The emergence of the industrial revolution and large cities permanently changed the relation of human beings to nature and created the modern built environment.  This course will introduce the principal developments in architecture and urbanism from the French Revolution to 1932. It will treat advances in engineering, industrialization, rapid scientific progress, the emergence of the railroad, and automobility as preconditions for the development of the metropolis, the skyscraper, dwellings in a modern style, exhibitions, the factory, public housing, and the suburb.  We will consider canonical designs by international architects such as Ledoux,
Boullée, Berlage, Loos, Schinkel, Sullivan, Behrens, Gilbert, Wright, Gaudi, Sant’Elia, Rietveld, Le Corbusier, Melnikov, Ginzburg, Mies, Oud, Wagner, Gropius, Poelzig, Taut, Mendelsohn, and Aalto. The aesthetic projects of the arts and crafts movement, art deco, futurism, the German Werkbund, De Stijl, the Bauhaus, and Russian constructivism will be approached as varied responses to political and social change and the perceived need for a style appropriate to the modern age.  Finally, we will track the shifting agency of the architect, a figure often associated with change and social improvement, in a period marked by war, colonialism, revolution, class conflict, fascism, the onset of consumer capitalism, and large-scale patronage by government and institutional clients.  Course requirements: Regular attendance, and completion of weekly reading questions,  a take-home midterm, and a final research paper.
Days: TU TH  05:00-06:20 PM

Survey of major directions in film and media theory. Various theories of mass culture, realism, auteurism, semiotics, feminism, cultural studies, and theories of other media, with an emphasis on developing the student’s ability to analyze and articulate a theoretical argument. Materials fee.

Prerequisite: FLM&MDA 85 and FLM&MDA 86 and FLM&MDA 87 and (FLM&MDA 101A or FLM&MDA 101B or FLM&MDA 101C or FLM&MDA 101D or FLM&MDA 101E). Satisfactory completion of the Lower-Division Writing requirement.
Days: MO WE  01:00-02:20 PM

Survey of major directions in film and media theory. Various theories of mass culture, realism, auteurism, semiotics, feminism, cultural studies, and theories of other media, with an emphasis on developing the student’s ability to analyze and articulate a theoretical argument. Materials fee.

Prerequisite: FLM&MDA 85 and FLM&MDA 86 and FLM&MDA 87 and (FLM&MDA 101A or FLM&MDA 101B or FLM&MDA 101C or FLM&MDA 101D or FLM&MDA 101E). Satisfactory completion of the Lower-Division Writing requirement.
Days: MO WE  09:30-10:50 AM

This course covers the most important themes in the history of Armenians and Armenia in the nineteenth, twentieth, and twenty-first centuries and does so within a regional (i.e., Middle East and Caucasus) and global context. This course will have a strong thematic approach as we proceed from imperial rule in the nineteenth century through twentieth-century genocide, brief independence, sovietization, and independence again, culminating in the Velvet Revolution, and most recently the war over Artsakh/Karabakh. As we explore this history, we will focus on Armenians as imperial and national subjects in ancestral lands as well as transimperial and transnational subjects in a diaspora that has had a complex relationship with the idea and reality of homeland.
Days: MO WE  09:30-10:50 AM

Emphasis/Category: Inter-Area Studies
No description is currently available.
Days: Tu Th  12:30-01:50 PM

Emphasis/Category: Locating Africas, Inter-Area Studies
In this course we explore the histories, politics, and imaginaries of black indigeneity in both the Americas and Africa. We examine colonialism, chattel slavery, and imperialism as forces that shape who counts as indigenous and why.
Days: TH  09:00-11:50 AM

Emphasis/Category: Locating Europes and European Colonies, Inter-Area Studies
Of all film genres, none was more quintessentially American than the western - until 1964, when director Sergio Leone’s A Fistful of Dollars exploded onto the scene, inaugurating a new globalized era of Italian (or ‘spaghetti’) westerns. These films were typically more violent, darker in tone, and more parodic and self-conscious in thematic treatment than their American prototypes. From the mid-60s to the mid-70s more than 600 spaghetti westerns were produced, filmed primarily in Italy and Spain, and taking the genre in radically new directions, often by subverting the ideological underpinnings of the American western. Drawing inspiration from such diverse sources as Japanese samurai film and Greek mythology, the spaghetti western took a fresh look at the American past, often raising to heroic prominence figures typically marginalized in the traditional western –such as native Americans, Latinos, and Asian immigrants. At the same time, these films turned to new historical subject matter, above all the Mexican Revolution, in order to give expression to contemporary political concerns on the Italian left, such as American imperialism and the exploitation of capitalist underclasses. In this course we will examine a representative sample of the most ground-breaking and influential spaghetti westerns, including A Fistful of Dollars, The Good the Bad and the Ugly, Django, Navajo Joe, The Return of Ringo, They Call Me Trinity, The Big Gundown, A Bullet for the General, Face to Face, and Tepepa. We will consider the historical events, myths and films that spaghetti westerns draw inspiration from, as well as their enduring influence on the cinematic output of subsequent eras, as evidenced most recently in the Mandalorian series. The course will be conducted in English; any film without a satisfactory English-language version will be viewed in the Italian version with English subtitles.
Days: T TH  09:30-10:50 AM