Film Studies Minor

This course introduces students to the language of cinema through close studies of and foundational readings on film theory, narrative/documentary structure, camera technique, lighting, sound, casting, and location. Students will be expected to demonstrate their understanding of film language through scholarly analysis of both canonical and contemporary cinema texts and two practical applications of film. Students will move beyond the passive reception of an image-based world by working towards increased intellectual adaptablity in terms of engaged film reading skills that will call into question philosophical and culture-specific notions and norms. The learning outcomes will be developed through a number of concentrated modules lasting approximately three weeks each, including analysis, contemporary criticism, audience reception, and practical applications.

This course has two primary goals: to introduce students to the history and theoretical writings of various strands of cultural studies, and to acquaint them with some of the intersecting axes - race, class and gender - that energize the field. Close attention will be paid to issues such as the shaping of identity, forms of representation, the production, consumption and distribution of cultural goods, and the construction of knowledge and power in a host of cultural practices and cultural institutions.

The course introduces students to the theories and methods of art history and visual culture. It addresses both traditional and innovative models from art history and how to apply methodologies from other disciplines to the study of the visual world. Students will conduct original research projects using a variety of critical approaches to put their theoretical knowledge in practice.

Topics in Art History vary from year to year. They are advanced courses on specific topics not normally offered, and they may require additional pre-requisites or permission of instructor.

Science fiction narratives may be defined as speculative fictions, ideal allegorical vehicles eliciting theoretical reflection on the state of contemporary culture and society and motivating social reform. As such, the main objective of this course is to consider several major contemporary socio-cultural issues through the unique lens provided by writers and filmmakers of the science-fiction tradition. The issues, allowing for variances from year to year, will include questions regarding gender and Otherness, the hypothesized deterioration of a human-world bond, modern apocalyptic anxieties, genetic engineering, intersections of ideology and communication technologies. Authors and filmmakers may include: Mary Shelley, Jules Verne, H.G. Wells, Isaac Asimov, Philip K. Dick, Ursula Le Guinn, Aldous Huxley, George Orwell, William Gibson; Ridley Scott, Stanley Kubrick, Andrew Niccol, Jean-Luc Godard, Lana and Andy Wachowski

This course looks at poverty as it is portrayed in contemporary literature, film, television, painting, music and street magazines. Students will explore how these representations compare to economic and social indices such as income, Living Standards Measurement surveys, welfare statistics, poverty indexes and poverty determinants. For these latter determinants the class will take Switzerland, a country in which the extremes of poverty and riches are quite subtle, as our case study. The overall goals of this course are 1) to compare different forms of representation and to recognize and be able to distinguish among the many faces and facets of poverty in a wealthy nation and 2) to critically explore the ideologies underlying mainstream representations of "the poor" or "the marginalized" and to ask how effective such representations are in triggering social change.

This course approaches film from an ecocritical perspective to explore how the medium of film articulates relations between the environment and humans. In recent decades, scholars have increasingly examined how film represents ecological issues and humans' involvement with those issues, particularly with regards to environmental disaster and climate change. The course aims to make students familiar with those debates by examining a variety of film genres -- blockbuster, documentary, animation, among others -- to offer a survey in reading film ecocritically. Students will gain experience in analyzing films as texts and in applying ecocritical theory to those films and the ethical issues surrounding them, from production to narrative, distribution to reception. Screenings, theoretical readings, class discussion, video-making and writing assignments will help students develop a critical awareness of how film tells the story of our complex relation with the environment. This course complements ENV 220 Ecocritical Approaches to Literature. (Recommended prerequisite: LC 110 or ENV 220)

The course examines French films from Jean Vigo's Zero de conduite (1933) to Robert Bresson's Un condamne a mort s'est echappe (1956). It explores the art of cinematography while considering the aesthetics, historical, political, sociological, and psychoanalytical frames within which each movie was realized. It furthermore provides students with analytical tools to enable them to develop their own personal approach when viewing, discussing, and writing about a film.

The French New Wave was a major turning-point in the history of French Cinema. It gave birth to a new way of approaching cinematography as a whole. This course centers on New Wave film directors Chabrol, Truffaut, Resnais, Godard and Varda, and examine closely their cinematographic creed, theoretical preoccupations, similarities and differences. Movies will be partially watched outside of class.

This course will trace the development of Swiss-German film over the last several decades paying close attention to motives such as gender, the tension between city/countryside, ideas of Swiss identity, depictions of foreigners, and Swissness. Swiss-German film made its entry on the international stage in the thirties, with films that reacted to the threat of war and critically reflected on the notion of the Geistige Landesverteidigung, or the spiritual resistance, a concept, which should become a rallying call during World War Two. The fifties and sixties with the so-called Gotthelf Filme, in which Jeremias Gotthelf's novels and stories were brought to the big screen in beautiful black and white renditions that fuelled the national imaginary with more soothing notions of what it meant to be Swiss followed the earlier critical stances. A host of related Heimatfilme-films in which the nineteenth century Heile Welt depictions of Gotthelf were transposed into the 20th century with little regard for changing political landscape. The seventies and eighties then saw rather more reflected takes on what it meant to be Swiss: films, like for instance Rolf Lyssy's Die Schweizermacher, that explored the arduous process of procuring a Swiss passport, and is thought of today as a break-through in Swiss film history. Today, we look back on three decades of Swiss film since Die Schweizermacher as a site avid and often provocative cultural criticism that has turned the idea of Swissness upside down even as its relentless search for a Swiss identity speaks the language of enduring Heimweh. This class is a split-level class, and will be taught in German with some attention to the peculiarities of Swiss dialects. Film screenings will take place regularly on a weekday evening and must be attended in addition to the regular classes.

The aim of this course is to introduce students to the major accomplishments of Italian cinema from "neorealism" through the "commedia all'italiana" to the present. Emphasis is placed on film as an artistic, aesthetic and theoretical medium for an exploration and interpretation of issues related to contemporary life. Some of Italy's major film directors will be considered, such as Rossellini, De Sica, Visconti, Antonioni, the Taviani brothers, Scola. Particular attention is dedicated to the films of Fellini. A module dedicated to Italian-American cinema (Capra, Scorsese, Coppola, Tarantino) offers a means for comparative study of two related but contrasting traditions in filmmaking. (Offered in Alternate Years)

Aspects of political, social and cultural history of twentieth century Italy are studied through documentaries and some of the major accomplishments of Italian cinema. Some novels adapted into film are also examined. Most of the films are in Italian (some with English subtitles).

The aim of this course is to introduce students to the major accomplishments of Italian cinema from "neorealism" through the "commedia all'italiana" to the present. Emphasis is placed on film as an artistic, aesthetic and theoretical medium for an exploration and interpretation of issues related to contemporary life. Some of Italy's major film directors will be considered, such as Rossellini, De Sica, Visconti, Antonioni, the Taviani brothers, Scola. Particular attention is dedicated to the films of Fellini.

The course introduces the student to the development of Italian cinema through close study of the relationship between Italian literature and film adaptation. The selected books and films will offer a unique opportunity to analyze and discuss crucial issues related to the historical, political, and cultural evolution of Italy from its Unification to the present. Among the adaptations we will be looking at will be: Antonio Fogazzaro's Malombra as interpreted by Carmine Gallone (1917) and Mario Soldati (1942), Luchino Visconti's 1963 rendering of Giuseppe Tomasi di Lampedusa's The Leopard, Vittorio De Sica's 1970 adaptation of Giorgio Bassani's The Garden of the Finzi-Contini, Alberto Moravia's The Conformist, as adapted by Bernardo Bertolucci (1970), Giovanni Boccaccio's Decameron, adapted by Pier Paolo Pasolini (1971).

This is a hands-on course designed to explore key aspects of an exciting contemporary film genre known as The Video Essay: a branch of experimental cinema which stems from the contributions of avant-garde filmmakers such as Man Ray, Jean-Luc Godard, Nam June Paik, and Bill Viola. Video Art, like its celluloid counterpart in experimental film, emphasizes the artistic potential of the film medium, as opposed to cinema's more common function as an object of consumption for entertainment value. As the etymology of the name implies, the video essay is an expression of how and what we see when we try to make visual sense of the world. The key aspects of videomaking to be studied in this course have been divided into four learning modules. Each module corresponds to one week in the four- week summer program, each week being dedicated to one of the questions noted above. These learning modules are: 1) Conceptualizing the Image; 2) Capturing the Image; 3) Contextualizing the Image; and 4) Projecting the Image. Students will be evaluated on a portfolio comprised of four completed video essays, with accompanying statements of artistic intent, and one conclusive paper which will be presented orally to the class. Students enrolled in this class must have their own digital video recording device.

Aimed at beginning and intermediate students, this digital-based media course (photography, sound and video) is designed to reveal key aspects of the production of the video essay through excursions in the Ticino region, studio work and critical discussions based on readings and screenings. The video essay is an expression of how and what we see when we try to make visual sense of the world-- a genre of experience. Through projects using photography, sound and video, students will explore this dynamic genre and how it can be used to express place and their relationship to it, with the goal of producing a personal portfolio of creative work. Students enrolled in this class must have their own digital video recording device, which can range from a smart phone to a digital camera or video camera. The course carries a nominal fee of 100 CHF or USD 100 for art supplies and travel expenses.

The course departs from the question of whether vision is simply what the external world imprints on our retina or if it is a cultural construct? Is it purely physiological or can we speak of a history or histories of the eye? How do culture, science, and ethnicity influence what we see and how se see it? Keeping these questions in mind the course studies aspects of vision (perception, reception, revelation, blindness) - both from an empirical and from an historical point of view. Besides practical exercises related to the seeing eye, the course examines the discovery of perspective in the Renaissance, the invention of the Baroque theater, gender and gaze in modernity, and optical instruments of the Enlightenment as precursors for modern photography and film.

This course offers an introduction to the history of photography from its inception in the early 19th century to the present day. It considers the specific historical development of the photographic medium through the evolution of both its technical possibilities during the period and the range of its applications. The course will question past and present readings of photographs, while reflecting on the peculiar modes of representation implied by the use of the daguerreotype, the calotype and the negative-positive photographic process, the commercialization of photographic equipment in the early 20th century, the introduction of the Kodacolour film in 1942, and the changes in the late 20th century with the introduction of the digital camera. It will consider a set of different objects favored by the medium, such as the landscape, the city, the portrait, the body, taking into account the historical socio-political contexts in which these various photographic practices developed. It will consider the history of genres within photography: documentary photography, photography as fine art, photography in advertising and media, fashion photography, as well as its archival and historical documentation. Finally, the course will emphasize the question of the impact and influence of photography on other artistic mediums, such as painting and literature, as well as on the modern and contemporary experience of the world.

From early optical instruments to Renaissance printing presses, from camera obscuras floating on boats to portable paint tubes, from modern film cameras to laser sculptures, from computer robotics to 3D printing, technology continues to play a major role in art, visual communication, and fashion. It shapes both creative processes and production techniques in the making of visual culture and it affects and defines the status of the beholder of its manifold expressions. The course will investigate some of the milestones in the history of instruments and will take up contemporary technology to investigate the intertwined connection between man and machine in the creative world.

The course will investigate the different types of sign languages that we find in the visual arts. It will study and discuss theories of semiotics and then investigate how each medium sets up its own method of visual communication through signs and symbols. What kinds of patterns of messages do we find in paintings? Do buildings have their own code of communication other than being functional containers? What kinds of messages does a film convey beyond its action? Do the clothes we wear make a statement? In addition to the theoretical aspect, the course will also contain an empirical and a studio component where students will conduct research on a particular topic, which they will then present in a visual medium of their choice.

This course explores the impacts and capacities of new media technologies in producing social worlds and advocating social issues. Following an exploration of the key concepts in new media theory, students in this course will spend the bulk of the semester producing a digital short story about an issue of social interest. As a course in applied media and communication, students will have a hand in the entire process of producing, marketing, and showing the film.

This course examines what it means to "be human" and how humanity, or its opposite, has been depicted in literature and film. Through reading a broad selection of texts, from the classics to the present day, students will explore such issues as: the relationship between self and other; madness; the borders between human and monster, human and animal, and human and machine. The course will cover religious, philosophical, scientific, and cultural conceptions of human character and purpose. Students will read a broad variety of works that unsettle the boundaries of the self, that draw attention to those groups that have been excluded from the category of the human, and that ask us to engage with what Aristotle called, "being qua being" or, the study of what it is to be. The course reading list may include such works as: Mary Shelley's Frankenstein, Janice Galloway's The Trick is to Keep Breathing, Guillermo del Toro's Pan's Labyrinth, Andrew Currie's Fido, Richard Wright's The Invisible Man, and Jeanette Winterson's Sexing the Cherry.

This course course in digital photography introduces the beginner to the elements of digital photography. There will be two areas of concentration: 1. Image capture and manipulation using digital imaging technology (cameras and editing software). 2. Photograph design (crafting a photograph that reflects the photographer’s intention using composition, framing, lighting etc.). Throughout the course emphasis will be placed on the artistic value of photographs rather than the technicalities of digital imaging. Photography is one of the various artistic media available for self-expression and much emphasis will be put on precisely that. Students will synthesize these elements to create a portfolio of work that reflects not only their newly developed skills but also an appreciation and understanding of photography as an art medium.

A more intermediate course where students who have completed STA 107 may take their work further. The course carries a fee for art supplies.

A more advanced course where students who have completed STA 207 may take their work further. The course carries a fee for art supplies.

Aimed at beginning and intermediate students exploring the countryside, towns, villages, and interiors of Ticino, this digital photography course concentrates on the dynamics of composition through the use of color and natural light. (Students in this course must provide their own tools for some of the techniques, and a digital camera is required. The course carries a fee for art supplies and equipment.)

This course will investigate the particularities of both documentary and street photography through readings and studio projects. It will shed light on the history of photography; how the visual world communicates, studying the interaction of photography with other visual media; and will pay specific attention to the semiotic potential and challenges of photography. Students will engage in a project that relates to the location of the travel component of the class, documenting a subject of their choice. The travel destinations will be Berlin and Munich.