INDIVIDUAL SENIOR PROJECTS

Prerequisites: Meets senior requirement. Instructor permission required. The instructor will supervise the writing of long papers involving some form of sociological research and analysis.

• Department: Sociology @Barnard
• Instructor: Randa B Serhan
  CULPA: 2 Info
• 4 points

Disability

This course centers
disability
in its many manifestations and meanings – as an embodied, social, and cultural experience, as an organizing discourse in local and global contexts, as an analytic framework, and as a position from which to approach, think about, and engage in the world. Together, we will seek to understand disability in diverse settings and contexts through ethnographic texts, autobiography, documentary film, and essays, drawing primarily from works in anthropology but also more broadly from the interdisciplinary traditions known as (Critical) Disability Studies.

Throughout the semester, we will move between considering disability in more and less specific and categorical terms. We will ask what the stakes are – intellectually, socially, politically -  for different ways of doing, thinking, and representing disability. What becomes apparent when we consider, say, the experiences of deaf young adults in India working together to learn Indian Sign Language, or physically disabled adults in the United States whose disabilities must be situated within histories of racialized poverty and urban neglect? What happens – what are the resonances and the tensions – when we put these settings into conversation? Through our engagements with materials analyzing these and many other instances, we will think together about what it means to study and think with disability from different disciplinary perspectives, different methods, and different media.

• Department: Anthropology @Barnard
• T 2:10 p.m.-4 p.m.
• Instructor: Elizabeth M Green
  CULPA: 2 Info
• 4 points

ARTEMIS RISING SHORT COURSE IN FILM PROD

ARTEMIS COURSE:FILM PRODU

The Artemis Rising Short Course in Film Production is a one-point credit short workshop presented by an Artemis Rising Foundation Filmmaker Fellow (ARFF).  It consists of four workshops on a special aspect of film production and one final project. This series was endowed by the Artemis Rising Foundation to bring world-class filmmakers with hands-on experience and fresh perspectives to Barnard to connect with students interested in filmmaking as a vocation and media literacy.

It can only be taken for pass/fail for 1 point. 
Students must attend all four class workshops and produce one final project in order to receive credit for this course. 
To see the dates/times that the Artemis Rising Short Course will meet this semester, the current course description, and the biography of the visiting filmmaker, please visit the ARFF website:
https://athenacenter.barnard.edu/arff
.

• Department: Film @Barnard
• T 4:10 p.m.-6 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia Info
• 1 points

SUPERVISED INDEPENDENT RES

Prerequisites: the instructors permission for entrance, and the departmental representatives permission for aggregate points in excess of 12 or less than 4. This course may be repeated for credit (see major and concentration requirements). Individual research under the supervision of a member of the staff. Research areas include organic, physical, inorganic, analytical, and biological chemistry. Please note that CHEM UN3098 is offered in the fall and spring semesters.

• Department: Chemistry
• Instructor: Vesna Gasperov
  CULPA: 1 h-index: 4 Info
• 4 points

GUIDED RESEARCH IN ECONOMICS

Prerequisites: Instructors permission Provides students with the experience of participating in the research process by matching them to a faculty mentor who will put them to work on one of his or her current research projects.

• Department: Economics @Barnard
• Instructor: Martina Jasova
  CULPA: 7 h-index: 7 Info
• Instructor: Homa S Zarghamee
  CULPA: 17 Info
• Instructor: Sarah M Gertler
  Info
• Instructor: Randall Reback
  CULPA: 17 h-index: 14 Info
• Instructor: Ashley Wong
  Info
• Instructor: Kurt Semm
  Info
• 1-2 points

INDEPENDENT STUDY

Prerequisites: ECON BC3033 or ECON BC3035 or permission of the instructor. Topic(s), requirements, workload and point value to be determined in consultation with faculty advisor. Forms available at the Office of the Registrar.

• Department: Economics @Barnard
• Instructor: Alan Dye
  CULPA: 19 Info
• 1-4 points

INDEPENDENT STUDY

• Department: French @Barnard
• Instructor: Brian D O'Keeffe
  CULPA: 28 Info
• 1-4 points

INDEPENDENT STUDY

This course can be worth 1 to 4 credits (each credit is equivalent to approximately three hours of work per week) and requires a Barnard faculty as a mentor who has to provide written approval. The course entails a scholarly component; for this, a research report is required by the end of the term. The research report can take the form that best suits the nature of the project. The course will be taken for a letter grade, regardless of whether the student chooses 1, 2, 3, or 4 credits.

• Department: Neuroscience & Behavior @Barnard
• Instructor: Peter D Balsam
  CULPA: 25 Info
• Instructor: Elizabeth P Bauer
  CULPA: 3 h-index: 21 Info
• Instructor: Bj Casey
  Info
• Instructor: John Glendinning
  CULPA: 23 h-index: 39 Info
• Instructor: Russell D Romeo
  CULPA: 9 Info
• Instructor: Rae Silver
  Wikipedia h-index: 69 Info
• Instructor: Alex White
  h-index: 13 Info
• Instructor: E'Mett McCaskill
  CULPA: 38 Info
• Instructor: Kara Pham
  CULPA: 9 Info
• Instructor: Gabrielle J Gutierrez
  Info
• Instructor: Kevin G Bath
  Info
• Instructor: Alexis S Hill
  Info
• 1-4 points

INDEPENDENT PROJECTS

• Department: Sociology @Barnard
• Instructor: Randa B Serhan
  CULPA: 2 Info
• 1-4 points

FOLKLORE PAST & PRESENT

An introduction to the concept of folklore as an evolving, historical concept, and to primary source materials which have been framed as such. These are translated from Bosnian, Chukchi, Czech, Finnish, German, Polish, Russian, Serbian, Tuvan, Ukrainian, Yiddish, Yupik languages, and others. Geographical range is from South-Eastern Europe to the Russian Far East. We learn about particular oral traditions, their social mechanisms of transmission and performance, their central themes and poetics. Attention is paid to the broader sociopolitical factors (Romantic nationalism, colonization) which have informed the transcription, collection and publication of these traditions. For the final project, students learn how to conduct an ethnographic interview, and to analyze the folklore of a contemporary social group. Our goal is to experientially understand—as folklorists and as members of folk groups ourselves—the choices entailed in transcribing and analyzing folklore.

• Department: Slavic Languages
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Christopher Caes
  Info
• 3 points

ARCHIVE PHOTOGRAPHY

When millions of images are made every day, how can a photographer create an original body of work? This class proposes that parsing humanity’s existing shared archive of images is more relevant than generating new images. Following models such as Nepal Picture Library, Magnum Foundation, Drik/Majority World, and Arab Image Foundation, contemporary photography has remapped its practice around the reimagining and explanation, of the archival object. This class explores many archives–family albums, historical photographs, government records, fragile maps, musical albums, and flea market collectibles. We will use a series of lens-based technologies, starting from the flatbed scanner and Photoshop retouching and radiating outward. We will explore archive concerns, including consent, ownership, privacy, circulation, respect, and political impact. Students will explore display forms, including slide shows, zines, books, and exhibitions. There will be a strong complement of reading and writing in this class around the theory and practice of archives from the Western North and Global South.

• Department: Visual Arts
• MW 1 p.m.-3:30 p.m.
• Instructor: Ben Salesse
  Info
• 3 points

ADVANCED FICTION WORKSHOP

Building on the work of the Intermediate Workshop, Advanced Workshops are reserved for the most accomplished creative writing students. A significant body of writing must be produced and revised. Particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.

• Department: Writing
• R 4:10 p.m.-6 p.m.
• W 4:10 p.m.-6 p.m.
• Instructor: Diane M Cook
  Info
• Instructor: Joss Lake
  Info
• 3 points

ADVANCED BENGALI I

• Department: Language Resource Center
• 3 points

ADVANCED BURMESE

• Department: Language Resource Center
• MW 2:45 p.m.-4 p.m.
• 3 points

ARCHAEOL OF ANC EGYPT & NUBIA

Thanks to the pyramids of Giza, the treasure of Tutankhamun, and other remains of royal activity, pharaonic Egypt is justly famous for its monuments and material culture. Equally fascinating, if less well known, however, are the towns, fortresses, cultic centers, domestic spaces, and non-elite cemeteries that have been excavated over the past 200 years or so. The archaeology of Nubia is also little known but fascinating on many levels. This course will focus on what archaeology can reveal about life as it was experienced by individuals of all social classes. Through a combination of broad surveys and case studies of some of Egypt and Nubia’s most culturally indicative and intriguing sites, we will explore issues such as the origins of inequality, state formation and its effects, the uneasy mix of state-planned settlements and village life, urbanism, domestic and community worship, gendered spaces, ethnicity and colonialism, religious revolution and evolution, bureaucracy, private enterprise, and the effects of governmental collapse on life and death in ancient Egypt and Nubia.

• Department: Classics @Barnard
• MW 1:10 p.m.-2:25 p.m.
• Instructor: Ellen Morris
  CULPA: 10 Info
• 3 points

ADVANCED DUTCH I

This advanced course is a content-based language course, and is centered around the history of the Low Countries. Each week focuses on a specific era, such as the counts of Holland in the 13th century and the Reformation in the 16th century. Students will read texts about history and literature of the historical periods.

Students will read texts at home and discuss them in class, explore history-related websites and watch short video clips.

Attention will be paid to advanced grammar issues and vocabulary.

• Department: Germanic Languages
• TR 6:10 p.m.-7:25 p.m.
• Instructor: Nicolette Dekens
  Info
• 3 points

GEOCHEM FOR A HABITABLE PLANET

Prerequisites: Any 1000-level or 2000-level EESC course; MATH UN1101 Calculus I and CHEM UN1403 General Chemistry I or their equivalents. The origin, evolution, and future of our planet, based on the book How to Build a Habitable Planet by Wallace S. Broecker. This course will focus on the geochemical processes that built Earth from solar material, led to its differentiation into continents and ocean, and have maintained its surface at a comfortable temperature. Students will participate in a hands-on geochemistry project at Lamont-Doherty Earth Observatory.

• Department: Earth and Environmental Sciences
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Terry A Plank
  CULPA: 6 Wikipedia Info
• 3 points

ADVANCED INDONESIAN I

This course offers students the opportunity to practice advanced structures of Bahasa Indonesia, a major language of Indonesia and South East Asia. This course is offered by videoconferencing from Cornell as part of the Shared Course Initiative.

• Department: Language Resource Center
• TWR 8 a.m.-8:50 a.m.
• 3 points

INTRODUCTION TO LINGUISTICS

An introduction to the study of language from a scientific perspective. The course is divided into three units: language as a system (sounds, morphology, syntax, and semantics), language in context (in space, time, and community), and language of the individual (psycholinguistics, errors, aphasia, neurology of language, and acquisition). Workload: lecture, weekly homework, and final examination.

• Department: Slavic Languages
• TR 1:10 p.m.-2:25 p.m.
• Instructor: John H McWhorter
  CULPA: 26 Wikipedia Info
• 3 points

THIRD-YEAR RUSSIAN I

Prerequisites: RUSS UN2102 or the equivalent, and the instructor's permission. Recommended for students who wish to improve their active command of Russian. Emphasis on conversation and composition. Reading and discussion of selected texts and videotapes. Lectures. Papers and oral reports required. Conducted entirely in Russian.

• Department: Slavic Languages
• MWF 10:10 a.m.-11:25 a.m.
• Instructor: Tatiana Mikhailova
  Info
• 4 points

Literary Sinhala I

This one-semester course introduces the distinctive grammatical forms and vocabulary used in Literary Sinhala. While focused particularly on the development of reading skills, the course also introduces students to Literary Sinhala composition, builds students’ listening comprehension of semi-literary Sinhala forms (such as those used in radio and TV news), and guides students in incorporating elements of the literary register of Sinhala in their spoken production.

• Department: Language Resource Center
• TR 1 p.m.-2:30 p.m.
• 3 points

PAINTING II

Prerequisites: (VIAR UN1000) and (VIAR UN2100) (Formerly R3202) Painting II: Extension of VIAR UN2100 This course explores the transition of representational form towards abstraction in the early 20th century (Cubism) with full consideration to recent movements such as geometric abstraction, organic abstraction, gestural abstraction, color field and pattern painting. Students will be encouraged to find dynamic approaches to these classic tropes of 20th and 21st century abstraction.

• Department: Visual Arts
• W 10 a.m.-4 p.m.
• Instructor: Esteban Cabeza de Baca
  Wikipedia Info
• 3 points

SENIOR FICTION WORKSHOP

Seniors who are majors in creative writing are given priority for this course. Enrollment is limited, and is by permission of the professor. The senior workshop offers students the opportunity to work exclusively with classmates who are at the same high level of accomplishment in the major. Students in the senior workshops will produce and revise a new and substantial body of work. In-class critiques and conferences with the professor will be tailored to needs of each student. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.

• Department: Writing
• R 2:10 p.m.-4 p.m.
• Instructor: Heidi S Julavits
  CULPA: 1 Wikipedia Info
• 4 points

ADVANCED ZULU I

Prerequisites: ZULU W1201-W1202 or the instructor's permission. This course allows students to practice adanced structures of the Zulu language. Please note this course is offered by videoconference from Yale through the Shared Course Initiative.

• Department: Language Resource Center
• MW 1 p.m.-2:15 p.m.
• Instructor: Nandipa Sipengane
  Info
• 3 points

Language, Brain and Mind

The ability to speak distinguishes humans from all other animals, including our closest relatives, the chimpanzees. Why is this so? What makes this possible? This course seeks to answer these questions. We will look at the neurological and psychological foundations of the human faculty of language. How did our brains change to allow language to evolve? Where in our brains are the components of language found? Are our minds specialized for learning language or is it part of our general cognitive abilities to learn? How are words and sentences produced and their meanings recognized? The structure of languages around the world varies greatly; does this have psychological effects for their speakers?

• Department: Slavic Languages
• MW 2:40 p.m.-3:55 p.m.
• Instructor: William Foley
  h-index: 0 Info
• 3 points

Women Writers of Contemporary Middle Eas

WOMEN WRITERS MIDEAST AFR

Since the last decades of the twentieth century there has been a dramatic increase in the number of women writers from the Middle East and North Africa. This advanced course, which will be taught mainly in French, provides a window into this rich and largely neglected branch of world literature. Students will encounter the breadth and creativity of contemporary Middle Eastern and North African women’s literature by reading a range of twentieth- and twenty-first-century novels, short stories, memoirs and poetry available in French or in translation, and by viewing films that are from or about Iran, Lebanon, Algeria, and Egypt. How do Middle Eastern women authors address women’s oppression – both social and physical – and enunciate issues such as the tension between tradition and modernity, sexuality, identity and class from a female perspective? What literary traditions and models do they draw on? How different are those texts written in French for a global audience, as opposed to those written in Persian or Arabic? What are the effects of reading them in translation? Authors will include Marjane Satrapi, Shahrnush Parsipur, Assia Djebar, Maïssa Bey and Nawal El Saadawi.

• Department: French @Barnard
• TR 11:40 a.m.-12:55 p.m.
• Instructor: Melanie Heydari
  Info
• 3 points

Applied Bayesian Analysis

This is a course in intermediate statistical inference techniques in the context of applied research
questions in data science. Assuming some prior exposure to probability and statistics, this course will
first introduce the student to the principles of Bayesian inference, then apply them in estimation and
prediction in the context of linear and generalized linear models, counting and classification, mixture and
multilevel models, including scientific computation (like MCMC methods). Students will also learn
about the main benefits of using Bayesian vs. frequentist methods, like naturally combining prior
information with the data; posterior probabilities as easier to interpret alternatives to p-values; parameter
estimation “pooling” in hierarchical model and so on.

• Department: Statistics
• TR 2:40 p.m.-3:55 p.m.
• Instructor: Dobrin Marchev
  Info
• 3 points

EXISTENTIALISM

Prerequisites: Successful completion of Intermediate II French or the equivalent. In-depth survey of the writers who exemplified French existentialism: Albert Camus, Jean-Paul Sartre, and Simone de Beauvoir. The texts have been chosen for the richness with which they address fundamental philosophical questions about the meaning of life, especially questions of death and suffering, freedom and responsibility, legitimate and illegitimate violence. The first objective of this class is to show how existentialist thought combines literature and philosophy; the second objective is to gain a broad, but also deep familiarity with 20th-century French literature and thought. FREN BC1204: French Intermediate II or the equivalent level is required.

• Department: French @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Brian D O'Keeffe
  CULPA: 28 Info
• 3 points

Neuroimmunology Seminar

NEUROIMMUNOLOGY SEMINAR

This seminar class will explore the interactions between the nervous and immune systems. Because immunology is not a common undergraduate course, we will start the semester with an overview of immunology foundations: the cells, chemicals, and organs of the immune system, immunological communication and memory, and the innate and adaptive response systems. We will then read scientific journal articles to understand how the immune system modulates development and function of the nervous system, how homeostasis between the brain and the immune system is maintained, and how immunological response to infection and injury can result in neuropathology. We will conclude with an examination of how disseminated tumor cells can breach the blood-brain barrier to seed metastatic brain cancer.

• Department: Neuroscience & Behavior @Barnard
• W 11 a.m.-12:50 p.m.
• Instructor: Kara Pham
  CULPA: 9 Info
• 4 points

APPLIED STATISTICAL METHODS

Prerequisites: At least one, and preferably both, of STAT UN2103 and UN2104 are strongly recommended. Students without programming experience in R might find STAT UN2102 very helpful. This course is intended to give students practical experience with statistical methods beyond linear regression and categorical data analysis. The focus will be on understanding the uses and limitations of models, not the mathematical foundations for the methods. Topics that may be covered include random and mixed-effects models, classical non-parametric techniques, the statistical theory causality, sample survey design, multi-level models, generalized linear regression, generalized estimating equations and over-dispersion, survival analysis including the Kaplan-Meier estimator, log-rank statistics, and the Cox proportional hazards regression model. Power calculations and proposal and report writing will be discussed.

• Department: Statistics
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Benjamin K Goodrich
  Info
• 3 points

Undergraduate Mentored Research

Prerequisites: the project mentors permission. This course provides a mechanism for students who undertake research with a faculty member from the Department of Statistics to receive academic credit. Students seeking research opportunities should be proactive and entrepreneurial: identify congenial faculty whose research is appealing, let them know of your interest and your background and skills.

• Department: Statistics
• Instructor: Anne Van Delft
  CULPA: 2 h-index: 5 Info
• 3 points

Undergraduate Mentored Research

Prerequisites: the project mentors permission. This course provides a mechanism for students who undertake research with a faculty member from the Department of Statistics to receive academic credit. Students seeking research opportunities should be proactive and entrepreneurial: identify congenial faculty whose research is appealing, let them know of your interest and your background and skills.

• Department: Statistics
• Instructor: Bodhisattva Sen
  h-index: 24 Info
• 3 points

Nazism in Performance

NAZISM IN PERFORMANCE

Explores the cultivation of national and transnational performances as a significant force of National Socialism, at the same time as challenging the notion of "Nazi Theatre" as monolithic formation. The core of the course inquires into the dialectical analysis of artistic creations in diverse art genres, while working towards an understanding of the social dramaturgy of such events as staging the Führer and the racialized body of the priveleged people. Nazism did not harbor ideologies without benefits for the allied nations. Thus, the dynamic performance of transnationalism among the "brothers in arms" will be included as well, in order to elucidate how works of art crossing into the Third Reich were reimagined, sometimes in ways challenging to the presumed values of the state stage. Permission of instructor given at first class meeting.

• Department: Comparative Literature and Society @Barnard
• W 4:10 p.m.-6 p.m.
• Instructor: Hana Worthen
  Info
• 4 points

THE AFRICANA COLLOQUIUM

CARIBBEAN WOMEN HERSTORIES

The Africana Studies Department offers special topics courses every year as colloquia. These colloquia provide opportunities for students to explore areas of particular interest within African Diasporic Studies in a seminar environment. Students earn 4 credits for these courses. There are multiple colloquia offered by the department every year. Some of the topics for these colloquia have included Critical Race Theory, Indian Ocean Diaspora, The New Black, Caribbean Women, and Black Shakespeare. As the topics change, students should check with the Chair of the Africana Studies Department if they have any questions about the topics for a particular academic year.

• Department: Africana Studies (AFSB)
• W 4:10 p.m.-6 p.m.
• Instructor: Celia E Naylor
  CULPA: 2 Info
• 4 points

UNCERTAIN/RISK-CIVIL INF SYST

Introduction to basic probability; hazard function; reliability function; stochastic models of natural and technological hazards; extreme value distributions; Monte Carlo simulation techniques; fundamentals of integrated risk assessment and risk management; topics in risk-based insurance; case studies involving civil infrastructure systems, environmental systems, mechanical and aerospace systems, construction management. Not open to undergraduate students.

• Department: Civil Engineering and Engineering Mechanics
• T 4:10 p.m.-6:40 p.m.
• Instructor: Ioannis Kougioumtzoglou
  h-index: 26 Info
• 3 points

Language and Pop Culture in Contemporary

Language & Pop Culture: F

What are French people
actually
saying to each other? You’ve taken French for 3+ years, have been reading literature, watching films and writing about them in sophisticated analyses. Yet, conversations among native speakers may still elude you. This course is designed to help you bridge that gap, and gain a better understanding of the slang (
argot
) and the pop culture references that contribute to French’s vibrancy. Together we will review a variety of contemporary French popular art forms, from music, film and graphic novels to street art, film, and food culture. We will explore the history of these genres, and the ways in which French identity is continuously (re)-established in its popular culture with and against the influences of decolonization, Americanization and globalization. The course is conducted in French.

• Department: French @Barnard
• MW 4:10 p.m.-5:25 p.m.
• Instructor: Karen Santos da Silva
  CULPA: 4 Info
• 3 points

GANDHI, KING & POLS OF NONVIOLENCE

Since Gandhi’s experiments in mass
satyagraha
over a century ago, nonviolence has become a staple of protest politics across the globe.  From the Occupy movements to the Arab Spring to Movement for Black Lives, it might even be entering a new phase of revitalization.  At the same time, what exactly nonviolence is and what it can accomplish in politics is very much under debate.   This course aims to understand the politics of nonviolence by examining the political ideas and political careers of its most well-known twentieth-century advocates, M.K. Gandhi and Martin Luther King, Jr.  

Though still venerated as founding figures of nonviolent protest, Gandhi and King have come to be remembered in ways that can misconstrue how they understood and practiced nonviolent politics.  To many, Gandhi is a saintly idealist, who wanted to imbue politics with the spirit of
ahimsa
, truth, and conscience.   Likewise, King is taken to be a spokesman for interracial brotherhood and Christian love.  While partly true, these images also downplay the political side of their nonviolence – the techniques of organizing and strategies of protest that made their movements successful. 

We will examine the evolution of Gandhi’s and King’s political thinking in relation to the movements they led – the Indian independence movement and the civil rights movement in the US.  We will consider how the theory and practice of nonviolence evolved and changed as it moved from one context to another.  We will be especially focused on understanding the dynamics of nonviolent protest.

• Department: Political Science
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Karuna Mantena
  CULPA: 3 Info
• 4 points

THE FIRST PERSON

TBA

• Department: Writing
• W 2:10 p.m.-4 p.m.
• Instructor: Sophie F Kemp
  Info
• 3 points

GANDHI, KING&NONVIOLENCE-DISC

This is the required discussion section for 
POLS UN3112.

• Department: Political Science
• T 1:10 p.m.-2 p.m.
• T 9:10 a.m.-10 a.m.
• W 1:10 p.m.-2 p.m.
• M 3:10 p.m.-4 p.m.
• Instructor: Mayaki Saley T Kimba
  Info
• Instructor: Hedwig Lieback
  Info
• Instructor: Praboda M Perikala
  Info
• Instructor: Robab Vaziri
  Info
• 0 points

ECONOMETRICS LAB/RECITATION

• Department: Economics @Barnard
• T 3:10 p.m.-4 p.m.
• 0 points

VOICES & VISIONS OF CHILDHOOD

Childhood, in some sense, is a universally shared area of expertise: everyone alive was once a kid. At the same time, childhood remains a profound mystery. There’s so much we don’t remember! And the experiences we do retain—did we really understand them, then or now? Even the most ordinary moments of early life can acquire extraordinary significance: they are the touchstones and talismans that we use to make sense of the world, and our place within it. But why? And how?

As we read and write about childhood in this class, we will be asking questions fundamental to the art of fiction: where does a story begin? How is a character formed? Youth, like literature, is filled with symbols. Kids, like writers, are imaginative, metaphorical thinkers, prone to both flights of fancy and glimpses of the truth. The stories of our youth often follow a predictable, prescribed narrative—we are, after all, rarely the authors of our own upbringing—and yet there are a few phases of life with as many plot twists, climactic and often traumatic events that shape who we are. In this way, our line of inquiry in this course will be at once literary and personal. We will be reading and writing about a subject that is nothing short of profound: the origins of life.

• Department: Writing
• T 10:10 a.m.-noon
• Instructor: Melissa Oliva-Lozada
  Info
• 3 points

SCREENWRITING FUNDAMENTALS

SCREENWRITING FUNDMENTALS

Prerequisites: FILM BC3201 or equivalent. Enrollment limited to 12 students. Priority is given to Film Studies majors/concentrations in order of class seniority. Corequisites: (Since this is a Film course, it does not count as a writing course for English majors with a Writing Concentration.)

This course is ideal for writers of their FIRST, SECOND AND THIRD screenplays. The first several weeks will focus on STORY: What it is, what it isn’t, how to recognize the difference. How to find your own individual stories that nobody else in the universe can tell.

From there we will make the transition to the highly individualized techniques, the strengths and limitations, the dynamics of telling a SCREEN STORY; what to leave in, what to leave out. As Michelangelo puts it—starting with a block of marble and chipping away everything that isn’t David.  Through studies of existing screenplays and films in coordination with and hands-on writing exercises which we will share in class, we will develop our skills in all aspects of screenwriting; building fascinating characters, dialogue, story construction (The BIG PICTURE) and scene construction (The Small Picture)

Perfection is not the goal; but rather it is to be able to say truly at the end of each day’s writing, “I did the best I could with what I had at the time. (Phillip Roth quoting heavyweight champion Joe Louis)

• Department: Film @Barnard
• W 4:10 p.m.-7 p.m.
• Instructor: Peter Nickowitz
  Info
• 3 points

The Politics of Nature

THE POLITICS OF NATURE

Nature and politics have often been counterposed in political thought: politics is understood to be a distinctly human activity, perhaps even the defining human activity, while nature describes the material world as it operates independently from human action; politics concerns the realm of decisions about how things will and ought to be, while nature names that which simply is and cannot be changed. What, then, does it mean to think about the politics of nature? We will begin by examining the ways that political thinkers have understood nature in general before moving into specifically ecological thought and ending with reflections on the central challenge of nature and politics today: climate change. Themes addressed include the role of science in politics, the challenges of politics on a global or planetary scale, the political and moral status of nonhuman nature, and the relationship between nature and economics.

• Department: Political Science @Barnard
• T 11 a.m.-12:50 p.m.
• Instructor: Alyssa Battistoni
  Info
• 4 points

Animal Tales

"We polish an animal mirror to look for ourselves."

 -Donna Haraway

In the last several decades, Animal Studies has emerged as a robust interdisciplinary field that once again seeks to engage with “the question of the animal,” as Derrida puts it. In this course, we will look at works of cultural production that explore the myriad relationships between human and nonhuman animals. We will read stories that dissolve the barrier between the domestic and the wild. We will read stories about human-animal hybrids. We will read stories from an animal’s-eye-view, imagining the world as an animal might: as a worm digging through the dirt toward an imagined utopia, as an elephant seeking vengeance against poachers, as a cultivated monkey exhausted by the cruelty of human society.

As the popular post-humanist scholar Donna Haraway puts it: We polish an animal mirror to look at ourselves. What can animals teach us about ourselves, and more importantly, what can animals teach us about how to survive our own nature? In the midst of this sixth extinction, animals are disappearing at a rapid rate due to human activity. Will it still be possible to cohabit peacefully, ecologically, with one another? By imagining the private lives of animals and writing stories from their perspective, can we still intervene and cultivate the necessary cross-species connections that will carry us into a more just and entwined future?

• Department: Writing
• R 12:10 p.m.-2 p.m.
• Instructor: Anelise I Chen
  Info
• 3 points

ZORA NEALE HURSTON & BLACK PERFORMANCE

ZORA NEALE HURSTON & BLK

This course begins with focused attention on select plays of Zora Neale Hurston and her critical writing on performance, then takes ZNH’s aesthetics, politics, and provocations as a lens to study Black performance, broadly defined.  We will consider the contexts in which Hurston pursued a career as playwright and theatremaker, and the influences that found their way into her plays including spiritual narratives and voodoo.  We will turn our attention to key writers of the Harlem Renaissance to learn where ZNH first made her mark, and the milieu to which she ultimately turned her back.  Each week’s reading/viewing will include primary sources (ZNH’s plays and dramaturgical statements) as well as scholarly criticism of those works or genre.  The final weeks of the course will take up Black performance in the realms of dance and song from the early 20th century, and finish with more recent plays and visual art.  In addition to short weekly response papers, students will complete a long-form research paper that may, if they choose, include a creative element.

• Department: Theatre @Barnard
• R 2:10 p.m.-4 p.m.
• Instructor: Alice A Reagan
  CULPA: 1 Wikipedia Info
• 4 points

THIRD-YEAR CONVERSATION FR I

Prerequisites: completion of the language requirement in French or the equivalent. Conversation on contemporary French subjects based on readings in current popular French periodicals.

• Department: French
• MW 11:40 a.m.-12:55 p.m.
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Laurence Marie
  CULPA: 3 Info
• 2 points

THE ECSTASY OF INFLUENCE

Ecstasy of Influence

What does it mean to be original? How do we differentiate plagiarism from pastiche, appropriation from homage? And how do we build on pre-existing traditions while simultaneously creating work that reflects our own unique experiences of the world?

In a 2007 essay for
Harper
’
s
magazine, Jonathan Lethem countered critic Harold Bloom’s theory of “the anxiety of influence” by proposing, instead, an “ecstasy of influence”; Lethem suggested that writers embrace rather than reject the unavoidable imprints of their literary forbearers. Beginning with Lethem’s essay—which, itself, is composed entirely of borrowed (or “sampled”) text—this class will consider the nature of literary influence, and its role in the development of voice.

Each week, students will read from pairings of older stories and novel excerpts with contemporary work that falls within the same artistic lineage. In doing so, we’ll track the movement of stylistic, structural, and thematic approaches to fiction across time, and think about the different ways that stories and novels can converse with one another. We will also consider the influence of other artistic mediums—music, visual art, film and television—on various texts. Students will then write their own original short pieces modeled after the readings. Just as musicians cover songs, we will “cover” texts,  adding our own interpretive imprints.

• Department: Writing
• W 12:10 p.m.-2 p.m.
• Instructor: Adam Z Wilson
  Info
• 3 points

INTERMEDIATE MACRO-DISC/RECIT

Required Discussion/Recitation section for ECON BC3033.

• Department: Economics @Barnard
• M 1:10 p.m.-2 p.m.
• W 6:10 p.m.-7 p.m.
• 0 points

INTERMEDIATE MICRO THEORY RECITATION

INT MICRO THEORY RECITATI

• Department: Economics @Barnard
• M 4:10 p.m.-5 p.m.
• F 12:10 p.m.-1 p.m.
• R 12:10 p.m.-1 p.m.
• M 5:10 p.m.-6 p.m.
• F 11:10 a.m.-noon
• Instructor: John Park
  CULPA: 4 Info
• 0 points

Medieval to Contemporary Painting Techni

Medieval to Contemporary Painting Techniques explores the fundamental properties of paint materials by studying the paint-making techniques used by old masters of the late Medieval and Renaissance periods up through the contemporary era. Through hands-on work and experimentation, including preparing paint materials themselves, students will gain experience making and working with egg tempera, oil paint, and synthetic materials such as acrylics. They will develop a stronger understanding of how these materials function and how their uses fit into historical traditions and cultural contexts.

Students will participate in weekly material and technique-building workshops. They will be given select open-ended assignments for which they can choose a particular approach to explore. Students will learn how to handle traditional and contemporary materials in compliance with high material safety standards.

• Department: Visual Arts
• R 10 a.m.-4 p.m.
• Instructor: Naomi Safran-Hon
  Info
• 3 points

ART OF THE PARAGRAPH

The paragraph is the organizational principal which defines all prose. In this class, we will examine the techniques by which paragraphs are developed, created, and shaped. 

Elements of composition will be analyzed in depth. Techniques discussed include: rhythm, cadence, movement (and the illusion of life), sentence and syntax, grammar as poetic intent, the taut relationship of tone and voice, the orchestration of suspense and action, openings and endings, the veneer of authority, tension, subtext, the delivery of information, and the element of surprise. 

Oh—and you can expect a heavy emphasis on self-editing. 

This is a practical class oriented around craft and technique for students who are serious about developing their sense of control. Each week we will focus on the micro in order to understand the broader act of creation. This is a comprehensive seminar on prose composition for students who truly love language, as such this class is genre-agnostic and is open to poets, fiction writers, and nonfiction writers alike.

• Department: Writing
• W 4:10 p.m.-6 p.m.
• Instructor: Molly L McGhee
  Info
• 3 points

BALLET V

This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro. You may be assigned the construction and presentation of exercises, which will be explained in detail further into the semester.

• Department: Dance @Barnard
• MW 4:10 p.m.-5:25 p.m.
• TR 4:10 p.m.-5:25 p.m.
• Instructor: Cynthia Anderson
  Info
• Instructor: Unity Phelan
  Info
• 2 points

BALLET VI

This course is for the intermediate advanced dancer. Material presented will focus on healthy anatomical alignment in barre work, extended combinations in the center, fostering personal artistic expression, and integrating improvisation in combinations with the ballet vocabulary. Clarification, analysis and repetition are fundamental elements for a sound technique of any dancer and are the foundation of this course. Center work will include attention to shaping adagio work, multiple turns in the large poses, batterie, and extended grand allegro. You may be assigned the construction and presentation of exercises, which will be explained in detail further into the semester. You will be assigned a grading exercise at the end of the shopping period and will get written observations from me

• Department: Dance @Barnard
• TR 8:40 a.m.-9:55 a.m.
• F 9 a.m.-10:50 a.m.
• Instructor: Antonio Carmena
  Info
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 2 points

PERFORMING WOMEN

Prerequisites: Enrollment limited to 16 students. This course examines the category of "woman" as it is mobilized in performance, considering both a variety of contemporary performances chosen from a wide range of genres and a diversity of critical/theoretical perspectives. Course fulfills lecture/seminar "studies" requirement for Theatre/Drama and Theatre Arts major.

• Department: Theatre @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 4 points

Advanced R in Biology

This course serves as a continuation of BIOL2500 R for Scientists. The course will meet weekly. Students will explore a range of methods and resources used by contemporary computational biologists. These include advanced statistical modeling approaches, manipulating genomic and spatial data, and working in R outside of the RStudio environment (including git, bash, Shiny and high-performance computing). Students will have opportunities to explore diverse biological and statistical R packages in the context of homework assignments, and will analyze a dataset of their own choosing for a semester project.

• Department: Biological Sciences @Barnard
• F 10:10 a.m.-1 p.m.
• Instructor: Vincent D Fitzpatrick
  Info
• 3 points

CLASSIC VARIATIONS

Variations
 class is a course for the intermediate to advanced dancer.  As in all other ballet classes, there will be a focus on correct physical alignment, proper technique and musicality.  The added challenges in this course will be the pointe shoe technique, creative choreographic choices, and musical phrasing. The class will include variations based on works ranging from Petipa to Balanchine to today’s choreographers.  Dancers will explore personalizing already known works, pushing the boundaries of the pointe shoe, examining how choreography has evolved and developing the stamina required to execute a full variation. Learning material rapidly while paying attention to the stylistic demands of each choreographer’s works and being able to shift from one stylistic choice to another is simply expected.

• Department: Dance @Barnard
• MW 5:40 p.m.-6:55 p.m.
• Instructor: Ashley Tuttle
  CULPA: 1 Info
• 2 points

Stories and Storytelling: Attending to N

STORIES & STORYTELLING: N

What is it to attend to narrative? Attending has its etymological roots in Latin,
attendere
, to stretch (one’s mind)
towards
, to get closer, which implies a gap between one’s mind and whatever it is one is attending to.
Attendre
in French means to wait, to expect, another gesture towards space between one’s mind and whatever one is waiting for or expecting. What happens in that space? What is it to attend? Is it to slow down and mind the gap? Or is it to
pay
or
lend
attention, as the phrase appears in multiple languages, as though the space is a debt that we or our minds owe? What does it look like to pay attention to narrative and stories?

This course offers an introduction to forms and functions of narrative with focus on three modes: perception, reflection, and memory. What distinguishes the texts we will study is how they themselves foreground and reflect on how stories are told and so perform the task of teaching us how to analyze them. Topics include the writing of the self; the nature of memory; the experience of time; the relationship between fact, fantasy, and fiction; and the search for truth. While we will cover a range of scripture, poetry, novels, essays, plays, comics, and hybrid literary forms, the demand of you as readers will be the same: lend your close attention to these works and give yourself time to reflect on them.

• Department: Comparative Literature and Society @Barnard
• TR 1:10 p.m.-2:25 p.m.
• Instructor: Daniella Gitlin
  Info
• 3 points

Black Women s Histories in the United

Black Women's Histories

In this course you will be examining paper tracings and other sources related to the lived experiences of Black women. You will be required to review and interrogate materials on triggering subjects; some of these items include violent descriptions, images, and acts. In order to join in our collective engagement with the history of Black women, within the context of the U.S., you will critically analyze items that have not been sanitized for popular consumption. Thus, we will not be “erasing history” in this course by avoiding the deployment of white supremacy and its vast, related violence(s) against Black women’s bodies and lives, as well as the various manifestations of resistance of Black women throughout the history of the United States.

• Department: Africana Studies (AFSB)
• W 12:10 p.m.-2 p.m.
• Instructor: Celia E Naylor
  CULPA: 2 Info
• 4 points

Environmental Humanities in Action

Environ Humanities in Ac

Some of the central questions in the study of environmental humanities focus on human action, its context, and its effects. Thus, one major contribution of the environmental humanities is to study and consider how we conceptualize action, relations (both between humans and environments and among humans), and even the meaning of human being. The environmental humanities places these conceptual questions in the context of value and values, as well as questions of how values are materialized in practice. This course considers all of these questions through the study both theories of action in the context of environmental humanities and research into existing projects that are informed by and can inform the study of environmental humanities.

• Department: Women's, Gender, Sexuality Studies @Barnard
• W 12:10 p.m.-2 p.m.
• Instructor: Janet Jakobsen
  CULPA: 6 Wikipedia Info
• 4 points

CRITICAL HISTORIES OF DRAMA, THEATRE, AN

CRIT HIST DRAMA, THTR & P

This course undertakes a

dialectical approach to reading and thinking about the history of dramatic theatre, interrogating the ways writing inflects, and is inflected by, the material dynamics of performance. Course undertakes careful study of the practices of performance, and of the sociocultural, economic, political, and aesthetic conditions animating representative performance in “classical” theatres globally; course will also emphasize development of important critical concepts for the analysis of drama, theatre, and performance. Topics include the sociology of theatre, the impact of print on conceptions of performance, representing gender and race, the politics of intercultural performance, and the dynamics of court performance. Writing: 2-3 papers; Reading: 1-2 plays, critical and historical reading per week; final examination. Fulfills one (of two) lecture requirements for Theatre/Drama and Theatre Arts majors.

• Department: Theatre @Barnard
• MW 10:10 a.m.-11:25 a.m.
• Instructor: William B Worthen
  CULPA: 10 Info
• 4 points

LIVING WITH ANIMALS: ANTHROPOLOGICAL PER

This course examines how humans and animals shape each other’s lives, using the tools and perspectives of anthropology. We’ll explore the astounding diversity of human-animal relationships in time and space, tracing the ways animals have made their impact on human societies (and vice-versa). Using contemporary ethnographic, historical, and archaeological examples from a variety of geographical regions and chronological periods, this class will consider how humans and animals live and work together, and the ways in which humans have found animals “good to think with”.  In this course, we will also discuss how knowledge about human-animal relationships in the past might change contemporary and future approaches to living with animals. Through the reading and thinking that this course requires, you will explore what an anthropological perspective on living with animals looks like and how thinking about animals might change anthropology.

• Department: Anthropology
• MW 10:10 a.m.-11:25 a.m.
• Instructor: Hannah Chazin
  Info
• 4 points

THEATRE TRAD GLOBAL CONTEXT

Prerequisites: Enrollment limited to 50 students.

Provides a broad introduction to several traditions of nonwestern drama and theatrical practice, often placing recent and contemporary writing in relation to established conventions.  Taking up plays and performance traditions from Asia, South Asia, and various African traditions, it may also consider the relation between elite and popular culture (adaptations of Shakespeare, for example), and between drama, theatre, and film. Course fulfills lecture/seminar "studies" requirement for Theatre/Drama and Theatre Arts major.

• Department: Theatre @Barnard
• TR 12:10 p.m.-1:25 p.m.
• Instructor: Shayoni Mitra
  CULPA: 5 Info
• 4 points

Fanon s Psychology of the Oppressed

Frantz Fanon’s ideas have been influential for decades among theorists, practitioners, and activists alike.  This seminar is focused on understanding Fanon’s particular perspective on the psychology of the oppressed and its relevance for examining the experience of past and present racialized inequality and its effects in society. The course is divided into four sections, which build cumulatively.

I). An introductory section introduces Fanon’s central ideas (e.g., dialecticism, existentialism, post-colonialism) in their intellectual and socio-historical context (e.g., the Algerian revolution, African decolonization, South African Apartheid, the US civil rights and women’s rights movements).

II). A second section locates Fanon in psychological theory and therapeutic theory and practice.  The cultural and political (Eurocentric?) roots of psychological theory and practice are examined as are notions of oppression causing psychological and physical violence as well as psychopathology / psychological disorder.

III). A third section examines Fanon and others psychological approaches to identity with particular attention to the presumed “inferiority complex” of oppressed peoples, nationalist and other reconstructions of identity in opposition to oppression, sociological psychological conceptualizations of stigma, and Dubois’s influential ideas regarding double consciousness.

IV). A fourth and final section focuses on resistance and rebellion.  The focus here is on the psycho-moral implications of (violent, peaceful, non-disruptive) action against oppression with reference to the distinct perspectives of Fanon in comparison to influential figures like Gandhi and M.L.K Jr.  These issues are linked to a post-Fanon approach to the psychology of the oppressed called Liberation Psychology.

• Department: Africana Studies (AFSB)
• W 2:10 p.m.-4 p.m.
• Instructor: Colin Leach
  CULPA: 4 h-index: 41 Info
• 4 points

Trees of Knowledge: Ecocriticism and Wor

ECOCRITICISM & WORLD LIT

This survey of modern and contemporary world literature deals explicitly with environmental issues as a main theme. The course is supposed to serve as an introduction to the new field of “ecocriticism” in the Humanities and to a wide range of literary responses to current ecological concerns and transformations of natural habitat. All texts are available in English, though students will have the opportunity to read them in the original if they desire to do so.

• Department: Comparative Literature and Society @Barnard
• TR 10:10 a.m.-11:25 a.m.
• Instructor: Erk Grimm
  CULPA: 10 Info
• 3 points

MILTON

How and why might we read Milton now? And how do his writings and thinking intersect with issues in our present moment? We will read his influential epic
Paradise Lost
after reading selections of Milton's earlier poetry and prose (attack against censorship, defenses of divorce, individual conscience, toleration, complicated issues of political and religious liberty). He wrote about these matters as he was involved in the English Civil war, an advocate of liberty (we will consider what kind, for whom?) and revolution, which Americans would embrace as inspiration and to justify the American Revolution. We will critically read Milton’s literary and political texts within the contexts of religious, political, and cultural history of early modern England and Europe but also colonial and revolutionary America—asking difficult questions, and with a sense of how Milton’s writing connects to present issues of our time.

• Department: English @Barnard
• MW 2:40 p.m.-3:55 p.m.
• Instructor: Achsah Guibbory
  CULPA: 17 Info
• 3 points

Moral Psychology: Ancient Wisdom and Mod

This seminar is designed to introduce you to the psychological foundations of morality, examining how moral judgment and behavior develop across cultures and throughout human history. Drawing from ancient wisdom traditions, contemporary psychology, philosophy, and emerging fields like AI ethics, you will gain a nuanced understanding of moral psychology and its applications.

• Department: Psychology @Barnard
• T 12:10 p.m.-2 p.m.
• Instructor: Angelika Seidel
  Info
• 4 points

THEORY

An exploration of alternative theoretical approaches to the study of religion as well as other areas of humanistic inquiry. The methods considered include: sociology, anthropology, philosophy, hermeneutics, psychoanalysis, structuralism, genealogy, and deconstruction. (Previous title: Juniors Colloquium)

• Department: Religion
• M 12:10 p.m.-2 p.m.
• Instructor: Courtney Bender
  CULPA: 10 Info
• 4 points

FILM PRODUCTION

Prerequisites: FILM BC3201 or equivalent. Sophomore standing. Priority is given to Film Studies majors/concentrations in order of class seniority. If you are accepted into this course, attending the first day of class is mandatory. If you do not show up, you may be dropped.

This workshop introduces the student to all the cinematic tools necessary to produce their own short narrative work.  Using what the student has learned in film studies, we'll break down shot syntax, mise-en-scene and editing strategies. We'll include scheduling, budgeting, casting, working with actors and expressive camera work in our process as we build toward a final video project.

• Department: Film @Barnard
• T 6:10 p.m.-9 p.m.
• R 2:10 p.m.-5 p.m.
• Instructor: Julia L Thompson
  Info
• Instructor: Daniel F Pfeffer
  Info
• 3 points

DIRECTING I

Prerequisites: Permission of instructor given at first class meeting. Exploration of the evolution of the director's role in Europe and the US, including the study of important figures. Emphasis on text analysis, and varied schools of acting in relation to directing practice. Students gain a foundation in composing stage pictures and using stage movement to tell a story. All students will direct at least one fully-realized scene.

• Department: Theatre @Barnard
• TR 10:10 a.m.-noon
• Instructor: Will Davis
  Info
• 3 points

OPEN NONFICTION WORKSHOP

Prerequisite: Student must have taken beginning workshop in any undergraduate creative writing concentration. Open workshops are for students who are acquainted with and have experience in at least one beginning workshop in creative writing. In Open Fiction Workshops, particular attention will be paid to the components of fiction: voice, perspective, characterization, and form. Students will be expected to finish several short stories, executing a total artistic vision on a piece of writing. The critical focus of the class will include an examination of endings and formal wholeness, sustaining narrative arcs, compelling a reader's interest for the duration of the text, and generating a sense of urgency and drama in the work. A portfolio of fiction will be written and revised with critical input from the instructor and workshop. Outside readings may be used to supplement and inform the exercises and written projects. Please visit
https://arts.columbia.edu/writing/undergraduate
for information about registration procedures.

• Department: Writing
• T 2:10 p.m.-4 p.m.
• Instructor: Lars Horn
  Info
• 3 points

INTRO FILM & MEDIA STUDIES

Prerequisites: Open to first-year students.

We derive much of our information about the world from visual media. Social networks, television, cinema: all shape our aesthetic sensibilities and our political visions. Yet we often lack a basic understanding of what could be called “visual literacy.” This introductory course gives students the critical tools to analyze how film and other visual media
really
work – in order to appreciate their artistic and social achievements, as well as to guard against their insidious manipulative devices.

In the first part of the semester, we focus on
film analysis
through a detailed study of the different production phases of filmmaking – from screenwriting and mise-en-scène to editing and film scoring. We pay special attention to the way in which certain stylistic and narrative choices have particular ideological effects. The second part of the course looks at
film history

through a comprehensive, chronological overview of its main movements and periods, including the coming of sound in Hollywood cinema, post-war Italian Neorealism, the emergence of world
auteurs
, New Waves of the 1960s and 1970s, etc. Students will use the hermeneutical tools learnt in film analysis to intellectually engage with some masterworks of film history. In the third and final part of the semester, we study the major debates of
film theory
from perspectives such as auteurism, formalism, psychoanalysis, Marxism, feminism, postcolonial and queer studies, etc.   

Required screenings include
Nanook of the North
(Flaherty, 1922),
Sunrise
(Murnau, 1927),
Man with a Movie Camera
(Vertov, 1929),
Casablanca
(Curtiz, 1942),
Bicycle Thieves
(De Sica, 1948),
Rashomon
(Kurosawa, 1950),
Breathless
(Godard, 1960),
Belle de Jour
(Buñuel, 1967),
The Hour of the Furnaces
(Solanas, 1968),
Seven Beauties
(Wertmüller, 1974),
Blue Velvet
(Lynch, 1986),
Paris Is Burning
(Livingstone, 1990), and
Children of Men
(Cuarón, 2006).

• Department: Film @Barnard
• F 2:10 p.m.-5:30 p.m.
• Instructor: Jason R Lariviere
  Info
• 3 points