German

Open, Seminar—Fall

This course will take an industrial approach to the study of global film and film history, highlighting box-office hits, fans, stars, workers, and dream factories from multiple (trans)national contexts. Foregrounding questions of labor, technology, circulation, and genre, we will examine popular cinema as an industrial film form with a particular emphasis on melodrama, comedy, and the musical. This seminar is framed by some of film history’s most persistent questions: What is “popular” culture? What is a “mass” medium? Is cinema a universal language? Can art be separated from commerce? Proceeding chronologically from the 1920s through the present, we will first explore “classical Hollywood cinema” as an exportable style and mass reproducible system. Next, we will follow the rise of other “-ollywoods” around the world, contextualizing and comparing several major film industries and their popular cinemas. Ranging from Western Europe to the Soviet Union and the Global South, topics will include the studio lot as dream site, urban film cultures, vernacular modernism, colonial film production and cultural imperialism, cine-workers as global workers, divisions of voice labor in Hollywood vs. Bollywood, the transnational feminization of film handiwork, and the relationship between new film industries and new media from polyglot talkies to Nollywood video-films.

Faculty

• Leana Hirschfeld-Kroen

Open, Lecture—Spring

Since the Lumière brothers filmed their female employees leaving the factory in 1895, the “working girl” has become a fixture of global cinema. This lecture approaches this archetypal modern character as a foundational figure for film history and an important vernacular link for national film industries competing with Hollywood. We will begin by asking: What is a working girl? How has the category changed over the course of the 20th century as it has circulated around the globe, despite its fraught ideological construction? And how can we turn the category into a tool for intersectional feminist film history? With these questions in mind, we will launch our investigation in the United States and Europe and then move on to the Soviet Union, Japan, China, India, South Korea, Mexico, Senegal, and Cameroon. We will read classic film theory, short fiction, and local histories of film culture and gendered labor alongside films about shopgirls, dancing girls, telephone girls, factory girls, office girls, laundresses, and maids. Topics to be discussed will include working girls as moviegoers, cultural imperialism and vernacular modernism, migration and mass reproduction, sex work, workplace romance, and contradictions of capital and care. In this class, students will conduct comparative, multimedia analyses of film texts and read global film history through the globalization of modern gendered labor. 

Faculty

• Leana Hirschfeld-Kroen

Open, Seminar—Fall

This course is designed to help us understand and critique the meaning of violence in the modern era. Drawing on theoreticians of violence and case studies of events, we will explore a variety of types of violence and their impact on politics and society, with a particular focus on Europe and its colonies. At the center of this course will be a number of questions: Is violence modern or archaic? What are the causes and uses of violence? What are the costs of violence on both its perpetrators and its victims? What is the legacy of different kinds of violence? What can comparing different times and places tell us about the use of violence in different contexts? Topics covered will include the establishment of state control over violence, terror, terrorism, total war, The Holocaust, and attempts to come to terms with mass violence, among others.

Faculty

• Brandon Schechter

Open, Lecture—Spring

World War II led to destruction of such magnitude that the international order shifted fundamentally and new terms had to be coined to describe its violence. This course will examine the events that led to the war, the war itself, and its aftermath. It will begin with a chronological outline of the Great War, the interwar years, and the war itself and then shift to explore key themes such as The Holocaust, military life, women at war, the changing meaning of race and ethnicity, occupation, etc. This course will discuss battles and leaders, but its main focus will be on the impact of the war on culture, politics, and society. Students will be asked to think seriously about how these global events were experienced by what Stalin called “the little screws of history”—i.e., “ordinary people.” This course is really about them. Issues such as total war, genocide, occupation, the terrifying new technologies of the war, and soldier’s life in the different armies will be examined. We will also look at how, after the devastation of the war, people tried to make sense of what had happened. Politicians reacted by creating new laws and institutions, while artists painted, sculpted, and made films and authors turned to the page to understand what they had seen and done.

Faculty

• Brandon Schechter

Sophomore and Above, Seminar—Spring

This course will examine aspects of European culture in the last two decades of the 19th century and the first decade of the 20th century. This was the era of the Decadent and Symbolist movements; of Secessionist art and architecture; of the philosophies of Friedrich Nietzsche, Henri Bergson, and William James; and of early psychoanalysis. Though in the eyes of some Europeans, looking back at the period nostalgically across the smoking battlefields of World War I, these decades were la belle époque—the “beautiful time” of peace and security—others remembered them as “the gay apocalypse,” a hectic burst of cultural experiment against a background of political paralysis which together heralded the end of the old Europe. While the primary focus of this course will be on creative figures active in Vienna and other parts of the Habsburg monarchy, we will also consider writers, artists, and thinkers from Russia, Scandinavia, Germany, France, and the English-speaking world. These figures will include August Strindberg, Arthur Schnitzler, Robert Musil, Rainer Maria Rilke, Stefan Zweig, Andrei Bely, Gustav Klimt, and Edvard Munch. We will also look at the Nietzsche cult, “life-philosophy,” and Sigmund Freud’s Interpretation of Dreams.

Faculty

• Philip Swoboda

Open, Seminar—Fall

This course will read Romanticism as a precursor to our own era of postmodernism. The starting point will be the French Deconstructionist reading of Friedrich Schlegel and his short-lived journal, Athenaeum (1798-1800). As Maurice Blanchot argues, among the many contradictions “out of which romanticism unfolds—contradictions that contribute to making literature no longer a response but a question,” perhaps most significant is that “romantic art, which concentrates creative truth in the freedom of the subject, also formulates the ambition of a total book, a sort of perpetually growing Bible that will not represent but, rather, replace the real.” We will take Blanchot’s insight as our guide in reading an otherwise disparate collection of texts ranging across Romantic time and space. From Germany, besides Schlegel’s aphorisms, we will read Hoffmann’s The Sandman (1816) and The Golden Pot (1814); from Great Britain, Scott’s The Heart of Midlothian (1818), Byron’s Don Juan (1819), and Shelley’s Frankenstein (1818); from Poland, Potocki’s The Manuscript Found in Saragossa (1814); from Russia, Pushkin’s The Captain’s Daughter (1836) and Eugene Onegin (1833), Lermontov’s A Hero of Our Time (1841), and Gogol’s Dead Souls (1842); and from the United States, Hawthorne’s The Scarlet Letter (1850) and Melville’s Moby Dick (1851). Along the way, we will periodically depart from the 19th century to emphasize the ways that Romanticism underpins what we take to be our own postmodernist thought. As a response to Don Juan, we will read Tom Stoppard’s 1993 play, Arcadia. Together with Frankenstein, we will read Jeanette Winterson’s 2019 novel, Frankissstein: A Love Story; and will end on a ship-faring note, as we juxtapose Moby Dick with Maggie Nelson’s gender- and genre-bending The Argonauts (2015).

Faculty

• Melissa Frazier