Course Catalogue 2016 /2017 1 Contents Art, Architecture, Music & Cinema page 3 Arabic 19 Business & Economics 19 Chinese 32 Communication, Culture, Media Studies 33 (including Journalism) Computer Science 53 Education 56 English 57 French 71 Geography 79 German 85 History 89 Italian 101 Latin 102 Law 103 Mathematics & Finance 104 Political Science 107 Psychology 120 Russian 126 Sociology & Anthropology 126 Spanish 128 Tourism 138 2 the diversity of its main players. It will thus establish Art, Architecture, the historical context of this production and to identify the protagonists, before defining the movements that Music & Cinema appear in their pulse. If the development of the course is structured around a chronological continuity, their links and how these trends overlap in reality into each IMPORTANT: ALL OUR ART COURSES ARE other will be raised and studied. TAUGHT IN FRENCH UNLESS OTHERWISE INDICATED COURSE CONTENT : Course Outline: AS1/1b : HISTORY OF CLASSIC CINEMA introduction Fall Semester • Impressionism • Project Genesis Lectures: 2 hours ECTS credits: 3 • "Impressionist" • The Post-Impressionism OBJECTIVE: • The néoimpressionnism To discover the great movements in the history of • The synthetism American and European cinema from 1895 to 1942. • The symbolism • Gauguin and the Nabis PontAven COURSE PROGRAM: • Modern and avantgarde The three cinematic eras: • Fauvism and Expressionism Original: • Cubism - The Lumière brothers : realistic art • Futurism - Mélies : the beginnings of illusion • Abstraction Avant-garde : - Expressionism - Surrealism AS1/2a : FILM ANALYSIS Classical : Fall Semester - Hollywood studios - Censorship Lectures: 18 hours ECTS credits: 2 - Griffith's contribution Cinema genres : OBJECTIVE: - Social films To give students an understanding of cinematographic - Westerns language and the different elements of film-making - The Dark Art (script, filming, editing etc.); to learn how to critique - Fantasy any given film through examining the use of time, - Disaster films space and characters; to study film clips in detail and - War films propose different ways to analyse them with the central theme being the image of the artist in cinema. BIBLIOGRAPHY: - Jean Louis Leutrat : Le Cinéma en perspective COURSE PROGRAM: : Une histoire, Nathan Université, collection - Technical language in the film industry. 128, 1992 - Analysing space, time and characterisation - Siegfried Kracauer : De Caligari à Hitler, L'Age within a film. d'homme, 1973 - Analysis of various film clips on the theme of - Lotte Eisner : L'Écran démoniaque, Losfeld, the artist. 1965 - Clips by Camille Claudel, Frida Kahlo, Diego - Michel Cieutat : les Grands thèmes du cinéma Rivera, Van Gogh, Basquiat etc. américain, Cerf, 7ème Art, 1988. - Raymond Bellour : Le Cinéma américain, BIBLIOGRAPHY: Albatros, 1979. - AUMONT, J. 1990, L’image , Paris, Nathan, - Antoine De Baecque, Histoire du cinéma, coll. " Fac ". Cahiers du cinéma, CNDP - AUMONT,J.,MARIE M., 1989, L'Analyse des films , Nathan Université, Paris - AUMONT,J. BERGALA A., MARIE M., AS1/1C : HISTORY OF CONTEMPORARY ART: VERNET,M., 1993, Esthétique du film, FRENCH PAINTING Nathan Université, Paris. Fall semester - GARDIES A., 1993, Le Récit filmique, Hachette Supérieur, Collection Contours Classes: 24 hours ECTS Credits: 3 Littéraires, Paris. - GARDIES A, BESSALEL J., 1995, 200 motsclés OBJECTIVE: de la théorie du cinéma , Cerf, Septième This course is an introduction to the art Art, Paris. of painting that grew from 1850 and extended until the outbreak of World War cataclysm that historically marks the end of the nineteenth century. This period AS1/2c : HISTORY AND STRUCTURE OF THE FILM was indeed marked by numerous upheavals of political INDUSTRY orders, socio-economic, urban, technical and scientific, Fall Semester that impact on the Parisian and European artistic production. Lectures: 18 hours ECTS credits: 2 The objective of this course is to explore the different movements that were born during this pivotal period. OBJECTIVE: The richness of these is rooted in mutations and To study and understand the history and the economic disorders of the end of the century, but also reflects issues at stake in the film industry, from seeing a film 3 in a cinema to seeing it on television or on DVD. OBJECTIVE : COURSE PROGRAM: To teach students how to write a film script. By the From the beginning of the film industry, the art of end of the course, students should be able to write a filmmaking synopsis, a script summary and a full script. has been organised with retail issues in mind. The films we see have already been processed by a COURSE PROGRAM: number of structures, all of which have evolved over - What is a script ? What does the scriptwriter’s time. job involve ? In this class students will study the principal areas of - Structure and narrative technique the film industry and their links with the actual artistic - The characters and their movements production. - The plot – internal and external conflicts Comparing the French and American industries, - Space and setting students will understand how films are born, how they - Time : chronology and sequence are financed, how they make their way into the - Perspective cinemas and then into people's homes. The course will - Image building take a look at the "wars" that divide the production - Presenting your script structures and the whole question of censorship and - Summarising your script even sabotage. Students are required to write a synopsis in the first class, which will be reworked in each class until there BIBLIOGRAPHY: is a full script that can be used for production. - AUGROS Joël, L’Argent d’Hollywood , Paris, L’Harmattan, 1996. BIBLIOGRAPHY: - AUGROS Joël et KITSOPANIDOU, L’économie - J-M. Lainé & S. Delzant, L'écriture du du cinéma américaine. Histoiree d’une scénario , Paris Eyrolles, 2007 industrie culturelle et de ses stratégies, Paris, - B. Snyder, Les règles élémentaires pour Armand Colin 2009 l'écriture d'un scénario ( traduit de - BENGHOZI Jean-Pierre, Le cinéma, entre l’art l'américain par Brigitte Gauthier) Paris, Dixit, et l’argent, L’Harmattan, Paris, 1989. 2007. - BORDWELL David et alii, The Classical - S. Field, Comment identifier et résoudre les Hollywood Cinem. Film Style and Mode de problèmes d'un scénario ( traduit de Production to 1960, Routledge, 1985. l'américain par Brigitte Gauthier)Paris, Dixit, - BOURGET Jean-Loup, Hollywood, la norme et 2006. la marge, Nathan Cinéma, Paris 2002 - L. Dellisse , L' invention du scénario: prévoir, - GOMERY Douglas, L’Âged’or des studios , structurer et vérifier le récit , Bruxelles, Les Paris, Éditions de l’Étoile, 1987. Impressions Nouvelles, 2006. - HORKEIMER Max et ADORNO Theodor, La - V.J. Propp, Morphologie du conte (Traduit du dialectique de la raison, Gallimard (1944), russe par Claude Ligny) Paris, Paris 1974. Gallimard,1970. - MORIN Edgar, Les stars, Seuil, Paris, 1972. - J.A.Greimas et coll. L'analyse structurale du récit, Paris : Seuil, 1981 AS1/3a : ANALYSIS OF CONTMPORARY MUSIC Fall Semester AS1/3c : CONTEMPORARY PHOTOGRAPHY Fall Semester Lectures: 18 hours ECTS credits: 2 Classes: 24 hours ECTS credits: 2 OBJECTIVE: To analyse the use of language in this type of music OBJECTIVE: and to understand what it has inherited from previous To understand the work of the professional kinds of music, since the beginning of the 20th photographer. Through this introduction to the century,as well as its originality. This process will photographer's work, the student will learn how to enable each one to make sense of the music heard organise a photo session, how to compose an image, analyse the many and varied elements which may work within a team and understand the relationship make up one song or tune. between the journalist or writer and the photographer. COURSE PROGRAM: COURSE PROGRAM: "Contemporary music" is a term coined by the - Introduction to the photography profession music world to describe various musical trends which - Basic techniques in photography have developed over the last 20 or so years. - Technical vocabulary Contemporary music, unlike other forms of - Presenting of artistic photography popular music, places the context above the text and - Putting theory into practice encourages mixtures of various musical genres. The various genres have developed on account of the BIBLIOGRAPHY increasing number of technological possibilities in the - UPC, Photographe Auteur Mode d’emploi , music industry, which means that they can not only be Paris,2006 (ouvrage disponible au created on computers, but also broadcast and sold via téléchargement sur http://www.upc.com) the Internet. - Assouline, Pierre. Cartier-Bresson « L’oeil du siècle ». Ed Plon, 1999. ISBN : 2.259.18568.1 - NEWTON, Helmut. Autoportrait. Ed. Robert AS1/3b : SCRIPTWRITING Laffont. Paris, 2004. ISBN :2.221.10105.7 Fall Semester Lectures: 18 hours ECTS credits: 2 AS1/3d : DANCE AND THE PERFORMANCE ARTS 4 Fall Semester septembre 1985 - Jean Louis Leutrat, Hiroshima mon amour , Lectures: 18 hours ECTS credits: 2 Nathan, collection 128 OBJECTIVE: AS1/6c : HISTORY OF CONTEMPORARY MUSIC To discover the whole live show world as a concrete Spring Semester reality with its laws, its words, its special features, its personalities, its large number of specific professions, Lectures: 24 hours ECTS credits: 2 etc. Throughout the course, students will approach this world as a place of life, creation, circulation and OBJECTIVE: representation. Understanding 20th century music as an art form and placing it