| GERMAN (F24) | 1A FUNDAMENTALS | BROADBENT, P. |
| No detailed description available. |
| GERMAN (F24) | 1A FUNDAMENTALS | BROADBENT, P. |
| No detailed description available. |
| GERMAN (F24) | 1A FUNDAMENTALS | BROADBENT, P. |
| No detailed description available. |
| GERMAN (F24) | 1A FUNDAMENTALS | BROADBENT, P. |
| No detailed description available. |
| GERMAN (F24) | 2A INTERMEDIATE | BROADBENT, P. |
| No detailed description available. |
| GERMAN (F24) | 103 CINE. OF EVL IN GER | EVERS, K. |
| Evil is usually represented as the other, approaching from the outside, being monstrous. But what if evil is also part of ourselves, was or is present within one’s culture and society, and had been treated and justified as righteous acts and deeds? German cinema offers unique case studies for analyzing the changing ways in which evil has been understood and represented in the 20th and 21st century, from the death and plague spreading vampire in Nosferatu (1920) to the banality of evil living next door to Auschwitz in The Zone of Interest (2023). With the works of Fritz Lang, Werner Herzog, and Michael Haneke among others, German cinema prides itself with some of the most innovative, disturbing, and self-reflective representations of evil. But the same tradition includes Nazi cinema and with it films that are seen as being evil themselves. From a cinema of evil to evil cinema and forward to new experiments in representation, our course analyzes major works of German cinema to investigate our own changing understanding and fascination with evil. |
| GERMAN (F24) | 160 CINEMA OF EVIL | EVERS, K. |
| Evil is usually represented as the other, approaching from the outside, being monstrous. But what if evil is also part of ourselves, was or is present within one’s culture and society, and had been treated and justified as righteous acts and deeds? German cinema offers unique case studies for analyzing the changing ways in which evil has been understood and represented in the 20th and 21st century, from the death and plague spreading vampire in Nosferatu (1920) to the banality of evil living next door to Auschwitz in The Zone of Interest (2023). With the works of Fritz Lang, Werner Herzog, and Michael Haneke among others, German cinema prides itself with some of the most innovative, disturbing, and self-reflective representations of evil. But the same tradition includes Nazi cinema and with it films that are seen as being evil themselves. From a cinema of evil to evil cinema and forward to new experiments in representation, our course analyzes major works of German cinema to investigate our own changing understanding and fascination with evil. |
| GERMAN (F24) | 199 INDEPENDENT STUDY | BIENDARRA, A. |
| No detailed description available. |
| GERMAN (F24) | 199 INDEPENDENT STUDY | EVERS, K. |
| No detailed description available. |
| GERMAN (F24) | 199 INDEPENDENT STUDY | HART, G. |
| No detailed description available. |
| GERMAN (F24) | 199 INDEPENDENT STUDY | LEVINE, G. |
| No detailed description available. |
| GERMAN (F24) | 199 INDEPENDENT STUDY | PAN, D. |
| No detailed description available. |
| GERMAN (F24) | 199 INDEPENDENT STUDY | SMITH, J. |
| No detailed description available. |
