Considered by many two of the most influential filmmakers working in the mid and late twentieth century, the course will survey the work of Krzysztof Kieslowski and Yasujiro Ozu, analyze the poetics of their respective cinema, discuss overlapping themes, and explore the cultural influences that informed both filmmakers. Ozu's "shomin geki" genre repeatedly conveyed the complexities of filial relationships within middle class families in pre and post WWII Japanese society. In turn, many of Kieslowski's films portrayed the psychological and emotional lives of Post WWII, Polish society. This will be a cinema studies course with the option for some students to create their own film project.

This fundamental painting course will use the fundamental ideas of mediation - from painting from extant photographic images to paintings produced using systems and process. Students will gain experience in the fundamentals of painting, including composition, color, material choices and technical considerations such as preparing surfaces and mixing paint. We will explore a range of painting surfaces, sizes, and materials. Students will be expected to work a minimum of 6 hours a week outside of class time.

This course examines the fraught intersection of politics and popular culture. In this class, we ask: What is popular culture? How does it differ from other cultural expressions? How does popular culture connect to other aspects of social, economic and political experience? What differences, if any, are there between "high" and "low" culture? Is consuming pop culture products a form of political action? How do explicit political themes both enrich and detract from consumption? What economic imperatives drive popular culture production? What are the relationships between commerce, politics, and art? How does popular culture act as a vehicle for the appropriation or exploitation of other cultures? Particular attention will be paid to: the racialized construction of masculinity and femininity in popular culture; the appropriation of racial and gender identities; the role of global capitalism and the market in the production of popular culture. This course is reading-, writing-, and theory-intensive.

REQUIRED TEXTS:

All readings are available via the HACU 0154 course website. Students are also required to read Racialicious (http://www.racialicious.com/) on a daily basis for the duration of the semester.

Moby-Dick, that hard-to-classify novel about Captain Ahab’s mad search for the White Whale, took its own long voyage to arrive at a position in the canon of U.S. literature. Poorly received when it was published in 1851, Herman Melville’s Moby-Dick did not begin to gain its current status until the early 20th century. This course will follow Moby-Dick’s voyage(s): we will begin with an intensive reading of the novel itself and explore its 19th century contexts. Then we will examine three moments of the novel's afterlife in the 20th and 21st centuries: the 1920s, the Cold War (focusing on full-length treatments by C.L.R. James and Charles Olson), and the “War on Terror.” The last part of the course will consider the multitudinous ways in which Moby-Dick continues to be adapted and transformed in film, comics, visual art, and literary narrative.

This is a course not only about Melville’s novel but also about U.S. literary canon formation, the cultures of U.S. empire, race and the construction of American identities, and the politics of adaptation.

This course is designed to introduce students to several religious traditions of the world through a selective study of their chief canonical texts. In part our concern will be with fundamental thematic issues: what do these records seek to reveal about the nature of life and death, sin and suffering, the transcendent and the mundane, morality and liberation? In addition, we will address wider questions of meaning, authority, and context. Why do human communities privilege particular expressions as "sacred" or "classic"? How do these traditions understand the origin, nature, and inspiration of these writings? Were these "texts" meant to be written down and seen, or recited and heard? How are scriptural canons formed and by whom interpreted? To help us grapple with these questions we will examine some traditional and scholarly commentaries, but our principal reading in this course will be drawn from the Veda, Bhagavad Gita, Buddhacarita, Lotus Sutra, Confucian Analects, Chuang Tzu, Torah, New Testament, and Qur'an

What constitutes a tragedy? Both “tragedy” and “tragic” have acquired a life of their own in the public discourse. Recent articles in The New York Times have employed these terms to describe untimely deaths and grisly murders, plane accidents and devastation of terrorist attacks, drug overdoses and environmental disasters. Rather than rejecting the popular references to tragedy as inaccurate (although inaccurate they may be), this course explores whether we can find our way from the popular understanding of what constitutes a tragedy back to the actual literary practice of tragedy, and to the most important attempts to theorize it, from Aristotle to the present. Is a sense of loss and devastation enough to call something tragic? Does tragedy require a protagonist capable of ethical choice? Does it require an irresolvable clash of obligations? Readings/screenings to include Aeschylus, Sophocles, Euripides, Racine, Ibsen, O’Neill, Anouilh, and films by Von Trier, Paul Haggis, and Spike Lee, among others.

This course will introduce students to concepts and constructs of black womanhood from the mid-twentieth century to the contemporary. We will engage literature by Black women to tease out themes of power vis-a-vis sexuality and motherhood, history and geography, environments and spaces, economics and migration. The goal of the course is to think critically about the ways in which issues of power "play" in the novels, poetry, film, and critical works. In this course, students will consider a variety of theoretical "frames," such as Black feminism and womanism, intersectionality and difference, and will develop close-reading skills, learn how to analyze and engage in literary arguments, and further develop their writing skills.

This course will explore the music of the Hispanic Caribbean, with particular emphasis on the musics of Cuba, Puerto Rico, and musical interchange with the United States (particularly New York). The course will include weekly reading and listening assignments, several short written assignments, a concert paper, and a final research paper. The focus will be on the interrelations between music and culture, and we will engage in some musical analysis of the various genres discussed. Important topics will include the roles of European, African, and indigenous musical styles in the development of creole musics, music and nationalism, performance practice, ideological and philosophical conceptions about the music, the sociality of music, and analysis of musical forms. We will explore a wide range of musical styles from the nineteenth century to the present. While no musical background is required, there will be a significant active listening component in this class.

An introduction to the archaeology, myth, history, art, literature, and religion of ancient Ireland: 4000 BCE to 1200 CE, from the earliest megalithic monuments to the Norman conquest. Consideration will be given, then, to these distinct periods: Pre-Celtic (Neolithic and Bronze Ages--4000 BCE-700 BCE); Pre-Christian Celtic (Late Bronze & Iron Ages--700 BCE-400 CE); and Early Christian Celtic (Irish Golden Ages and Medieval--700-1200 CE). The emphasis throughout will be on the study of primary material, whether artifacts or documents. Readings will include: selections from the Mythological, Ulster, and Finn Cycles; The Voyage of St. Brendan; The History and Topography of Ireland by Giraldus Cambrensis; the writings of Patrick; and selections from early Irish hagiography.

This writing intensive course examines the equivocal meaning of community across British literary history and at Hampshire College.  To what extent is community a positive value, we ask?  In what ways do conflict and hostility make community possible?  How does literature represent existing forms of community and imagine alternatives? 

To address these questions, the seminar explores a range of topics: among them, Shakespeare’s dramatization of the bond between master and slave, Hobbes’s claim that sovereign power must quell a violent state of nature, Swift’s misanthropy, Mary Shelley’s limited sympathy for the non-human, and Austen’s blurred line between life and literature. 

Along the way, students practice the skills of literary analysis while also completing a range of non-traditional writing assignments to document their experience of community.  Through experiential learning, students reflect on their activity at Hampshire and beyond to generate fresh perspectives on British literary history.  Conversely, the readings provide students with a lens for reexamining their own communities. 

Dance Pioneer Barbara Mettler said, "To create means to make up something new." In this course students explore the elements of dance through a series of creative problems solved through improvisations by individuals and groups. Directed exercises are used to heighten awareness of the body and its movement potential. Studies using the sounds of voice, hands and feet develop skills in accompaniment. Based on the principle that dance is a human need this work invites people of all ages and abilities to come together in movement and to make dance an element of their lives.

According to D.T. Suzuki, one of the most influential Zen Buddhist teachers of the 20th century, Zen is not a system of philosophy, religion, mysticism, nihilism, or even Buddhism. He says, "Zen has nothing to teach us in the way of intellectual analysis; nor has it any set doctrines which are imposed on its followers for acceptance." Then what is Zen? More importantly, what led D.T. Suzuki to teach Zen Buddhism in this way?

We will begin our study with a contemporary American Zen teacher, Adyashanti’s work, Falling into Grace and D.T. Suzuki’s most influential work, An Introduction to Zen Buddhism. Next, we will examine the life and teachings of four prominent Zen masters (Huineng, Huangpo, Dogen and Hakuin) by reading Zen classic texts, followed by the exploration of Kanhua/K?an meditation, and Zen monasticism. For the final two weeks, the class will examine Japanese Buddhist history during the late 19th and early 20th century, which is intimately tied to a particular interpretation of Zen Buddhism by D.T. Suzuki and our understanding of Zen Buddhism in the West.

This course teaches the basic skills of film production, including camera work, editing, sound recording, and preparation and completion of a finished work in film and video. Students will submit weekly written responses to theoretical and historical readings and to screenings of films and videotapes, which represent a variety of aesthetic approaches to the moving image. There will be a series of filmmaking assignments culminating in an individual final project for the class. The development of personal vision will be stressed. The bulk of the work in the class will be produced in 16mm format. Video formats plus digital image processing and non-linear editing will also be introduced. There are weekly evening screenings or workshops.Prerequisite courses include a 100 level course in media arts (Introduction to Media Arts, Introduction to Media Production, Introduction to Digital Photography & New Media, or equivalent and must be completed and not concurrent with this course.)

This course emphasizes three objectives: first, the acquisition of basic photographic skills, including composition, exposure, processing, and printing; second, familiarity with historical and contemporary movements in photography and the development of visual literacy; third, the deepening and expanding of a personal way of seeing. Students will have weekly shooting and printing assignments and, in addition, will complete a portfolio by the end of the semester. Prerequisite: 100 level course in Media Arts (Introduction to Media Arts (photo, film or video), Intro to Digital.

Using a range of materials and artistic approaches we aim to develop a strong sense of familiarity and deepen our connection with drawing. We'll use graphite, color pencils, markers as well as some unconventional drawing materials to explore their unique expressive potential. You will be encouraged to carefully observe your surroundings and use personal experience as a departure point for drawing. Every student will keep a sketchbook or visual journal in which they will develop ideas and document their artistic process and experiments with materials. Prerequisite: Drawing 100 or equivalent.

This course analyzes the British culture of capital through its defining literary tropes.  We study the ways in which literary culture both reflects and produces the economic system of modern capitalism.  How does literature shape the meaning of industrialization, urbanization, slavery, and empire?  To what extent does nineteenth-century cultural history continue to inform contemporary society? 

To address these questions, the seminar explores a range of topics: among them, Malthus’s fear that society requires more food than it can produce, Wheatley’s and Equiano’s experience as human capital, Marx’s analysis of commodity fetishism and the alienation of labor, Dickens’s critique of laissez-faire economics, Stoker’s vampire and the professionals who combat him, Carroll’s bizarre world of living objects, and Haggard’s exploration of imperialist desire. 

Ethnomusicology is a field of music scholarship, which examines a wide range of music and music-related human activities with distinctive sociocultural perspectives and methodologies. This course offers an introductory experience of the field for students pursuing ethnomusicological projects in their Div. II and III and those interested in exploring this relatively unknown field. Students are introduced to the historical development of the field since its emergence in the late 19th century and more recent discourses and directions, subjects that many ethnomusicologists investigate, and how they approach them. Fieldwork being a central methodology, students learn how to document, analyze, and interpret ethnographic information, how to preserve and share their research findings, and ethical issues pertaining to the handling of individual and collective cultural properties. The course also entails a brief introduction of other methodologies such as archival, organological, and iconographical research. Previous experience in music scholarship, anthropology, or cultural studies is desirable.

In the fourth century BCE, Plato anticipated the popular derogatory conception of myth by dismissing it as an imaginative fabrication--pseudos, "a lie." Throughout Western history, however, and particularly since the rise of Romanticism, thinkers from various disciplines have viewed the stories of antiquity in more constructive terms. What is "myth"? Deliberate falsehood or a veiled truth? Is it a term applicable to or recognizable in non-Western cultures also? What is the relationship between myth and history, myth and literature, myth and religion, myth and art, myth and ideology? These are some of the questions this course is designed to address. 

In the fourth century BCE, Plato first anticipated the popular derogatory conception of myth by dismissing it as an imaginative fabrication--pseudos, "a lie." Throughout Western history, however, and particularly since the rise of Romanticism, thinkers from various disciplines have viewed the stories of antiquity in more constructive terms. What is "myth"? Deliberate falsehood or a veiled truth? Is it a term applicable to or recognizable in non-Western cultures also? What is the relationship between myth and history, myth and literature, myth and religion, myth and art, myth and ideology? These are some of the questions this course is designed to address.

When discussing Buddhism, why is it that westerners often project a romanticized and idealized image of Buddhism unfounded in Asian history? For instance, why do we imagine Tibet as a place of mysticism, simplicity and inner peace, while remaining completely ignorant about Tibetan history, geography, political systems, foreign relations and/or social customs? In addition, what do Buddhist mindfulness meditation and western psychotherapy have in common? How do Buddhist therapists practice different methods such as ACT (acceptance and commitment therapy) and MBCT (mindfulness based cognitive therapy for depression)? While drawing on various recent studies on Buddhist modernity, Orientalism, western psychology, globalization, the course will explore two related areas of emerging fields in modern Buddhism. 

This course will examine the ways that 20th-century philosophers and theorists have approached the art of their time, and the ways that modern and contemporary art illuminate and ground philosophical thought. Via writings by philosophers, theorists, and artists, we will traverse a selected history of 20th-century art guided by a selected history of 20th-century art theory. The course will survey artistic practices such as modernism, postmodernism, conceptualism, minimalism, and relational aesthetics and will examine critical approaches such as formalism, psychoanalysis, poststructuralism, and deconstruction. Students will be responsible for researching and presenting works of art for class discussions. Readings by Heidegger, Foucault, Deleuze, Derrida, Lyotard, Greenberg, Fried, Foster, Krauss, Bhabha, Enwezor, and others.

This course is for advanced film and video students who are prepared to work both collaboratively on group exercises and also on their own individual projects. Students will be expected to complete several exercises and a final project. The course will deal in some depth with the theory and practice of working with sound and music for film including 16mm sound-synch filmmaking, audio recording on location and the set, and post-production editing and mixing. Students will practice making sound tracks for film and video using digital editing tools. Readings and writing about the theory and history of the subject is an essential aspect of the course. Workshops that give training for using equipment and software will occur outside regularly scheduled class and students who already have experience in music composition, electronic music, or sound recording and mixing are welcome in the course.

This is an advanced architectural design studio that will investigate the notion of narrative and journey in designed spaces at the urban scale, building scale, and smaller scale such as exhibitions and sculpture. Students will be asked to analyze one or more precedents in terms of narrative and journey by developing methods of notation and mapping to present their analysis. The second half of the semester will be dedicated to a studio design project in which students can apply lessons learned from the precedent study to design an exhibition to be mounted in conjunction with the publication of a historical non-fiction narrative. In designing the exhibition for a specific display space, we will consider materials, embodied energy, assembly/disassembly, and the adaptability of the design to other exhibition spaces. These issues will be considered through the lens of sustainability. Pre-requisite: at least one intro design studio.

"If anthropology is fundamentally, in the words of Margaret Mead, "a discipline of words," then documentary, is, most fundamentally, a discipline of visual representation.it calls for an ethics of responsibility, an aesthetics of film form, and a politics of representation."--Bill Nichols, "Documenting the Documentary."

"What 'truth' does a 'documentary' reveal? The answer is far simpler than it might seem. The "truth" revealed is that someone or something turned on a camera somewhere and light was inscribed in an electronic or digital signal or on nitrate. These marks in light may resemble something familiar -- but it is always a new space made by the light so imprinted or registered on its new plane. Once this light, this so-called "image" has been ripped out of time by the camera, it exists only as an abstract etching, imitating the light of its source. " "Toward the Essay Film," by Joan Braderman.

Reading about non-fiction, analyzing and comparing fiction with non-fiction works and making films and videos, we will explore the above ideas and others, especially those related to the specific filmmaking processes and stages of production when working on location. Students must have some background in film or videomaking in the context of a course and will be expected to produce original works in these mediums.

In this interdisciplinary course students will work in the medium(s) of their choosing to explore the ways in which text and image interact with and complicate one another. We will look at a wide array of work that incorporates text and image, including but not limited to: Picasso, Braque, concrete poetry, Twombly, Rosler, Spero Piper, Krueger, Kalin, Child, Seydel, Ligon, Kaprow, Ono, Grand Fury. The main emphasis of this class will be experimentation and collaboration. Students will work on both collaborative and independent projects throughout the semester, while simultaneously developing a group show, which will be staged in the Leibling gallery at the end of the semester.

Graphic narrative has become a potent medium for narratives of witness. Wars, occupations, revolutions, uprisings—both past and present—have become of the subject of a large swath of comics (and non-comics) publishing today. In this course, we will read work by several of the most “canonical” creators of graphic witness—Keiji Nakazawa, Art Spiegelman, Marjane Satrapi, Joe Sacco, and Kyle Baker—ranging from memoir, to comics journalism, to historical reimagining.

This course begins with readings that will help us consider the politics and ethics of witnessing—both for comics creators and for their readers—as well as with critical readings that will help students learn concepts and vocabulary for analyzing comics. At various points during the semester, students will read and present on additional graphic narratives in order for us to discuss a wider range of material. In the last third of the course, students will write a research paper or create a nonfiction graphic narrative on a related topic of their choosing.

Some of the questions we will ask include: what makes graphic witnessing different from textual, verbal, or photographic representation? What are its possibilities and limitations? How do creators use varying levels of realism, abstraction, visual metaphor, and caricature to represent serious stories? What do these narratives make visible/legible? What are the politics of these narratives? Who are their readers, both intended and unintended?

Sketchbooks are places of safety and freedom, where artists can do whatever they please: explore unproven paths, go against the grain, experiment with unfamiliar techniques, document the world in deeply personal ways or just doodle without any pressure that out of this engagement a masterpiece will be born... and yet from working in sketchbooks regularly artists develop a discipline of engaging with the world and from the lack of pressure often new directions, new bodies of work are born. Using a range of materials and approaches students will explore the creative possibilities of sketchbooks. Regular hands-on work will include sketchbook entries responding to prompts and self-assignments designed by students. We'll also examine artists' sketchbooks and notebooks including those of artists from non-Western traditions. Prerequisite 100 Level class in painting, drawing or sculpture.

Comparative Literature is an exacting discipline that studies literature across boundaries of culture, geography, and language. This course will focus on textual analysis and critical reflection on the important acts of reading and writing, in relation to other disciplines and cultural media like history, politics, film, journalism, and art. Theoretical approaches to interpretation will be stressed. Texts will be in English, although when possible, students will be encouraged to read works and view films in the original. For students with high intermediate or better language skills, a short translation project is possible as a final project.

This pro-seminar will give students the opportunity to develop an in-depth, independent research paper on a woman artist, architect, or designer working in the 20th or 21st century-from any place or region of the world. The course will begin by collectively considering the work of modernist, post-war, and contemporary women artists who are known for their experimentation and for working in multiple modalities-including painting, sculpture, performance, installation, books arts, video, film, photography, architecture and design. Throughout, we will target the ways in which women artists have crossed or defied traditional formats and delivery platforms, as well as those today who work in multifaceted mediatic interfaces. Visiting scholars will demonstrate the ways in which case studies can enable rigorous formal analysis, complex historical contextualizations, and diverse critical approaches. Each student will produce a lengthy research paper, which they will develop, workshop, and present throughout the semester. Open to Division II or III students, or Five College sophomore, juniors or seniors. A foundational course in women's studies, history or the history of art is highly recommended. This course will be meet at Hampshire and at the Five College Women's Studies Resource Center.

Is music raced? How do musical sound, image, performance, and even performer become racialized? How does music speak to, reflect, reproduce, reinforce, and/or contest race and racism? How do individuals use music to express their ethnic/racial identity? Such questions hint at the undeniable yet ineffable influence of race on the American musical imagination. This seminar will consider the fraught intersection of race, power, and desire in contemporary popular music (hip hop, electronic dance music, rock, pop, punk, R&B/soul, world music, etc.). Utilizing an interdisciplinary amalgam of Popular Music Studies, Post-Colonial Theory, Critical Race Studies, Ethnic Studies, Literary Criticism, Media Studies, Cultural Studies, and (Ethno) Musicology, we will investigate the local creation and global circulation of racially-coded sonic signifiers; questions of authenticity and appropriation; music as a form of cultural resistance and colonial domination; and music as a key component in identity formation. This course is reading-, writing-, and theory-intensive.

REQUIRED TEXTS: All readings are available via the HACU 0283 course website.

Laban Movement Analysis (LMA) is a dynamic system for describing, classifying and understanding human movement. Developed by Rudolf Laban, an important scholar and visionary in the field of movement studies, LMA addresses both quantitative and qualitative characteristics of movement. Through study and physical exploration of Body, Space, Effort and Shape concepts, students will examine their own movement patterns and preferences (with the potential for expanding personal repertoire), and develop skill in observing and analyzing the movement of others within a range of artistic, social and cultural contexts. The course material is of value to students working in a range of disciplines (such as dance, theater, psychology, education, physical education, non-verbal communication, kinesiology, anthropology, cultural studies, etc.) and there will be ample opportunity for exploration and application of LMA concepts to a wide range of individual interests. Prior experience in dance or other kinds of movement trainings are welcomed but not required, however students must be willing to engage fully and energetically in all the movement activities.

The century in which Greek drama was developed-twenty-five centuries ago-was for Athens a century of war so like our own that General George C. Marshall, as Secretary of State, once said "I doubt seriously whether a man (sic) can think with full wisdom and with deep convictions regarding certain of the basic international issues today who has not at least reviewed in his mind the period of the Peloponnesian War and the Fall of Athens." The same may be said of a less international issue: not how and where best to wage war, but how and where best to recover from it. For the ancient Athenians, the answer lay in the theater. Jonathan Shay, author of Achilles in Vietnam, puts it quite simply when he argues that "Athenian theater was created and performed by combat veterans for an audience of combat veterans; they did this to enable returning soldiers to function together in a 'democratic' polity." The core texts of this class will be the Peloponnesian War of Thucydides and the anti-war dramas of Euripides and Aristophanes.

This course will examine the art, architecture, and design of Europe and U.S. in the aftermath of the physical destruction and psychic devastation of World War II and the Holocaust. For many artists, architects and designers in the 1940s and 50s, it was essential that they address the sense of helpless tragedy that confronted and confounded them. After the war, this nihilistic vision infected and transformed the once-utopian visions of modernity. Attempts at re-writing the history of modernism, redefining political culture with a new urban consciousness and literally rebuilding the post-war world will be among the themes explored. We will consider: artists such as Wols, Dubuffet, Beuys, Bourgeois, Pollock, Rothko, and Newman; artists' groups such as CoBrA and the Situationists; architectural organizations such as Archigram and the Congres internationale d'architecture moderne (CIAM); films such as "The Rape of Europa" and "The Third Man"; photographers such as Cartier Bresson and Bourke-White; as well as schools such as Black Mountain College, the Ulm School, and the New Bauhaus in Chicago. The response of artists to WWII will be positioned against the philosophy and critical theory of Benjamin, Debord, Sartre, Adorno, and Arendt. We will conclude with a discussion of contemporary Holocaust memorials and memorialization. Students in this course will be expected to write a series of essays, to give group and individual presentations, and to write a final paper based on rigorous research. Prerequisite: any course in the history, art history, philosophy, or literature of the 20th century.

This course will look at the phenomenon of globalization and contemporary art through the lens of border culture, a term that refers to the "deterritorialized" nature of a subject when she is removed from her context or place of origin. Her themes include borders within the realms of language, gender, ideology, race, and genres of cultural production. Border culture emerged in the 1980s in Tijuana/San Diego in a community of artists who had spent many years living outside their homelands or living between two cultures—an experience that in 2013 might well represent the nature of contemporary life as well as art praxis. Division II and III students will have the opportunity to develop an independent paper or portion of their thesis in this course.

This course will provide an opportunity for Division II students in film/video, photography and related media that wish to pursue their own work, creating at least one completed new project for inclusion in the Division II portfolio. Each student will be required to present his/her work to the group several times during the semester. The members of the workshop will provide critical, technical and crew support for one another. Team projects are supported as long as each participant has a distinct and responsible role in the making of that work. Technical workshops will be offered where necessary. However, prior to joining the workshop, students must have some level of mastery over his/her medium as well as course evaluations in prerequisite areas. We will unpack the conceptual process of creating and realizing new works. Readings, screenings and museum/gallery visits, which address the specific problems faced by class members in developing the works-in-progress, will contribute to the overall experience of the workshop. All of these activities including active verbal contributions to all sessions are required of each student under the guiding principle that tracking each other's intellectual and creative process will help each person develop their respective project. This course provides a structured context in which to do independent work at the Division II-level. Prerequisites: evaluations from at least two courses in a related discipline.

The Greek word Ou topos, means "no place". The English homophone eutopia, derived from the Greek means "good place". In this class we will explore what this no/good place is, how to find it, and most importantly how to envision it. We will read Jose Muoz's Cruising Utopia, as well as Jill Dolan's Utopia in Performance, among others. We will look at various films/videos that attempt to depict this place that is nowhere, that is good, that sings its siren song. Prerequisite: Film I or Video I (or related film/photo/video production course).

During the course of the semester we will create the soundtrack of our utopia; each week we will begin class by listening to a song that may conjure up some utopian feeling; as we listen, we will write responses to the songs and their possible (aural) visions of utopia. Students will post each of these writings on Moodle and will engage with each other's ideas throughout the semester. At the end of the semester students will take their free-writes and turn them into a more polished paper on their own utopian visions. Students will also create artistic experiments in reaction to weekly readings.

This advanced seminar will meet for three hours weekly to read, in conjunction with selected theoretical and historical material, the texts of eleven plays by Shakespeare. The final selection of plays will be made by the seminar but will include plays from all genres (history, comedy, tragedy, romance.) Questions to be explored include: issues of language, self and identity; the question of rule and authority; the representation of gender in the drama and the social ideology of the period; the staging of power and social position; the relation of actor and audience. Students will be expected: to give opening presentations for specific seminar sessions; to write frequent, brief position papers; and to submit a final portfolio of developed critical writing, including a longer comparative, research- based paper.

L. Brown Kennedy's Office is FPH G 12; Hours are Th 11-12, 1-3 and Mon 3-4 by appointment!

While students work on their Division III portfolios and exhibitions, the class will come together around organizing collaborative and individual publications, both in print and online, surrounding students' capstone projects. Group critiques and curatorial problem-solving sessions will also occur. Students will be expected to work a minimum of 6 hours a week outside of class time. Prerequisites: First semester or second semester Division III artists.

Film/Photography/Video Studies Seminar: This course is open to film, photography and video concentrators in Division III and others by consent of the instructor. The class will attempt to integrate the procedural and formal concentration requirements of the College with the creative work produced by each student. It will offer a forum for meaningful criticism, exchange, and exposure to each other. In addition, various specific kinds of group experience will be offered, including lectures and critiques by guest artists. The course will include discussions of post- graduate options and survival skills including tips on exhibition and distribution, and graduate school applications.