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The course will be for sustained work on an animation or projection design project, and should be a space for both experimentation, ambition and consistent endeavor. The first half of the semester will be concerned with conceptualizing and framing the world of the animations or projections, by research, drawings, investigation, imagining. The second half will be creating the animation or projections.
The class will be both looking at abstraction as well as more figurative based work. The class will include a mixture of creating assemblages in a variety of means and materials, and using both digital and analogue means from paint, to sand to animated forms. Objects will be cut out with scissors or the laser cutter, animated with pins or digital pins in software (After Effects), layers will be used to create depth in three dimensions, a multiplane or using the Z axis.
The class will be concerned with animating inanimate objects by primarily stop motion. Locations will be constructed, objects to animated formed, and lighting explored in order to create the imaginary world. A variety of filmmakers and techniques will be looked at during the course of the semester, with individual research undertaken and presented. Students will be expected to produce a variety of short projects over the first seven weeks based on current affairs and future worlds, followed by a longer more sustained project.
This course will explore the construction and experience of gender and sexuality in the Middle East through a performative lens. Drawing on research in ethnomusicology, queer and gender studies, anthropology and Middle Eastern history, the course will examine performance (music, dance, theater, poetry and more) as a process of representation, assertion, and sometimes transgression of sexuality and gender identities. This course will delve into the ways that performance, gender, and sexuality relate to ethnicity, nationalism, modernity, colonialism, and religion.
In this course, we will be uncovering, re-positioning, and affirming historical legacies and traditions that stand the risk of being lost forever, and explore how to use them to fight discrimination, racism and hate today.
Since its inception, film has been used for propaganda - disseminating information with a particular slant, whether subtle or obvious - by regimes and independent players across the political spectrum. As the means of production and circuits of distribution become ever more accessible to individuals, we have moved from an era of focused agitprop into a new era of diffused disinformation.
Viewed from the outside, the French-speaking world offers enticing images of beauty, pleasure, and freedom. From the inside, however, it is a complicated, often contradictory world where implicit codes and values shape the most basic aspects of daily life. This course will give you an insider’s perspective on a cultural and communicative system whose ideas, customs, and belief systems are surprisingly different from your own.
“Tell me what you eat and I will tell you who you are” –Brillat-Savarin
Against a background of what is often described as a worldwide democratic recession or regression, this advanced seminar surveys current theoretical debates, empirical analyses, and policy conversations on the emergence, survival, challenges, breakdowns, and prospects of global democratization.
Historical Dress: The Park-McCullough Project Fall ‘25
Working in collaboration with the local Park-McCullough Historic Governor’s Mansion, students will create a new archive of the historic dress collection.
Why is a Mayan food, chocolate, such a high-stake product in French-speaking countries ?
French literature and film have always reciprocally inspired one another – as early as 1897, Lumière represented the main characters of Hugo’s Les Misérables. This course will offer students the opportunity to analyze literary representations of women and their film adaptations in terms of intermediality and intertextuality. Adaptations will include: La Princesse de Clèves (La Fayette/Sauder), La Religieuse (Diderot/Rivette), La Noire de… (Sembène/Sembène), La Prisonnière/La Captive (Proust/Akerman). Students will focus on various adaptation strategies and approaches.
Today it is clear that the environment matters. In activism and scholarship and public policy, the environment has become a potent (if sometimes obligatory) point of reference. Less attention, however, has focused on the emergence of the environment itself as a converging field of action for advocacy, science, and statecraft. In this seminar, we will reflect not only on what we know of the environment but also on how we came to know the environment.
“I, at least, am not a Marxist”&Բ;Karl Marx
Mystics––historically portrayed as passionate, dangerous, romantic, heretical, satanic––are a thorn in the side of organized religion. From the very beginnings of recorded human time, the presence and practice of mystics has been controversial. Sufi mystic al-Hallaj’s pronouncement that he was “the Truth” was received as blasphemy by the orthodoxy. His execution followed shortly after. Christian mystics of the 4th and 5th centuries were relegated to practicing outside the peripheries of the Roman Empire, in relative secrecy.