Film & Media Studies

This course explores the interconnectivity between the rapid evolution of media outlets and content, the contemporary “banalization” of terrorist and other types of violence, and their fallout over issues related to social justice in France and Europe. The course examines some recent forms of social confrontation and the way these confrontations are channeled on a grand scale through mass media, both old and new. Students interrogate the political, economic, cultural, and psychological implications, as well as the “spectatorship component,” related to the growing, constant sharing of violence over public platforms, and political agendas. Different cases of social controversies are studied and compared as we probe their relevance to some larger, technological, and globalized frames of analysis. The course examines the adjustments political institutions, social bodies, and media actors have practiced when faced with these forms of protest in moments of crisis. The course attempts to understand how, and to what extent, all these altered notions have impacted national, sectorial, and class-oriented identities.

This course provides an analysis of communication and information in the contemporary world. It covers terminology, concepts, and main theories, as well as practical implications of the field. It's the same course as COMM/FILM 119 BUT TAUGHT IN ENGLISH.

This course provides an overview of the development of film in Germany from World War I through the end of the National Socialist period. The course includes examples of popular, experimental, and documentary filmmaking in addition to close readings of works that belong to the canon of German film. The course introduces students to the fundamental elements of film and analysis; fosters a critical understanding of how film functions, both as entertainment and as an art form; and explores the developments within German film in light of specific historical and cultural frameworks. Students become aware of the complicated issues involved in defining unified national cinema, and the inherent pitfalls in ready conceptions of German cinema.

This transdisciplinary course covers utopian and dystopian visions in literature, painting, film, television, and political discourse, both past and present. It successively covers the main themes and concerns of various schools of utopia (alotopias, primitivism, Robinsonades, blueprint utopias, etc.) and dystopia (far-right and far-left politics, populism and demagoguery, fear of new technologies, fear of government censorship, dark anti-feminist visions of the future, fear of the growing need for conformity and political correctness, fear of growing crime and violence, etc.). The course broadens the vision of dystopian art, typically considered a Western phenomenon, to include key names from Asia, Africa, and Eastern Europe. It includes student presentations of themes related to dystopia as presented in works from various cultures and countries of origin.

This course, divided into two parts, studies a British novel and an American novel and their cinematic adaptations. It provides a close reading of FRANKENSTEIN by Mary Shelley and NO COUNTRY FOR OLD MEN by Cormac McCarthy, and then introduces the basics of film theory to understand each movie. The main objective of this to familiarize students with the joint study of a literary work and one or more film adaptations by relying on several case studies.

This course offers a study of film and literature. Topics include: film and its relationship with other art forms; film writing; adaptation; construction of the film narrative; film in debates of the artistic avant-garde; theories and poetics of realism; the crisis of reality and its fictions; the film essay.