University of Bordeaux

This course focuses on implementing programs in the imperative paradigm using the C language under a UNIX operating system. It utilizes programming skills, compilation, and debugging aspects. Notions of name scope, lifespan and typing of variables, and recursion are also studied.

This course considers the emergence of the notion of post-modernity in cinema, and more broadly in the field of social sciences, since the end of the 1970s. It considers the multiple labels that have been attached to this movement (cinema of look, attraction, simulacrum, allusion) which bring together different and sometimes contradictory trends and which has experienced several eras over the last four decades, . From immersive cinema to a taste for recycling, from pastiche to the revisitation of genres, the course discusses works including those of Sofia Coppola, the Coen brothers, James Cameron, Ridley Scott, Paul Verhoeven, Brian De Palma, Quentin Tarantino, and Lana Wachovski.

This course focuses on the relationship between the environment and planning, particularly on zoning policies, construction methods, target objectives, and effects on the desired territories. It discusses policies of the European Union regarding zoning, development and environmental risks, and the connection to game theory to address the link between land development projects, the environment, and justice.

This course involves building a project using complex installation devices that fundamentally question plasticity, setting and space, and the place of the spectator in relation to the production. Students respond to a subject, incentive, problem, or theme through increasingly personal mediums, postures, gestures, and tools to situate this realization in the field of contemporary creation.

This course has two parts. The first part surveys some of the main stages in the evolution of the American horror film. Starting from its literary influences, it then focuses on its growth and relationship with the then budding television in the 1950s. It analyzes the role of the TV news and the Hays code in the 1960s. And, as it reaches the heydays of horror films in the 1970s (with the involvement of the New Hollywood in the field of horror), it eventually observes how the conventions of the genre have successfully spread into some of the best TV series at the turn of the century. The course provides a mix of theory and practice with the analysis of some scenes, echoing what will have been shown in the first part of the class. The study of these excerpts develop the ability to express skills for commenting on cinematographic works of art and provides an opportunity to write a short file on a film or a TV series. The second part of the course provides an introduction to the formal analysis of comics as a medium based on “sequential” images, to be distinguished from photography’s still images and film’s moving images. It is based on the analysis of various samples of primarily American comics by means of the interpretive grids presented by Scott McCloud’s UNDERSTANDING COMICS: THE INVISIBLE ART (1993), an introductive study of the comics medium presented as a book-length comic.