French

This course presents the different theories of cinema that have emerged since 1945. It involves tracing the history of a field where theories, critiques, and practices have constantly influenced each other. Doing film studies does not only mean choosing cinema as an object, but also knowing the history of thought on cinema, in order to be able to grasp contemporary debates on the practice of moving images. This course explores the history of cinema theories of André Bazin, Siegfried Kracauer, Pier Paolo Passolini, Gilles Deleuze, Christian Metz, and Raymond Bellour as well as more recent cinema theories such as feminist perspectives applied to cinema (Laura Mulvey), figural studies (Nicole Brenez),  perspectives interested in the transition to digital (Àngel Quintana), and new practices of images (Jean-Louis Comolli). The course presents film theories through a study of founding texts and a comparison with film extracts. It discusses these theoretical texts with regard to extracts, in order to exercise and refine their analytical skills with the specific notions and concepts of cinema theory.

This course represents additional work for the course FR 133B, POPULAR FRENCH MUSIC. This course provides an opportunity to listen to and analyze popular French and francophone songs of the 20th an 21st centuries while discovering French society and culture. It discusses the vocabulary and what the lyrics mean from the author's point of view.

This course focuses on the history of Greek and Roman Antiquity, from the palatial civilizations of the Aegean to the end of the Western Roman Empire. It presents the major chronological and cultural landmarks essential to approaching the history of the ancient Mediterranean worlds and analyzes the main institutional, socio-economic, and religious systems.

This course covers how choose the appropriate sensory analysis and tasting tools and interpret the results to make a judgment on different types of wines and wine by-products. Topics include sensory analysis; vocabulary, writing, and technique; sensory evaluation tests, statistical tools, and processing; and typicality and tasting. 

This course discusses the evolution of terrorism from the 20th century to the present day, through an analysis of international relations that specifies the characteristics of terrorist movements and groups, the nature of their demands, and the threats they pose. The triple dimension - local, regional, and international - is at the heart of the analysis of the motivations and logics behind the operationalization of this radical form of political violence. The gradual development of the fight against terrorism in terms of repression, criminal law and the judiciary enable reflection on the democratic governance of anti-terrorist policies and their impact on our individual freedoms.

This course focuses on the state and evolution of photography in the wake of the second World War. It treats the following topics: humanist photography (1945-1968) and its origins; subjective photography in Europe and the United States (1950-1970); renewal of the American documentary after 1945; revival of the landscape in contemporary photography; photojournalism; contemporary photography and art from conceptual photography to visual photography; quotes, reinterpretations, and reappropriations of modern photography; experimental photography; and post photography. 

This course focuses on collective, systemic, structural violence, such as mass political violence on the one hand, and sexual and intra-family violence on the other. Using the lenses of the social sciences, it examines how they arise. It then looks at the responses to these issues: penalizing the perpetrators, listening to and providing therapeutic care for the victims, dialogue between the various parties, writing a shared history. In pairs, students carry out a fragment of a collective investigation: observation of a mechanism for protecting victims of collective violence (the National Court of Asylum, in Montreuil), or an interview with experts in sexual and intra-familial response. The social sciences (academic sources, and in particular books and articles based on empirical surveys) are privileged (to the detriment of press articles, blogs, reports from international or national organizations). The course provides an opportunity for familiarization with the way in which the social sciences (political science, history, sociology, anthropology, social psychology) view collective, political, and social violence. It reflects on the responses of experts and societies to such violence, and their limitations, and uses social science empirical survey methodologies (ethnographic observation, semi-directive interviews).

This course provides an opportunity to participate in theatrical improvisation activities to develop oral skills. It practices expressing oneself in communication situations and learning to adapt to the context. The course includes guided improvisation and writing short dialogues around acts of staged speech. It facilitates development of oral skills through theatrical play; adapting to different communication situations (levels of language, sociocultural codes); learning about writing theatrical dialogue; and discovering French theater and theatrical techniques.

This course covers basic notions about infectious pathologies. With precise and transversal examples, it addresses physiology of the body, the regulation of pathogens, and the mechanisms leading to pathology. It highlights the fragile balance between parasites and hosts.

This course examines the complex articulation between cinema and country of origin in a historical perspective. It questions to what extent these country-specific categories (e.g. Italian cinema, French cinema, German cinema) not only express national specificities but also construct them. It does so in particular from the stereotypes conveyed or constructed by the films of a given period or even a given gender; stereotypes that other films can, on the contrary, attach to or have fun deconstructing. The course uses examples from French, Italian, American, and German films.