentrate on the pursuit and completion of a semester- long book project of your own choice---a book that requires research and planning, as well as, purposeful execution. You are encouraged to cross-pollinate your book works with information covered in other areas of study. In addition, you will learn paper mechanics (pop-up structures), historic photographic printmaking (aka “sun printing”: cyanotype and Van Dyke brown printing), and go on field trips to rare book and artist’s book collections. Essays on subjects such as mapping, identity, and surveillance provide thoughtful bases for smaller books. The overriding concern is refining connections between content, sequencing, craft, and the use of appropriate materials/bindings to underscore your message. Class meetings consist of demonstrations that elaborate on self-taught skills and/or structures in Artist’s Books: An Introduction, PowerPoint presentations on books from the Middle Ages to the present, open studio time, and discussions of work in progress. Non-SMFA students and MAT Art Education students will receive a letter grade. Cross-listed as GRA 182.

ILVS 91-06 Special Topics: Sew-cial Activism Bell I+ MW 3:00-4:15 This course will investigate and discuss the role of costume in political activism, both historically and currently. We will be defining costume and looking critically at its role in major political movements, like the use of pussy hats by the 2017 Women’s March and Kong Ning’s 2014 Smog Mask Wedding Dress. The class also will conceptualize and create politically motivated costume projects based on each individual’s concentrations. While sewing experience may be helpful it is not necessary. As we go through the semester, we will look at a variety of costume expressions that involve all types of media. Creativity and Conscience are all that is required for this course. Cross- listed as DR 93-05.

ILVS 91-07 Special Topics: Survey of Renaissance Art Baskins K+ MW 4:30-5:45 Dante, Petrarch, and Boccaccio wrote their signature works in the later Middle Ages, yet these texts continued to inspire art and literature throughout the Renaissance. In this course we will use Dante’s Divine Comedy to explore religious art, Petrarch's Triumphs and other poems to think about the return to classical themes and styles, and Boccaccio's Decamer onto look at secular narrative, sexuality, and gender. In addition to manuscripts, fresco cycles, and other paintings, sculpture, decorated furniture, and prints, students will work with rare books in the Special Collections at Tisch Library. No prerequisites. Cross-listed as FAH 92-03.

ILVS 100 Classics of World Cinema Rosenberg ARR T 4:30-7:30, R 4:30-5:45 Worldwide survey of major films from the silent era to the present. Trends in filmmaking styles and genres; the impact of modern history on cinematic art; cultural, theoretical, and philosophical issues related to the study of film. Filmmakers covered may include Eisenstein, Chaplin, Renoir, Welles, DeSica, Ray, Ozu, Bergman, Fassbinder, Sembene, and Zhang Yimou. Cross-listed as WL 101 and FMS 86.

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ILVS 132 The Book of Genesis and Its Interpreters Rosenberg ARR W 4:30-7:15 A detailed study of the biblical book of Genesis, with special attention to the role the book played in postbiblical cultural traditions. All texts read in English. No prerequisites. Cross-listed as JS 132, REL 132 and WL 132.

ILVS 191-01 The Realist Novel Takayoshi E+MW MW 10:30-11:45 This seminar introduces students to some of the most important novels of all time -- the masterpieces of 19th-century literary realism. The reading list is pan-Western in scope. The books to be discussed include Madame Bovery by Gustav Flaubert (France), Anna Karenina by Tolstoy (Russia), Middlemarch by George Eliot (England), Great Expectations by Charles Dickens (England), The Portrait of a Lady by Henry James (US), and Fortunata and Jacinta by Benito Perez Galdós (Spain). Collectively, these novels have come to define the dominant form of the novel as a literary genre. To write a novel, the subsequent generations of authors have had to come to terms with it. The novelist may rebel and experiment, as modernists did. The novelist may cede formal decisions to these masters, as much of contemporary popular fiction does. Or the novelist may creatively tweak the dominant form, as today's inventive novelists do. In any case, though, these 19th-century classics continue to set the paradigm. The seminar organizes discussions around formal and rhetorical questions (how is the narrative organized?; how does the author manipulate the reader's responses?) and various historical conditions in the West that gave rise to this literary movement. Many of these discussions will be also informed by an understanding of what came before and after Realism: Romanticism and Modernism. Exactly how can we situate the significance of literary realism in the long arc of the evolution of the novel in the West? Students are required to write two short papers and one 10-page paper. Cross-listed as ENG 191-05.

ILVS 191-02 Art and Anthropology Probst 8 R 1:30-4:00 The interest of contemporary artists in anthropology and ethnographic research is well known. But what really is the contribution of anthropology to the study and understanding of art? In this course, we will look into the answers to this question. Designed as a kind of dictionary, the course will focus on a number of key concepts from A like agency to V like value and valuation. The aim is to discuss the relevance and applicability of these concepts for a critical understanding of the art world and artistic practices. Cross-listed as FAH 192-01.

ILVS 191-03 Visual Rhythm Melius/Stewart-Halevy 7 W 1:30-4:00 Modernism and modernity were marked by an intense interest in visual rhythm. Artists from Boccioni to Mondrian used it to account for the eye’s movement across the surfaces of their work while filmmakers from Sergei Eisenstein to Hans Richter imagined it as an organizing principle for the montage and movement of their images. Meanwhile, historians and philosophers including Alois Riegl and Henri Lefebvre presented visual rhythm as the key to the perceptual modes of entire cultural epochs. Their efforts coincided with a more general preoccupation with rhythm by poets,

18 July 2018 phenomenologists, anthropologists, and psychologists who discovered it as a bridge between inner feeling and objective fact. Through close attention to individual artworks, primary documents by an array of key theorists, and recent scholarly histories, we will explore why visual rhythm served as such a powerful, if often elusive, concept for the modern imagination. Topics include the interplay between proprioception and perception; bodily and observed movement; scanning and looking; ornament and figuration; connections between fine art, music, and dance; and the relation between rhythm and repetition. Cross-listed as FAH 198/275.

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