REL 230F– Visual, Cultural, Media Technology Circulation of Culture: South Asian Documentary Cinema, Gargi Sen W 3:10-6:00 PM
WMS 200B 001 – Feminist Research – Rana Jaleel
MUS 221 – Music and Nature/Ecomusicology – Beth Levy
FMS ??? – Graduate Film Studies: The Case of Cinema in Germany – Jaimey Fisher
DRA 158 – Tactical Performance – Lawrence Bogad
PFS 259 – Gina Bloom – Theorizing Media and Performance – W 2:10 – 5, 248 Voorhies
MUS 210B Proseminar in Musicology/Criticism, Beth Levy
This course provides a historical, theoretical, and practical overview of musicology–its intellectual history, the issues that have helped define the field, and some of its typical methods, tools, and genres of scholarly writing. We will read widely and engage critically with some of the most important musicological writings and the debates they have engendered; we will also practice some musicology of our own through a series of short exploratory projects designed to give you hands-on experience with diverse aspects of musicological work.
REL 230F- VISUAL, CULTURAL, MEDIA TECHNOLOGY CIRCULATION OF CULTURE: SOUTH ASIAN DOCUMENTARY CINEMAWednesday 3:10-6:00 PM Gargi Sen
This seminar explores how the local and global impact and shape the other and consequently how culture circulates through an examination of South Asian Documentary Cinema. We will examine issues around representation, meaning creation and structures of power through the study of documentary films. Understand issues of gender, labor, ecology, development and culture from a rights based perspective.
The seminar is based on viewing and discussing documentaries; its content, form, aesthetics and practice. In each session we will view film/s and clips to study the issues in depth, identify overlaps and commonality of issues across histories and times. Relevant readings about documentary cinema and issues for each session will help frame the discussion. Our focus will be on the decades from the 1990s to today, and will look at how the documentary form changes to accommodate the complexities of the subjects/ representation.
Cinema will provide a visual entry into a myriad set of subjects and explore those in depth. It will place the human at the centre of social, political and economic change and study the different points of view. The post screening discussions will study the film as an art form, the position taken by the filmmaker/s, the context of the film, the time when it was made, the subjective versus the objective, the ‘real’ versus the constructed and the documentary practice.
Through the seminars students will learn how to read documentary text, deconstruct representation, understand meaning creation, and structures of power.
Gargi Sen is a Fulbright-Scholar in Residence in the Department of Religious Studies. She is a New Delhi-based filmmaker, producer and curator of films, and runs Magic Lantern Movies. Please contact Gargi Sen at firstname.lastname@example.org, with any questions.
PERFORMANCE WRITING PFS 298 Section 10 Fall 2017 W 12:10-2:00 Wright 222 Instructor: Jon D. Rossini CRN: 54493
This is a 2-unit course, primarily for PFS PhD students, but open to other interested and qualified graduate students. The goal of the course is to think critically and carefully about performance writing and more importantly, to actually do some. We will meet once per week and meetings will consist of a combination of discussion of writing and the practice of writing, both our own and others, which will involve reading both creative and critical work, as well as actual writing practice. In addition to preparation for each weekly meeting, each student will work on and “complete” two projects—one is a piece of writing that falls somewhere near the category of performance writing, writing for performance, performative writing, scriptwriting, playwrighting, performative lecture (or creative critical writing for performance), performance score, or any other form that suggests embodied engagement in some form. The scope, scale and form of this work, as well as the level of “completeness” will be subject to negotiation with the instructor (for the purposes of evaluation), but examples might include short plays or screen plays, solo performance works, choreopoems, and many others, as well as substantial beginnings of longer work(s). The second project will be a reflection on the individual’s practice of writing, hopefully shaped in part by their engagement in this space. Depending upon the size of the class we will do some small group workshopping of our writing, but this will not be structured like a traditional workshop where the bulk of the meeting will be centered on discussion of pre-written work. Rather, much of what we do in the space will be experimenting and playing with our work, trying new strategies to generate material, experimenting with various modes of structuring a workshop space, and partially sharing in the moment as we create. All experience levels are welcome. Questions? email@example.com
German 241: The German Drama: The Anti-Aristotelian Tradition (4 Units) [Two-Track: Conducted in English; Readings in Either German or English] Professor Gail Finney Wednesdays 2:10-5 pm CRN: 74255 Course format: Seminar – 3 hours, Term paper. Prerequisite: Graduate standing or consent of instructor.
Studies German theater that opposes the classical drama of Goethe, Schiller, Grillparzer, and others who adhere to the conventions established by Aristotle’s Poetics. Topics such as the following will be explored: the attractions and limitations of Aristotelian theory; romantic irony in the theater; the proletarian protagonist; politics and drama; the grotesque on stage; the doctrine of epic theater and its sexualization; the dramatic parable; women as playwrights; the critical folk play; socialist feminism and theater. Plays will be illuminated by theoretical and critical writings.
Authors such as the following will be treated:
MUS 210C Proseminar in Ethnomusicology, Henry Spiller
This course is designed to impart a working knowledge of the intellectual history and major concepts, premises, theoretical approaches, analytical techniques, and methodologies germane to the field of ethnomusicology as it has evolved in American and international scholarship. The quarter is divided into two sections: (1) shifting definitions of ethnomusicology; (2) an exploration of several basic questions, theoretical premises, and analytical paradigms employed in ethnomusicological scholarship.