Course Department and Number

Total Page:16

File Type:pdf, Size:1020Kb

Course Department and Number COURSE DEPARTMENT COURSE TITLE INSTRUCTOR(S) TERM(S) CREDITS AND NUMBER OFFERED TOWARDS CERTIFICATE General Education Aesthetic and Rx: Arts for Global Health Doris Sommer N.O. 2 Interpretative Understanding 13 Culture and Belief 21 Pathways through the Andes–Culture, History, and Beliefs in Gary Urton N.O. 4 Andean South America Societies of the World 24 Global Health Challenges: Complexities of Evidence-Based Policy Sue Goldie Spring 2 Societies of the World 30 Moctezuma’s Mexico: Then and Now Davíd L. Carrasco and Fall 4 William Fash Societies of the World 34 The Caribbean Crucible: Colonialism, Capitalism and Post- Orlando Patterson Fall 4 Colonial Misdevelopment in the Region Societies of the World 40 The Incas: The Last Great Empire of Pre-Columbian South Gary Urton Fall 4 America Societies of the World 44 Human Trafficking, Slavery and Abolition in the Modern World Orlando Patterson Spring 2 United States in the World Race, Ethnicity, and Immigration: From Obama to Trump Jennifer L. Hochschild Spring 2 15 United States in the World Racial Capitalism and Imperialism: The US between the Walter Johnson N.O. 4 28 Revolution and the Civil War United States in the World American Society and Public Policy Theda Skocpol and Fall 2 31 Mary Waters African & African American Studies African & African Jamaican Patois John M. Mugane N.O 2 American Studies 90r.a5 African & African Haitian Creole John M. Mugane N.O 2 American Studies 90r.g. African & African Histories of Racial Capitalism Destin Jenkins N.O. 2 American Studies 103y African & African Contemporary African Music: Global and Local Ingrid Monson N.O. 2 American Studies 106X African & African “Welcome Aboard Celebrity Slaveship”: Representations of the Giovanna Micconi N.O. 2 American Studies 110x Middle Passage in American Culture African & African The History of African Americans From the Slave Trade to the Vincent Brown Fall 2 American Studies 118 Civil War African & African Chocolate, Culture, and the Politics of Food Carla Martin Spring 2 American Studies 119x African & African Mass Incarceration in Historical Perspective Elizabeth Hinton Fall 2 American Studies 123X African & African Race, Racism, and American Politics Lawrence Bobo Fall 2 American Studies 150x African & African The Creole Spirits Christina Davidson Spring 2 American Studies 187X African & African Intersectional and International Social Movements, 1920-2020 Tejasvi Nagaraja Spring 2 American Studies 197X African & African Social Revolutions in Latin America Alejandro de la Fuente N.O. 4 American Studies 199x Anthropology Anthropology 1040 Origins of the Food We Eat Richard Meadow N.O. 2 Anthropology 1090 Ethnography and Archaeology Gary Urton N.O. 2 Anthropology 1095 Urban Revolutions: Archaeology and the Investigation of Early Jason Ur and Jeffrey Fall 2 States Quilter Anthropology 1180 Amazonian Archaeology and the Future of Tropical Rainforests Eduardo Nevez and Fall 2 Richard Meadow Anthropology 1168 Maya Glyphs Nicholas Carter Spring 4 Anthropology 1181 Tacos, Tamales, and Tequila: Eating and Drinking in Ancient Jennifer Caraballo Spring 4 Mexico Anthropology 1182 People of the Sun: The Archaeology of Ancient Mexico William Fash Spring 4 Anthropology 1190 Encountering the Conquistadors Matt Liebmann N.O. 4 Anthropology 1450 Water, Infrastructure, and Meaning Steven C. Caton N.O. 2 Anthropology 1634 Indigeneity, Rights, and the Politics of Identity Ronald Niezen Spring 2 Anthropology 1785 Law and Violence in Latin America Ieva Jusionyte N.O. 4 Anthropology 2110r Issues in Mesoamerican Archaeology: Seminar William L. Fash Fall 4 Anthropology 2173 A Tale of Two Empires: The Sumerian and the Inca Civilizations Gary Urton and Piotr N.O. 2 in Comparative Perspective Steinkeller Anthropology 2177 Jaguar-Men and Golden Cities: The Archaeology of South Gary Urton Fall 4 America Comparative Literature Comparative Literature 130 Disability and World Literature Roanne Kantor N.O. 2 Comparative Literature 138 Subversive Renaissance: Books that Changed the World Katharina Piechocki N.O. 2 Comparative Literature 144 Stories at the Border Roanne Kantor N.O. 2 Comparative Literature 277 Literature, Diaspora, and Global Trauma Karen Thornber N.O. 2 Comparative Literature 296 Mobility and Materiality: Case Studies in Networks of Collecting Diana Sorensen N.O. 2 and Displacement Economics Economics 980DD Globalization and Inequality – Junior Tutorial Marc J. Melitz Fall 2 Economics 90EE The Behavioral Economics of Poverty and Development Gautam Rao Spring 2 Economics 980F Race in America Roland Fryer N.O. 2 Economics 980P International Trade Policy Elhanan Helpman Fall 2 Economics 90OU Immigration Economics George Borjas Fall 2 Economics 1029 Economics of Crime: Theory and Lessons to and from Latin Joao Manoel Pinho de N.O. 4 America Mello Economics 1393 Poverty and Development Nathan Nunn Spring 2 Economics 1400 The Future of Globalization: Issues, Actors, and Decisions Lawrence H. Summers N.O. 2 and Robert Lawrence Economics 1435 Macroeconomic Policy in the Global Economy Emmanuel Farhi Spring 2 Economics 1531 Economics of International Financial Policy Gita Gopinath Spring 2 Economics 1535 International Trade and Investment Pol Antrás N.O. 2 Economics 1544 Foundations of International Macroeconomic Policy Gita Gopinath Spring 2 Economics 1545 International Financial and Macroeconomic Policy Kenneth Rogoff N.O. 2 Economics 1800 The Economics of Cities Edward Glaeser Spring 2 Economics 2390 Development Economics Michael Kremer N.O. 2 Economics 2530a International Trade Elhanan Helpman Fall 2 Economics 2530b International Finance Gita Gopinath Spring 2 Economics 2535 Advanced Topics in International Trade Matteo Maggiori Spring 2 Economics 2811 Social Economics Roland G. Fryer N.O. 2 English English 62D Migrations: Literature of Displacement Jesse McCarthy Fall 2 English 68 Migrations: American Immigrant Literature Glenda R. Caprio N.O. 2 English 176fr On the Run: Fugitives and Refugees in American Literature Thomas Dichter Spring 2 English 299ES Interracial Encounters: Comparative Ethnic Studies Pedagogy Ju Yon Kim Spring 2 Ethnicity, Migration, Rights Ethnicity, Migration, Rights Caribbean Postcolonial Thought Mayra Rivera Rivera N.O. 4 122 Ethnicity, Migration, Rights Ethnic and Racial Inequality in Education: The Role of Culture Natasha Warikoo Fall 2 127 Ethnicity, Migration, Rights Education in Armed Conflict Sara Dryden Peterson Spring 2 129 Ethnicity, Migration, Rights Emerging Issues in Humanitarian Response and Human Rights Phuong Pham and N.O. 2 130 Jennifer Leaning Ethnicity, Migration, Rights Detention, Deportation, and Resistance in US History TBA Fall 2 132 Expository Writing Expository Writing 20 228, Narratives of Immigration Margaret Rennix Fall 2 229 Expository Writing 20 236, Human Rights as History Sparsha Saha Fall 2 237 Expository Writing 20 242, God as Government Kip Richardson Spring 2 243 Expository Writing 20 263 Drugs, Mind, and War in the Americas Ezer Vierba Spring 4 Expository Writing 20 264, Black Autobiography Joshua Williams Spring 2 265 Folklore and Mythology Folklore and Mythology Traffic on the Road: The Folklorist and the Highway Ruth Goldstein N.O. 2 156 Freshman Seminars Freshman Seminar 27I Global Health: Comparative Analysis of Healthcare Delivery Sanjay Saini Fall 2 Systems Freshman Seminar 30V Mexico: Revolution, Authoritarianism and Democracy: 100 Years Jorge I. Dominguez N.O. 4 Freshman Seminar 32M Food for Thought: Culinary Culture in Spain and Beyond Johanna Damgaard N.O. 4 Liander Freshman Seminar 33C Borges, García Márquez, Bolaño and Other Classics of Modern Mariano Siskind Fall 4 Latin American Fiction and Poerty Freshman Seminar 43C Human Rights and the Global South Jacqueline Bhabha and Fall 2 Caroline M. Elkins Freshman Seminar 44J Clash of Titans, Seats of Empire: The Aztecs, Toltecs, and Race of William L. Fash N.O. 4 Giants in Ancient Mexico Freshman Seminar 61C Spanish-American Culture and Society in the 1960s—The Last Diana Sorensen N.O. 4 Utopia? Freshman Seminar 61O Global Crime Fiction: Tackling Crime, Corruption, and Social Karen Thornber Fall 2 Disintegration Freshman Seminar 62E Soccer and Globalization in Latin America Bruno Carvalho Spring 4 Freshman Seminar 70C Afro-Cuba: History, Culture and Conflict Alejandro de la Fuente N.O. 4 Freshman Seminar 70S Sex, Money, and Power in the Postcolonial World George P. Meiu N.O. 2 Freshman Seminar 71m Global Capitalism: Past, Present, Future Sophus Reinert Spring 2 Government Government 20 Foundations of Comparative Politics Steven R. Levitsky Fall 2 Government 40 International Conflict and Cooperation Robert Chaudoin Spring 2 Government 94CB The Politics of Citizenship and Naturalization Colin Brown N.O. 2 Government 94CM International Law and International Organizations Christoph Mikulaschek Fall 2 Government 94CT The Governance and International Politics of World Religions Timothy Colton Spring 2 Government 94DZ Is Democracy Possible Everywhere? Daniel Ziblatt N.O. 2 Government 94HG The Politics and Political Economy of Inequality in Latin America Frances Hagopian N.O. 4 Government 94KR Immigration and Citizenship in Comparative Perspective Riva Kastoryano Fall 2 Government 94Q US-Latin American Relations: Seminar Jorge I. Dominguez N.O. 4 Government 94VR Corruption in Latin America Viridiana Rios Spring 4 Government 94XY Migration and Politics in the Era of Globalization N.O. N.O. 2 Government 94YG Global Ethnic Politics Gloria Ayee Spring 2 Government 1107 Mexican Politics Viridiana Rios Spring
Recommended publications
  • PEDAGOGICAL PRACTICES of the CREATIVE PROCESS Ways of Learning and Teaching Film and Audiovisual Art
    PEDAGOGICAL PRACTICES OF THE CREATIVE PROCESS Ways of learning and teaching film and audiovisual art Alain Bergala revolutionized how the art of filmmaking is taught through the concept of a "pedagogy of the creative process". Considering the widespread practice of what had been called "audiovisual literacy", that is, the acquisition of knowledge on the use of audiovisual language, Bergala advocated for a more active form of teaching, one in which viewers would have to return to that time prior to the images and the sounds, when all possibilities were still open. The paradigm shift introduced the notion that the viewer's motivation, emotion and desire could be a driving force behind learning and the possibility that viewers might potentially become creators. The seminar "Pedagogy of the creative process" aims to serve as a space for meeting and reflecting on how film and audiovisual art is taught, the starting point for which will be covered in the first session: the paradigm shift first introduced by Bergala for teaching cinema in schools. The second session will be a reflection on the role of film schools and universities in teaching cinema, from the point of view of theory and practice. In this regard, the recently inaugurated school, the Elías Querejeta Zine Eskola, marks a pivotal moment in its break with prototypical schools that typically have taken a 20th century approach to film, one being called into question today. Any reflection on teaching the creative process would hardly be complete without a consideration of the interconnections that teaching audiovisuals has made with the social sciences and critical teaching methods.
    [Show full text]
  • 0 0 0 0 Acasa Program Final For
    PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision.
    [Show full text]
  • Brazilian Films and Press Conference Brunch
    rTh e Museum of Modern Art No. 90 FOR REL.EIASE* M VVest 53 street, New York, N.Y. 10019 Tel. 245-3200 Cable: Modernart ^ ^ , o -, . ro ^ Wednesday^ October 2, i960 MUSEUM OF MODERN ART INTRODUCES BRAZILIAN FILMS In honor of Brazil's new cinema movement called Cinema NovO; The Museum of Modern Art will present a ten-day program of features and shorts that reflect the recent changes and growth of the film industry in that country. Cinema Novo: Brasil. the New Cinema of Brazil, begins October 1. and continues through I October 17th. Nine feature-length films;, the work of eight young directors; who represent the New Wave of Brazil^ will be shown along with a selection of short subjects. Adrienne Mancia, Assistant Curator, Department of Film, assembled the program. In the past seven years, the Brazilians have earned i+0 international awards. In Berlin, Genoa and Moscow. Brazilian film retrospectives have been held in acknowledgement of the vigorous Cinema Novo that has taken root in that country. Cinema Novo of Brazil has had a stormy history. The first stirring began in the early 50*8 with the discontent of young filmmakers who objected to imitative Hollywood musical comedies, known as "chanchadas," which dominated traditional Brazilian cinema. This protest found a response araong young film critics who were inspired by Italian neo- realism and other foreign influences to demand a cinema indigenous to Brazil. A bandful of young directors were determined to discover a cinematic language that would reflect the nation's social and human problems. The leading exponent of Cinema Novo, Glauber Rocha, in his late twenties, stated the commitLment of Brazil's youthful cineastes when he wrote: "In our society everything is still I to be done: opening roads through the forest, populating the desert, educating the masses, harnessing the rivers.
    [Show full text]
  • Redirected from Films Considered the Greatest Ever) Page Semi-Protected This List Needs Additional Citations for Verification
    List of films considered the best From Wikipedia, the free encyclopedia (Redirected from Films considered the greatest ever) Page semi-protected This list needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be chall enged and removed. (November 2008) While there is no general agreement upon the greatest film, many publications an d organizations have tried to determine the films considered the best. Each film listed here has been mentioned in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources focus on American films or we re polls of English-speaking film-goers, but those considered the greatest withi n their respective countries are also included here. Many films are widely consi dered among the best ever made, whether they appear at number one on each list o r not. For example, many believe that Orson Welles' Citizen Kane is the best mov ie ever made, and it appears as #1 on AFI's Best Movies list, whereas The Shawsh ank Redemption is #1 on the IMDB Top 250, whilst Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. None of the surveys that produced these citations should be viewed as a scientif ic measure of the film-watching world. Each may suffer the effects of vote stack ing or skewed demographics. Internet-based surveys have a self-selected audience of unknown participants. The methodology of some surveys may be questionable. S ometimes (as in the case of the American Film Institute) voters were asked to se lect films from a limited list of entries.
    [Show full text]
  • List of Films Considered the Best
    Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics.
    [Show full text]
  • Finance and Co-Productions in Brazil
    9 Finance and Co-productions in Brazil ALESSANDRA MELEIRO The purpose of this chapter is to present an up-to-date (as of 2011) account of the funding available to filmmakers in Brazil, with particular consid- eration being given to the advantages and disadvantages to be gained from making co-productions. From an economic perspective, the audiovisual industry plays a stra- tegic role in the dissemination of information and therefore in the deci- sion-making process of the world economy, not to mention the capacity of generating products, employment and income. It was estimated that the revenue of the audiovisual industry in Brazil in 1997 was about $5.5 billion, equivalent to approximately 1per cent of Gross Domestic Product, compared with 1 per cent in Argentina, 0.5 per cent in Mexico, 1.1 per cent in Europe and 2.7 per cent in the USA.1 The four main American distributors enjoy the largest slice of the Brazilian market while the remaining market share is occupied by small independent distributors. From time to time, the major players, such as Columbia, Sony, Fox, Warner and UIP, have also invested in the distri- bution of Brazilian products. In this case, the company also acts as the producer, profiting from fiscal exemption in the remittance of foreign currency used in the co-production of Brazilian films (through Article 3A, resources secured through fiscal renouncement). Examples of this prac- tice include Tropa de Elite 2 (Elite Squad 2, 2010), with over 11 million 1 Iafa Britz, ‘Brazil–Europe: Notes on Distribution, Finance and Co-Production’, in Exploiting European Films in Latin America, Media Business file, n.
    [Show full text]
  • Required Text: Robert Stam, Tropical Multiculturalism: a Comparative History of Race in Brazilian Cinema and Culture (Duke UP, 2004)
    Film 162 The Afro-Brazilian Experience and Brazilian Cinema Fall 2008: Tuesdays & Thursdays, 8:00-9:50; Horace Mann 193 Instructor: Vincent Bohlinger Office: Craig-Lee 355 Telephone: x8660 E-mail: [email protected] Office Hours: Thursdays 10:00-11:50, also by appointment Course Overview: This course serves as an introduction to the cinema of Brazil by way of exploring issues of race and representation. We start with a study of the international stereotypes surrounding Brazil, then examine the Cinema Nôvo movement, and finally move toward commercial and critical successes of the past few decades. We will be analyzing a number of challenging films in order to understand their broader political, cultural, and aesthetic contexts. Required Text: Robert Stam, Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture (Duke UP, 2004) Recommended: one of the following dvds (for the analysis paper): Pixote (Hector Babenco, 1981); City of God (Fernando Meirelles, 2002); Madame Satã (Karim Aïnouz, 2002); Bus 174 (José Padilha, 2002); The Man Who Copied (Jorge Furtado, 2003); Antônia (Tata Amaral, 2006) Course Requirements: 10% Participation (note attendance policy below) 20% Mid-Term Exam (in class) 20% Research Paper (5-7 pages) 20% Analysis Paper (5-7 pages) 30% Final Exam (in class) Course Policies: - Attendance is mandatory and counts toward the participation grade. More than three absences will result in a lower grade and possibly course failure. - Please come to class on time and remain in class for the duration of the session. Late arrivals and early departures count as partial absences, as do temporary exits during screening, lecture, or discussion.
    [Show full text]
  • 20 BAFICI Catalogo
    CONTRATAPA LOMO TAPA 22mm CATALOGUE CATÁLOGO / CATÁLOGO UNA NUEVA OPORTUNIDAD PARA A NEW OPPORTUNITY TO ENJOY DISFRUTAR DE LO MEJOR DEL CINE THE BEST OF FILM IN THE CITY EN LA CIUDAD El cine es una experiencia estética y vital que Film is a vital aesthetic experience that nos hace conocer otros mundos, historias, personajes y makes us approach new worlds, stories, characters realidades. Cuando se apaga la luz de la sala, la historia and realities. When the lights go out at the theater, proyectada en la pantalla nos enciende la emoción y the story projected on the screen ignites emotion la reflexión. El cine nos suministra sensaciones, imá- and reflection. Film provides us with sensations, genes, actores y la mirada personal de los directores. images, actors and the personal gaze of the film- El Bafici nos acerca todo el cine de América, Europa, makers. Bafici draws us near to all the cinema of Asia, Oceanía y África. Nos trae a los directores con- America, Europe, Asia, Oceania and Africa. It brings sagrados y emergentes de todo el mundo, así como us established and emerging directors from around las formas experimentales y las formas tradicionales de the globe. With the city’s screens crowded with peo- contar historias. Con las salas de la Ciudad colmadas ple, Bafici turns film into a collective experience that de gente, el Bafici hace del cine una experiencia colec- includes us all. And due to its extraordinary quality, tiva que nos incluye a todos. Y por su calidad extraor- it’s one of the most important festivals in Latin Ame- dinaria, es uno de los festivales más importantes de rica and the rest of the world.
    [Show full text]
  • Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
    DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111....
    [Show full text]
  • Short Shadows
    Bahar Behbahani Colectivo Los Ingrávidos Dora García Basir Mahmood Lucrecia Martel Deimantas Narkevičius The Otolith Group Juliana Spahr Clarissa Tossin Joyce Wieland Jon Wang SHORT SHADOWS THURSDAY, JANUARY 31, 7PM A life that is only circulations Like Boym and Benjamin in their respective approaches, the artists presented in Juliana Spahr this series are concerned with the political importance of unexpected historical The Otolith Group interconnections, and they advocate for a practice capable of attending to and Joyce Wieland moving within them. Mostly produced within the last decade, their films, videos, poems, and performances shine a light on cultural and historical events that may THURSDAY, FEBRUARY 28, 7PM otherwise remain in shadow, and, whether anchored in real or fictional scenarios, Leaving Traces each work stretches beyond a singular moment or place. Colectivo Los Ingrávidos Clarissa Tossin Short Shadows includes such varied films as Lucrecia Martel’s restaging of a 1950s Lucrecia Martel novel set in an 18th-century South American colony, Clarissa Tossin’s reflection of Mayan influence on California Modernism, Deimantas Narkevičius’s underground FRIDAY, MARCH 29, 7PM staging of Jesus Christ Superstar in early 1970s Vilnius, Dora Garcia’s fragmented CCS Bard collaboration reenactment of Buenos Aires happenings during the psychosis of the 1960s Bahar Behbahani disappearances, and Basir Mahmood’s gestures of contemporary “Lollywood" and Jon Wang cinema. Much like these individual works, the series as a whole is elliptical in structure and form, presenting an entangled dramaturgy of cultural and political THURSDAY, APRIL 11, 7PM history. In so doing, it aims to articulate the inseparability of aesthetic, social, Second Time Around political, linguistic, territorial, and technological conditions, yet attempts to resist Dora García treating that inseparability as simply a set of straightforward themes or plot lines.
    [Show full text]
  • Why Is Latin American Cinema So Under- Represented At
    Argentina (htt(ph:t/t(/pht:wt/t(/iphwt:t/wte/prww.:c/w.o/ffawmece.e/sdsboosou.usonnokdud.cnslocodmouslda/osn.ucodoruscmn/o)d/lossouaunrsnd.cdcoosmalon/udsrocsou)lnodusrasn/)dcolours) (http://www.soundsandcolours.com/argentina) Like 2.8k (HTTP://WWW.SOUBoNliviaDSANDCOLOURS.COM/) Home (http://www.soundsandcolours.com) News (http://www.soundsandcolours.com/news) Music (http://www.soundsandcolours.com/music) Film (http://www.soundsandcolours.com/film) Books (http://www.soundsandcolours.com/books) What’s On (http://www.soundsWandcoHloursY.com /IevSent ) LATIN AMERICAN CINEMA SO UNDER- Bandcamp (http://soundsandcRolouErs.bPandRcamEp.coSm/E) NTED AT CANNES? Subscribe By Nick MacWilliam (http://www.soundsandcolours.com/author/nick/) - 15 May, 2013 (http://www.soundsandcolours.com/subscribe/) Tw eet 10 5 Me gusta 46 About (http://www.soundsandcolours.com/about/) The representation of Latin American cinema at the Cannes Film Festival (http://www.festival- cannes.fr/) has, since the festival’s inception in 1939, been about as visible as a contact lens in the bath. In spite of the strong cinematic heritage of Brazil and Cuba in the mid- to late- twentieth century, and more latterly the film industries of Peru, Chile and Argentina, Cannes and the other big players on the international festival circuit have tended to look to their European heartland, the United States, or eastwards across Asia when it comes to defining their content and giving out the gongs. In the entire history of the festival, the only Latin American winners of the highest honour, the Palme d’Or, were way back when. The Mexican director Emilio Fernández’s film Portrait of Maria was the first in 1946 but this award was shared with ten other films at the first festival after the Second World War.
    [Show full text]
  • Prof. Avner Faingulernt ‒ Curriculum Vitae
    Avner Fainguelernt – Curriculum Vitae Prof. Avner Faingulernt – Curriculum Vitae [email protected] Work Address: School of Audio & Visual Arts, Sapir College D.N. Hof Ashkelon 79165 - Israel Tel: +972-8-680-2708 Fax: +972-8-680-2634 [email protected] Present Position: Appointed October 2001 Founder and Dean emeritus - School of Audio & Vis- ual arts Sapir College http://cinema.sapir.ac.il Founder and Director emeritus of Cinema South Fes- tival http://csf.sapir.ac.il Chief editor Cinema South book Education: Page 1 of 17 Avner Fainguelernt – Curriculum Vitae 2005 - 2009 M. Phil - PhD. Social Sciences, Media and Cultural Stud- ies at University of East London Dissertation topic - The Father's Return in the Modern European Cinematic Odysseys Director of Studies: Prof. Haim Bresheeth Supervisors: Dr. Paul Gormley Dr. Anat Pick 1990 - 1993 B.A. Department of Film and Television Depart- ment of Psychology at Tel Aviv University, Israel Employment History: 2001- 2017 Dean - school of Audio & Visual Arts - Sapir College 2012 -2017 Head of MA/MFA Film, Theory & Production Sapir 2002 -2017 Founder and Director of Cinema South Festival 2006 -2017 Founder & Co Editor of The Curator book- Cinema South 2011-2017 Lecture at MA program at the faculty of humanities in Culture and Cinema, Haifa University 2013-2017 Visiting Professor FAMU Prague Documentary Department 2012 Visiting professor at Columbia University N.Y.C – Israel Jew- ish Studies 1997- 2016 Independent producer and director 1995-1996 Documentary director for Keshet broadcast
    [Show full text]