Focusing on movies made after 1945, this course allows students to learn and to sharpen methods, terminologies, and tools needed for the critical analysis of film. Beginning with the cinematic revolution signaled by the Italian Neo-Realism (of Rossellini and De Sica), we will follow the evolution of postwar cinema through the French New Wave (of Godard, Resnais, and Varda), American movies of the 1950s and 1960s (including the New Hollywood cinema of Coppola and Scorsese), and the various other new wave movements of the 1960s, 1970s and 1980s (such as the New German Cinema). We will then selectively examine some of the most important films of the last three decades, including those of U.S. independent film movement and movies from Iran, China, and elsewhere in an expanding global cinema culture. There will be precise attention paid to formal and stylistic techniques in editing, mise-en-scene, and sound, as well as to the narrative, non-narrative, and generic organizations of film. At the same time, those formal features will be closely linked to historical and cultural distinctions and changes, ranging from the Paramount Decision of 1948 to the digital convergences that are defining screen culture today. There are no perquisites. Requirements will include readings in film history and film analysis, an analytical essay, a research paper, weekly Canvas postings, and active participation in class discussion.<br />

This course surveys the history of world film from cinema s precursors to 1945. We will develop methods for analyzing film while examining the growth of film as an art, an industry, a technology, and a political instrument. Topics include the emergence of film technology and early film audiences, the rise of narrative film and birth of Hollywood, national film industries and movements, African-American independent film, the emergence of the genre film (the western, film noir, and romantic comedies), ethnographic and documentary film, animated films, censorship, the MPPDA and Hays Code, and the introduction of sound. We will conclude with the transformation of several film industries into propaganda tools during World War II (including the Nazi, Soviet, and US film industries). In addition to contemporary theories that investigate the development of cinema and visual culture during the first half of the 20th century, we will read key texts that contributed to the emergence of film theory. There are no prerequisites. Students are required to attend screenings or watch films on their own.

“No problem is as consubstantial with literature and its modest mystery as the one posed by translation.”—Jorge Luis Borges<br />
<br />
In this class we will study and translate some of the major figures in 19th- and 20th-century poetry, including Gabriela Mistral, Wislawa Szymborska, Mahmoud Darwish, Anna Akhmatova, Rainer Maria Rilke, Giuseppe Ungaretti, Arthur Rimbaud, and Shu Ting. While the curriculum will be tailored to the interests and linguistic backgrounds of the students who enroll, all those curious about world poetry and the formidable, irresistible act of translation are welcome. Those wishing to take the translation course should have, at least, an intermediate knowledge of another language. We will study multiple translations of major poems and render our own versions in response. Students with knowledge of other languages will have the additional opportunity to work directly from the original. A portion of the course will be set up as a creative writing workshop in which to examine the overall effect of each others’ translations so that first drafts can become successful revisions. While class discussions will explore the contexts and particularity of poetry writen in Urdu, Italian, Arabic, French, Bulgarian, and Polish, they might ultimately reveal how notions of national literature have radically shifted in recent years to more polyglottic and globally textured forms. Through famous poems, essays on translation theory, and our own ongoing experiments, this course will celebrate the ways in which great poetry underscores the fact that language itself is a translation. In addition to the creative work, assignments will include an oral presentation, informal response papers, and a short final essay. This course is cross-listed with Comparative Literature.<br />

This course studies scriptwriting in a historical, theoretical and artistic perspective. We discuss the rules of drama and dialogue, character development, stage vs. screen-writing, adaptation of nondramatic works, remaking of plots, author vs. genre theory of cinema, storytelling in silent and sound films, the evolvement of a script in the production process, script doctoring, as well as screenwriting techniques and tools. Coursework involves both analytical and creative tasks.

Topics vary. See the Department's website at https://complit.sas.upenn.edu/course-list/2019A

This course has three broad aims: first, it will introduce students to a selection of compelling contemporary narratives; second, it will provide prospective students of literature and film, as well as interested students headed for other majors, with fundamental skills in literary, visual, and cultural analysis; and, third, it will encourage a collective meditation on the function of literature and culture in our world, where commodities, people, and ideas are constantly in motion. Questions for discussion will therefore include: the meaning of terms like “globalization,” “translation,” and “world literature”; the transnational reach and circulation of texts; migration and engagement with “others”; violence, trauma, and memory; terrorism and the state; and the ethic of cosmopolitanism. Our collective endeavor will be to think about narrative forms as modes of mediating and engaging with the vast and complex world we inhabit today. <br />
<br />
In the course of the semester we will study about eight works of fiction and three films, as well as a selection of pertinent critical essays that will provide the terminology and theoretical framework for our conversations. The following works of fiction are likely to be included: Salman Rushdie, East, West; Ivan Vladislavic, selected stories and The Restless Supermarket; Dinaw Mengesthu, The Beautiful Things that Heaven Bears; Junot Diaz, The Short Wondrous Life of Oscar Wao; Juan Gabriel Vasquez, The Sound of Things Falling; Moshin Hamid, The Reluctant Fundamentalist; Aminatta Forna, The Hired Man, David Mitchell, Ghostwritten. Films: Babel, Even the Rain, and Syriana. Written requirements: a 7-9 page mid-term and an 8-10 page final paper (topics will be provided). Note that this course will count as one of the core requirements for the Comparative Literature major.<br />

As a complex cultural product, television lends itself to a variety of critical approaches that build-on, parallel, or depart from film studies. This introductory course in television studies begins with an overview of the medium's history and explores how technical and industrial changes correspond to developing conventions of genre, programming, and aesthetics. Along the way, we analyze key concepts and theoretical debates that shaped the field. In particular, we will focus on approaches to textual analysis in combination with industry research, and critical engagements with the political, social and cultural dimensions of television as popular culture.

How and when do media become digital? What does digitization afford and what is lost as television and cinema become digitized? As lots of things around us turn digital, have we started telling stories, sharing experiences, and replaying memories differently? What has happened to television and life after “New Media”? How have television audiences been transformed by algorithmic cultures of Netflix and Amazon? <br />
<br />
Social media platforms such as Twitter, WhatsApp, and Facebook have blurred the lines between public and private spaces, and ushered in a heightened sense of immediacy to mediations of everyday life. When BuzzFeed (an aggregator of hilarious memes) starts doing serious journalism, in what ways does it transform the production and evaluation of news? How have (social) media transformed socialities as ephemeral snaps and swiped intimacies become part of the &quot;new&quot; digital/phone cultures? This is an introductory survey/exploratory course and we discuss a wide variety of media technologies and phenomena that include: cloud computing, Internet of Things, hacking, trolls, “FAKE NEWS,” distribution platforms, optical fiber cables, surveillance tactics, social media, and race in cyberspace. We also examine emerging mobile phone cultures in the Global South and the environmental impact of digitization. Course activities include Tumblr blog posts and Instagram curations. The course assignments consist of in-class mid-term and a take home end-term of long answer-type questions.<br />

In this course we will learn of the many ways to read a cultural text by surveying the history of literary theory. We will address questions such as: What is literature? How do texts generate meaning? How do we determine the meanings of a cultural text? What are the relationships among an author, a text, a reader, and a context? What role does a text play in representing or even producing ideas of race, class, nation, sexuality, and gender? We will learn to read cultural texts closely and carefully: that is, to read for a text’s figures, themes, meanings, contexts, and structures. In addition, we will learn to ask and write about a text’s social, political, and material aspects.<br />

Women were disenfranchised in many ways in eighteenth-century Britain. Women were seldom permitted to own property outright, to earn money, to exercise primary custody over their children, or to live or travel alone; they were denied legal representation, educational attainment, bodily self-determination, and other rights which we now consider to be basic indices of adulthood and citizenship. Being a woman was, for most, a state of dependency and enclosure. <br />
<br />
In this course, we shall carefully consider how eighteenth-century British women made their voices heard. We’ll consider works produced by (and occasionally, about) British women during the century that followed the Restoration of Charles II in 1660, taking in examples from several genres, including prose fiction, poetry, and expository writing. We shall consider relations between women's imaginative writing and the many worlds from which women were largely excluded — the worlds of inherited literary tradition, commerce, religious debate, and contemporary politics, to name a few — as well as women’s writing about the subjects they were assumed to know best: child-raising, courtship, housekeeping, and personal piety.<br />
<br />
The most important requirement in this course will be thorough reading of each assigned selection before class. Please take notes and be prepared to discuss particular language and rhetorical strategies, not merely plots and characterizations. The course will combine lectures and group discussions, class presentations, occasional quizzes, library research, and writing projects. Primary authors are likely to include Behn, Rochester, Philips, Haywood, Pope, Manley, Barker, and Richardson.<br />