University of Bordeaux

This course presents the social, cultural, and political history of Great Britain from the creation of the Anglican Church by Henry VIII in 1534, to the implementation of laws regarding the poor, up through the abolition of slavery in 1834. Topics include the influence of the Anglican Church and religious relations in Great Britain, the Glorious Revolution, the emergence of political parties, social relations, and the place of women in society. In the discussion section, students analyze primary source documents from the eighteenth and nineteenth centuries and practice methods of history dissertation.

This course presents a study of various methods and materials through research and intensive analysis of different forms of art. It includes experimentation with colors, perspectives, and compositions through personal expression. Students experiment with light and shadows.

This course deals with the links between the European Union (EU) and International Relations (IR). It addresses how the academic field of International Relations has theorized both the European Union's integration and its role in Global Politics. For analytical purposes, the European Union is considered an international organization (IO). Notwithstanding its specific characteristics, this conceptual move allows students to analyze the European Union through the lens of International Relations theories. This course presents various IR theoretical perspectives to illuminate different questions pertaining to the EU and more specifically to its role in the field of global security. It looks at three major themes: (1) European Union and Integration theories; (2) EU power or not: EU in Global Security;(3) Dynamics of IOs: the case of the EU.

This course covers the different aspects of the mobility of the land-sea boundary through student exercises and through document analysis. First, the course looks at the definition of the coast according to the relevant disciplines and problems of development. The variations of the global sea level and the relative sea level are therefore be explained and then worked on in exercises aimed at understanding the different time and space scales. This working method is then applied to analyze the coastal dynamics and the types of coastlines (processes, different forms, reefs). After, the challenges of coastal mobility are covered by analyzing development policies and techniques (MIACA, MIALR, coastal law, PPRL, defense works, strategies in other countries). Finally, the course looks at aspects that challenge the health of coastlines such as tourism and how that affects different coastline environments such as mangroves, coral reefs, etc.

This seminar explores one of the richest periods in the history of the American cinema. For many reasons (economic as well as cultural and socio-political ones), the 1970s saw the budding of a new kind of cinema that was totally opposed to the earlier classical way of making films in Hollywood. These reasons are analyzed before dealing with this new conception of the cinema. The core of the seminar is the detailed study of the most typical features of the main films of the period. The classes alternate the study of some representative scenes with a more global view of how the cinema was conceived by all these talented directors (Bogdanovich, Penn, Hopper, Altman, Coppola, Scorsese, Friedkin, De Palma) and by some producers (Schneider, Rafelson, Evans). There also is a focus on William Friedkin, whose career encompasses the most striking facets of that conception of the cinema, the director having somehow managed to outlive the glorious 1970s to enrich his filmography in the twenty-first century with films that still ensue from the canon of the now late New Hollywood. The reasons why this New Hollywood ended in the early 1980s are uncovered, and students look for some traces of its heritage in the cinema of the following decades, not only in Hollywood but also around the world. For this seminar, the students need to watch some of the key films of the period, including: BONNIE AND CLYDE (Arthur Penn, 1967), ROSEMARY'S BABY (Roman Polanski, 1968), EASY RIDER (Dennis Hopper, 1969), MIDNIGHT COWBOY (John Schlesinger, 1969), THE WILD BUNCH (Sam Peckinpah, 1969), LITTLE BIG MAN (Arthur Penn, 1970), MCCABE AND MRS MILLER (Robert Altman, 1971), THE LAST PICTURE SHOW (Peter Bogdanovich, 1971), THE FRENCH CONNECTION (William Friedkin, 1971), THE PANIC AT NEEDLE PARK (Jerry Schatzberg, 1971), THE GODFATHER (Francis Ford Coppola, 1972), SISTERS (Brian De Palma, 1973), THE EXORCIST (William Friedkin, 1973), MEAN STREETS (Martin Scorsese, 1973), DOG DAY AFTERNOON (Sidney Lumet, 1975), ONE FLEW OVER THE CUCKOO'S NEST (Milos Forman, 1975), TAXI DRIVER (Martin Scorsese, 1976), THE DEER HUNTER (Michael Cimino, 1978), APOCALYPSE NOW (Francis Ford Coppola, 1979), HEAVEN'S GATE (Michael Cimino, 1980).