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Since its inception, film has been used for propaganda - disseminating information with a particular slant, whether subtle or obvious - by regimes and independent players across the political spectrum. As the means of production and circuits of distribution become ever more accessible to individuals, we have moved from an era of focused agitprop into a new era of diffused disinformation.
Viewed from the outside, the French-speaking world offers enticing images of beauty, pleasure, and freedom. From the inside, however, it is a complicated, often contradictory world where implicit codes and values shape the most basic aspects of daily life. This course will give you an insider鈥檚 perspective on a cultural and communicative system whose ideas, customs, and belief systems are surprisingly different from your own.
鈥淭ell me what you eat and I will tell you who you are鈥 鈥揃rillat-Savarin
Why is a Mayan food, chocolate, such a high-stake product in French-speaking countries ?
French literature and film have always reciprocally inspired one another 鈥 as early as 1897, Lumi猫re represented the main characters of Hugo鈥檚 Les Mis茅rables. This course will offer students the opportunity to analyze literary representations of women and their film adaptations in terms of intermediality and intertextuality. Adaptations will include: La Princesse de Cl猫ves (La Fayette/Sauder), La Religieuse (Diderot/Rivette), La Noire de鈥 (Semb猫ne/Semb猫ne), La Prisonni猫re/La Captive (Proust/Akerman). Students will focus on various adaptation strategies and approaches.
鈥淣ot long ago, a near prerequisite for vanguard architecture was an engagement with theory; lately it has become an acquaintance with art鈥 or so observed Hal Foster in his 2011 book 鈥楾he Art Architecture Complex.鈥 While ideas about what constitutes cutting edge architecture may have transformed in the decade since, entanglements between art and architecture and the reciprocal effects that they have on each other remain central to architectural discourse.
鈥淣ot long ago, a near prerequisite for vanguard architecture was an engagement with theory; lately it has become an acquaintance with art鈥 or so observed Hal Foster in his 2011 book 鈥楾he Art Architecture Complex.鈥 While ideas about what constitutes cutting edge architecture may have transformed in the decade since, entanglements between art and architecture and the reciprocal effects that they have on each other remain central to architectural discourse.
Can architecture be understood in the same terms as a photograph? A piece of writing? A painting? A film? Or does it require its own vocabulary, rules, precedents, and sensibilities?