Below are descriptions for courses in the undergraduate concentration in Cinema and Media Studies (CMS). For further work in Cinema and Media Studies, students are also encouraged to investigate other courses taught by the resource faculty. Film screenings add three to four hours per week to class time for the majority of courses.

10100. Introduction to Film I (=ARTH 20000, COVA 25300, ENGL 10800, GSHU 20000):

This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. J. Lastra. Autumn.

20200. Sisters in Cinema (=GNDR 20200):

This survey course examines the Hollywood and independent films and careers of black women filmmakers who began producing work primarily after the Civil Rights Movement. Concentrating on the race, gender, and cultural movements of the late 20th century and the technological innovations that led to a democratization in media production, the films of black women directors will be examined with regard to traditional Hollywood hegemonic practice, independent film alternative systems, and the emergence of hip-hop inspired financing, production, distribution, and marketing strategies. Y. Welbon. Autumn.

21200. Politics of Film in 20th Century American History (=HIST 18500):

This course examines selected themes in 20th-century American political history through both the literature written by historians, and filmic representations by Hollywood and documentary filmmakers. We will read one historical interpretation and view one film on themes like the following: Woodrow Wilson and WW I, the emergence of Pacific Rim cities like Los Angeles, Roosevelt's New Deal, the Japanese-American experience in World War II, McCarthyism and the Korean War, the cold war and the nuclear balance of terror, the radical movements of the 1960s, and multiculturalism in the 1990s. B. Cumings. Spring. (H)

21500. Film, Ethnography, and Re-Appropriation (=CMST 31500, ISHU 21000, HMRT 21500/31500):

In light of aboriginal peoples producing their own ethnography and media, there is a need to re-examine ethnographic and documentary film practice. We will survey expositions and fairs, museum displays, the development of visual anthropology, feature and documentary films, collaboration between ethnographer and filmmaker and filmmaker and subject, arriving at the movement where aboriginal peoples create their own documents. This re-contextualization demands transforming traditional disciplinary boundaries to include the collecting and artifact industry, exhibition, museology, travel, and counter-media. The organizing principle for the course will be my twenty years of film and video work with the ,Namgis First Nation of the Kwakwaka'wakw (Kwakiut'l) Nation of British Columbia. J. Hoffman. Winter. (H,T)

23200. Italian Neorealism: From Ossessione to Umberto D. (=CMST 33200, ITAL 22400/32400):

This course will explore the rise and fall of the Neo-realism, from the very seeds in the early Forties, till the last Neo-realist works by Vittorio De Sica and Cesare Zavattini in the early Fifties. We will focus on the theoretical debate which took place in film journals between young scholars and future directors postulating the need for a new cinema, more related to the reality of Italian society, and we will evaluate those movies produced during the war period. The second part of the course will focus on close readings of some of the most significant Neo-realist movies. Finally, the last part of the course will be devoted to the influence of Neo-realism on the subsequent Italian cinema of the Fifties and Sixties. G. Alonge. Spring.

23300. Italian Resistance: Contended Memories (=CMST 33300, ITAL 22500/32500):

Theoretically, the guerra di liberazione is considered to be a founding historical event in Italy, meant to give birth to the Italian Republic. However, the Resistance has never been a national myth for all citizens, and fifty years later it remains a burning memory, an issue of bitter political debate. In this long controversy, filmmakers and novelists have played a large role. The goal of this course is to present the different readings and interpretations of the Resistance, from the post-war period to the present, in various contexts and media: cinema, literature, historiography. Readings will include writers on either side of the Resistance, as well as contemporary historians like Pavone and Luzzatto. G. Alonge. Spring.

23600. Comparative Screen Masculinities: The "Latin Lover" and the "Tough Guy" (=CMST 33600, GNDR 26400/33600, ITAL 26700/36700):

The course will concentrate on comparative analyses of the screen types known as the "Latin Lover" and the "Tough Guy," with particular attention given to Italian, Italian-American, and mainstream American cinema. Included will be Valentino, Mastroianni, De Niro, Keitel, and Eastwood. How are the normative assumptions regarding masculine types that underly the figures of the "latin lover" and the "tough guy" questioned, fractured, and "queered" in the films we shall study? How do ethnic and cultural attitudes shape screen masculinities, and what might comparisons between Italian and American male types reveal about the nations and cultures in question? R. West. Winter. (G/D/S)

24100. Film in India (=CMST 34100, ANTH 20600/31100, HIST 26700/36700, SALC 20500/30500):

Considers the film world from 1975 to the present. Most attention will be paid to the Hindi film and especially to its "peculiar" features, for example, the song and dance. Emphasis is placed on the reconstruction of film-related activities which can be taken as life practices from the stand point of "elites" and "masses," "middle classes," men and women, people in cities and villages, governmental institutions, businesses, and the "nation." The course will rely on people's notions of the everyday, festive days, paradise, arcadia and utopia to pose questions about how people try to realize their wishes and themselves through film. How film practices articulated with nationalism, first in the wake of a failing "socialist pattern of development," and, then, with "liberalization," of the promise or threat "free markets" would bring, will be the major concern. A brief look will also be taken at how film is related to other media such as television. Some comparisons with Hollywood will be made. Students will be asked to familiarize themselves with existing approaches to Indian film against the background of more general approaches to film and the media. Some knowledge of Hindi desirable but not required (films will be subtitled in English and have English synopses). One film per week will be shown. Requirement: One 10-page paper, written in two stages. R. Inden. Autumn.

24300. Religion and Modernity in Film (=CMST 34300, ANTH 21900/32400, HIST 26800/36800):

Considers the problem of how popular films in the US, Europe, and Asia have represented the conventional religions' relation to modernity: the idea of film practices ("youth culture") as constituting a secular religion alternative or antagonistic to the conventional religions and the recuperation and transformation of conventional religiosity in modernist, especially patriotic and science-fiction films as a national theology ("civil religion"). One to two films per week will be shown. Requirement: One 10-page paper, written in two stages. R. Inden. Winter. (H)

24601. Chinese Cinema: 1896-1949 (=EALC 24605, CHIN 24605):

This course explores the history of Chinese cinema from its inception to the end of the Republican Period. We will focus on the way cinema helped articulate competing models of modernity revolving around issues in larger cultural contexts, including the rise of modern entertainment and consumer culture as well as the political events that overwhelmed the country (the May Fourth movement of cultural enlightenment, the Northern Expedition, the Japanese invasion and the Chinese resistance, and the postwar reconstructions). We will pay particular attention to the following issues: the exhibition contexts of Chinese cinema; questions of reception, stardom, and the cinema's public status; interactions between cinema and other media including drama, photography, and popular illustrations; the emergence of sound and its impact on the commercial and political arena; the geographical shift of film production and exhibition centers during the war. Films include early Edison shorts shot in Hong Kong, Beijing, and Shanghai in the late 1890s, the earliest extant Chinese film The Laborer's Love, 1920s' genre films (costume films, martial arts films, family melodrama), left-wing and urban films in the 1930s', films made in occupied Shanghai and Hong Kong, the 'national defense' films made in Chongqing, and postwar films from 1945 to 1949. Throughout the course, we will pursue the development of film style and film culture in relation to wider aesthetic, cultural, and political concerns. Some knowledge in Chinese desirable but not required. W. Bao. Spring. (H)

24800. Contemporary Iranian Cinema (=NEHC 20780):

This survey course on Iranian cinema begins nineteen years before the Islamic revolution and examines the early careers of current Iranian filmmakers as well as the influence of Hollywood and the Hindi film on this period. In the post-revolutionary period, we focus mainly on the films made for international circulation. We examine the major films and directors from this period with regard to the emergence of feminist filmmaking, cinema's relation to Iranian modernity, and the transnational context of these films. K. Askari. Spring. (H)

25100. Avant-Garde in East Central Europe (=CMST 35100, SLAV 28400/38400):

The avant-gardes of the "other" Europe are the mainstay of this course which focuses especially, but not exclusively, on the interwar avant-gardes of Austria, Czechoslovakia, Hungary, Poland, Romania, Slovenia, and Yugoslavia. A comparative framework is employed whenever lucrative to comprehend the East/Central European movements in the wider context of the European avant-garde. The course also traces the development and legacy (political, artistic) of these avant-gardes in their contemporary scenes. Plastic, verbal, and performative arts (including film) are studied. M. Sternstein. Autumn. (T)

25300. Avant-Garde Silent Cinema (=MAPH 34501, ARTH 27203):

This course will consider avant-garde and independent movements of the silent cinema, including German Expressionism, Soviet Montage, and French Impressionism, as well as more international trends. Topics will include photogénie and other theoretical assertions of the specificity of the medium, conflicting metaphors for the nature of montage, and the tension between notions of the cinema as an autonomous art form and avant-garde commitments to social and political engagement. We will also discuss the relationship of avant-garde cinema to art in other media and to mainstream cinema. In addition to the examination of these more local debates, the course will cover the development of a multifaceted international film culture, including the proliferation of journals dedicated to film as an art form, the ciné-club movement, and the extent to which these phenomena led to stylistic cross-pollination and transnational productions. Finally, we will read a selection of recent attempts to define and theorize the historical avant-garde, in order to evaluate the relevance of these theories to the film movements discussed in the course. K. Kirtland. Winter. (H, G/D/S, T)

25500. Film and the Pictorial Tradition:

This course examines film historically as the hub of a network of pictorial media practices including painting, theater, the magic lantern, and illustration. We start by developing a critical language to discuss cinema's emergence and continued borrowings from these media in their nineteenth-century formations, from specific techniques to more abstract conceptions of style and dramaturgy. After giving significant attention to feature films made during the silent period, we move on to discuss the persistence and transformation of pictorialist aesthetics in later mainstream and avant-garde film practices, ending with recent developments in digital media. K. Askari. Autumn.

26100. Spike Lee (=AFAM 21401, ENGL 27902):

This course surveys what Wahneemah Lubiano calls, "the Spike Lee Discourse" - the films and other media work Lee has produced, alongside the public persona he has constructed through his appearances in print media, television, advertising and the Internet. How has Lee negotiated (and influenced) the realms of independent and Hollywood filmmaking traditions and institutions? How does he (as director, writer, producer, actor, author, entrepreneur, advertising executive) push the boundaries of auteur approaches to reading his films, as well as traditional definitions of African American cinema? How can we talk about Lee's career as a reflection of post-classical cinematic sensibilities and marketing strategies? How has he drawn from and shaped discourses on Black masculinity, entrepreneurship, and cultural politics? We will watch Lee's films (possibly in conjunction with a Doc Films series) from his student thesis film Joe's Bed-Stuy Barbershop: We Cut Heads (1982) to Bamboozled (2000), read his writings, survey critical literature on his work, and place him in a series of critical/political constellations (e.g., the Black Arts movement and collective cultural production; Afrocentricity; Black conservativism; hip hop aesthetics). J. Stewart. Spring. (G/D/S)

26200. Brecht and Beyond (=CMLT 20800, ENGL 24400, ISHU 26950):

Brecht is indisputably the most influential playwright in the twentieth century. This course explores the range and variety of Brecht's own theater, from the anarchic plays of the 1920s to the agitprop Lehrstück to the classical parable plays, as well as the works of his heirs in Germany (Heiner Müller, Franz Xaver Kroetz, and Peter Weiss), Britain (John Arden, Edward Bond, and Caryl Churchill), and sub-Saharan Africa (Soyinka, Ngugi, and various South African theater practitioners). We also consider the impact of Brechtian theory on film, from Brecht's own Kuhle Wampe to Jean-Luc Godard. L.Kruger. Winter. (T)

26300. Ernst Lubitsch and Hollywood (=CMST 36300, GNDR 26900, ENGL29402/49402):

This course examines the Hollywood career of Ernst Lubitsch, one of the most successful directors and producers in the Hollywood studio system (1920s-1940s). We will explore what his career reveals about the studio system and the genre of romantic comedy in which he excelled. We will also consider the infamous "Lubitsch touch" and its subversion of the Hays Code, theatrical adaptation, and the representation of national character, politics, class, gender and sexuality in his films. Screenings will include Rosita, The Marriage Circle, The Love Parade, Trouble in Paradise, Design for Living, Ninotchka, To Be or Not to Be, Heaven Can Wait, and Cluny Brown. R. Gregg. Autumn

26600. Andrei Tarkovsky's Andrei Rublev (=CMST 36600, RUSS 23300/33300, CMLT 22800, HUMA 23301, ISHU 23301/33301):

Using Andrei Tarkovsky's 1966 film Andrei Rublev as our primary focus we will investigate Tarkovsky's oeuvre and its antecedents in world cinema from Dreyer and Eisenstein to Bresson and Pasolini. Developing an aesthetic language capable of describing Tarkovsky's cinema, we will seek a critical evaluation of such concepts as poetic or transcendental cinema, anti-montage cinema, Deleuze's "time-image," and Tarkovsky's own concept of cinema as "imprinted time." Class discussion encouraged. R. Bird. Autumn.

27300. Perspectives on Imaging (=CMST 37300, ARTH 26900/36900, BIOS 29207, HIPS 24801):

Imaging plays a central role in biomedical research and practice. This role is likely to grow in the future as seen by the recent creation of the new National Institute for Biomedical Imaging and Bioengineering within the National Institutes of Health. This course explores technical, historical, artistic, and cultural aspects of imaging from the earliest attempts to enhance and capture visual stimuli through the medical imaging revolution of the twentieth century. Topics include the development of early optical instruments (e.g., microscopes, telescopes); the first recording of photographic images; the emergence of motion pictures; the development of image-transmission technologies (e.g., offset printing, television, the Internet); and the invention of means to visualize the invisible within the body through the use of X-rays, magnetic resonance, and ultrasound.B. Stafford and P. La Riviere. Winter. (T)

27600. Beginning Photography (=CMST 37600, COVA 24000):

PQ: COVA 10100, 10200, or consent of instructor. A camera and light meter are required. Photography affords a relatively simple and accessible means for making pictures. Through demonstration, students are introduced to technical procedures and basic skills, and begin to establish criteria for artistic expression. Possibilities and limitations inherent in the medium are topics of classroom discussion. Class sessions and field trips to local exhibitions investigate the contemporary photograph in relation to its historical and social context. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Lab fee $60. L. Brown, Autumn. L. Letinsky, Winter, Spring.

27600. Beginning Photography (=CMST 37600, COVA 24000):

PQ: COVA 10100, 10200, or consent of instructor. A camera and light meter are required. Photography affords a relatively simple and accessible means for making pictures. Through demonstration, students are introduced to technical procedures and basic skills, and begin to establish criteria for artistic expression. Possibilities and limitations inherent in the medium are topics of classroom discussion. Class sessions and field trips to local exhibitions investigate the contemporary photograph in relation to its historical and social context. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Lab fee $40. L. Brown, Autumn. L. Letinsky, Winter, Spring.

27701. Advanced Black & White Photography (=CMST 37701, COVA 27801):

PQ: COVA 10100 or 10200, and 24000 or 24100, or consent of instructor. Throughout the quarter, students concentrate on a set of issues and ideas that expand upon their experience and knowledge, and that have particular relevance to them. All course work is directed towards the production of a cohesive body of either color or black-and-white photographs. An investigation of contemporary and historic photographic issues informs the students' photographic practice and includes visits to local exhibitions, critical readings, darkroom techniques, and class and individual critiques. Lab fee $60. L. Letinsky. Spring.

27800. Theories of Media (=CMST 37800, ARTH 25900/35900, COVA 25400, ENGL 12800/32800, MAPH 32800, ISHU 21800):

This course explores the fundamental questions in the interdisciplinary study of visual culture: What are the cultural (and by the same token, natural) components in the structure of visual experience? What is seeing? What is a spectator? What is the difference between visual and verbal representation? How do visual media exert power, elicit desire and pleasure, and construct the boundaries of subjective and social experience in the private and public spheres? How do questions of politics, gender, sexuality, and ethnicity inflect the construction of visual semiosis? W. J. T. Mitchell. Winter. (T)

27900. Color Photography (=CMST 37900, COVA 24300):

PQ: COVA 10100 or 10200, and 24000 or 24100, or consent of instructor. Throughout the quarter, students concentrate on a set of issues and ideas that expand upon their experience and knowledge, and that have particular relevance to them. All course work is directed towards the production of a cohesive body of either color or black-and-white photographs. An investigation of contemporary and historic photographic issues informs the students' photographic practice and includes visits to local exhibitions, critical readings, darkroom techniques, and class and individual critiques. Lab fee $60. L. Letinsky. Spring.

28000. Documentary Video (=COVA 23901):

J. Hoffman. Spring.

38100. Issues in Film Music (=CMST 28100, MUSI 22900/30901):

This course will explore the role of film music from its origins in silent film, its significance in the classical Hollywood movie, to its increasingly self-reflexive use in recent cinema (both avant-garde and commercial, Western and non-Western). We will look at the ways music plays a central role both as part of the narrative and as non-diegetic music, how its stylistic diversity contributes its own semiotic universe to the screen, and how it became a central participant in twentieth-century visual culture. Since the course will partly focus on technical, compositional, and stylistitic aspects of film music, some reading knowledge of music can be helpful, but is not a prerequisite. B. Hoeckner. Spring. (G/D/S)

28101. Popular Music and Film (=MUSI 23904):

PQ: Open only to undergraduates.This course explores the relationship between film and popular music through an examination of various film genres, including the musical, rockumentary and biopic. We will consider the historical shift from classical (instrumental) film scores to compilation scores of popular songs, and the use of different musical styles, including jazz, rock, and disco. Throughout, we will explore the ideologies of race, sex and gender embodied in these musical forms, and we'll consider economic industrial motivations. Films include: The Music Man, Cabin in the Sky, The Umbrellas of Cherbourg, Round Midnight, American Graffiti, Saturday Night Fever, The Last Waltz, Truth or Dare. P. Wojcik. Winter. (H, G/D/S)

28220. The Art of Confrontation: Chinese Visual Culture in the 20th Century (=CMST 38220, ARTH 28700/38700, CHIN 27700/37700, EALC 27700):

This course is a survey of Chinese visual culture of the twentieth century, focused around the theme of confrontation. In the twentieth century, traditional modes of Chinese visual culture have confronted Western styles and techniques of visual expression, Modernism, competing political ideologies, developments in China's distant and recent history, disparate regional Chinese identities (i.e. China, Hong Kong, and Taiwan), and technological change. This course will explore these confrontations through a variety of media from traditional Chinese painting to film, and methodological approaches from formalism to post-Colonial theory. One film screening per week will be required. J. Purtle. Winter. (H)

28300. Novel Films: Cinematic Adaptations of Russian and Polish Literary Works (=CMST 38300, ISHU 26601/36601, SLAV 26600/36600):

In this course we examine the phenomenon of translating literature into filmic texts. In juxtaposing literature and films, we critically evaluate the dominant concept of faithfulness to the literary originals. Filmic adaptations are viewed as creative commentaries on literary works and interpreted in conjunction with recent theoretical thought. B. Shallcross. Spring. (G/D/S, T)

28301. Dramaturgy, Opera, Theater, and Film (= CMST 38301, GRMN 34100, ISHU 26100, MUSI 30704):

This experimental seminar/workshop course considers the history and development of dramaturgy, including its conceptual foundations and pragmatic aspirations as well as its generic peculiarities (e.g., what distinguishes a dramaturgy of theater, film, and opera). The course will focus on multiple renderings of the same material: that is, Macbeth as Elizabethan drama, 19th century opera, and various 20th century films. In addition to our more or less conventional academic analysis (of the history & various theories of dramaturgy), students will engage in dramaturgical practice(s) in writing and on stage. Among works to be considered: critical works by G.E. Lessing and Bertolt Brecht; and films, dramas, operas, (e.g., Shakespeare's Macbeth, Verdi's Macbeth, Polanski's and Welles' Macbeth, Kurosawa's Throne of Blood). D. Levin. Winter. (T, G/D/S)

28500. History of International Cinema, Part I, Silent Era (=CMST 48500, ARTH 28500/38500, COVA 26500, ENGL 29300/48700, MAPH 33600):

PQ: This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The aim of this course is to introduce students to what was singular about the art and craft of silent film. Its general outline is chronological. We will discuss main national schools and international trends of filmmaking. T. Gunning. Winter. (H)

28600. History of International Cinema, Part II, Sound Era (=CMST 48600, ARTH 28600/38600, COVA 26600/36600, ENGL 29600/48900, MAPH 33700):

PQ: This is the second part of the international survey history of film covering the sound era up to 1960. It is strongly recommended that students take the first section first. This course focuses on industrial practices and aesthetics during Hollywood's studio era (1927 to 1960) and alternatives to the Hollywood film, including French poetic realism, Italian neorealism, and Japanese cinema. We will also consider the important political, economic, social and cultural forces, which influenced Hollywood and other cinemas during this period, particularly the rise of fascism in the 1930s, WWII, Hollywood's postwar economic struggles, and various national new wave cinemas. Screenings will include films by Berkeley, Renoir, Huston, Welles, De Sica, Ozu, Hitchcock and Godard. R. Gregg. Spring. (H)

28700. Early Video Art, 1968-1979 (=CMST 38700, COVA 26700/30100):

A survey of the first wave of video art in the U.S. We will be screening and discussing the first ten years of video produced by artists and activists, primarily on the east coast and in California, including Bruce Nauman, John Baldessari, Martha Rosler, Eleanor Antin and Top Value Television. Because of relatively inexpensive equipment and inherently synced sound, video democratized the production of moving images, allowing artists to challenge imagined limits of broadcast television and encultured gender representations. Much of the work we will be looking at in this new medium was made as an auxillary activity by artists already working in sculpture, conceptual art, and performance. We will analyze the work as it relates both to this art context and to the socio-political climate of the seventies. H. Mirra. Winter. (H, G/D/S)

28800. Digital Imaging (=COVA 22500):

PQ COVA 10100 or 10200, or consent of instructor. Using the Macintosh platform this course serves as an introduction to the use of digital technology as a means of making visual art. Instruction will cover Photo Shop's graphics program as well as digital imaging hardware (scanners, storage, and printing). In addition we will be addressing problems of color, design, collage, and drawing. Topics of discussion may include questions regarding the mediated image and its relationship to art as well as examining what constitutes the "real" in contemporary culture. Lab fee $60. A. Ruttan. Spring.

28900. Video I: Short Experiments (=COVA 23800):

PQ: COVA 10100 or 10200, or CMST 10100. An introduction to video making, with digital cameras and non-linear (digital) editing. Students will produce a group of short works, which will be contextualized by viewing and discussion of historical and contemporary video works. Video versus film, editing strategies and appropriation are some of the subjects that will be part of an ongoing conversation. Lab fee $60. J. Hoffman. Autumn

28903. Video Workshop (=COVA 23801):

PQ: COVA 23800 or instructor consent; lab fee $60 billed directly on tuition bill. A production course geared towards experimental works and video within a studio art context. Screenings will include recent works by Harrison & Wood, Fischli & Weiss, Martin Kersels, Jane & Louise Wilson, Halflifers, Douglas Gordon and others. Discussions and readings will address non-narrative strategies, rapidly changing technology and viable approaches to producing video art in a world full of video images. Lab fee $60. H. Mirra. Spring.

28904. Video: Camera, Lights, Sound (=CMST 38904, COVA 23800/33903):

PQ: COVA 23800. Lab fee $50. This intensive laboratory will explore differences between video and film, experiment with basic lighting design and set-ups, and practice field audio recording. The class will be organized around a series of shooting situations. Students will work in crews to understand modes of production. Each crew will learn to operate and maintain the Panasonic AG-DVX100 24p camera; Sachtler tripod; Arri lights, gels, diffusion, and grip equipment; and Shure mixer with Sennheiser wireless microphones. Though video or film experience is helpful, the class will be open to students who want to acquire technical knowledge of how films get made. Enrollment will be limited to 12 students who must have the consent of the instructor to register.J. Hoffman. Winter.

29700. Reading Course:

PQ: Consent of faculty adviser and Director of Undergraduate Studies. Students are required to submit the College Reading and Research Course Form. This course may be used to satisfy distribution requirements for Cinema and Media Studies concentrators. Staff. Autumn, Winter, Spring.

29800. Senior Colloquium:

PQ: CMST 10100. Required of all Cinema and Media Studies concentrators. This seminar is designed to provide senior concentrators with a sense of the variety of methods and approaches in the field (such as formal analysis, cultural history, industrial history, reception studies, psychoanalysis). Students will present material relating to their B.A. project, which will be discussed in relation to the issues of the course. J. Lastra. Autumn.

29900. B.A. Research Paper:

PQ: Consent of instructor. Students are required to submit the College Reading and Research Form. This course may not be counted toward distribution requirements for the concentration, but may be counted as a free-elective credit. Staff. Autumn. Winter. Spring.