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director, star, theorist), national cinema, or school of theory or criticism. Open to seniors; open to other students by permission of the instructor.Recommended Prerequisites: ENGF 269, ENGL 223, or any 300-level ENGF course.This course explores the Gothic from its first appearance in the middle of the 1700’s to its current deployment in film and popular culture.
Close readings of poems from the Renaissance to the present day.
An introduction to the various periods and genres of world drama.
This course features literary texts that reflect diverse forms of language trouble, including “baby talk,” nonsense, stuttering, autism, Tourette’s syndrome, and muteness.
Writers may include Lewis Carroll, Carson Mc Cullers, Larry Eigner, and filmmaker Jan Campion.
Emphasis is placed upon studying professional nonfiction works and conceiving, composing, editing, critiquing, and re-writing student work. The primary emphasis of the course is on creative writing and attentiveness to form and purpose in an interdisciplinary context. Students offer constructive criticism of one another’s work. Students offer constructive criticism of one another’s work. Departmental faculty and seminar members provide input and critiques as each student works toward a creative manuscript and a critical essay addressing narrative strategies or poetics. Students must have a second reader (not necessarily an English Department member); students must receive project idea approval by Fall Break of the senior year.
The instructor and the second reader consult to determine the student’s grade.
A basic introduction to the concepts and techniques of film analysis and criticism.
While “Film and the Environment” might bring to mind conventional nature documentaries featuring an authoritative voiceover describing intricate phenomenon, this course instead considers how every film relates to the environment, insofar as every film reflects and creates a world through the mechanical reproduction and mass production of space and time.
This course explores representations of and reflections on the Holocaust.
Students consider what it means to represent an extreme or limit experience—an experience felt by perpetrators and victims alike to be unrepresentable.