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Any course on this list may count as an elective for the Global Cinema Minor or the Film Studies concentration in English and Comparative Literature. Some of these courses, however, will not automatically count, and in those cases you will need to request a Tar Heel Tracker adjustment.

Also keep in mind that some restrictions may apply to production courses. Be sure to check Connect Carolina for specifications by the department offering the course.

 

For those following the Film Studies Concentration

Methods

ENGL 680 Film Theory (Warner)

Survey I 

CMPL 143 History of Global Cinema (Johnson)

Survey II

ENGL 255 Intro to Media Studies (Tinnin-Gadson)

ENGL 378 Film Criticism (Johnson)

ENGL 381 Literature and Film (Cohen)

Depth 

CMPL 280 Film Genres (Flaxman)

CMPL 280 Film Genres (Pollmann)

ENGL 389 Major Film Directors (Warner) 

Writing-Intensive

ENGL 378 Film Criticism (Johnson)

ENGL 381 Literature and Film (Cohen)

ENGL 389 Major Film Directors (Warner)

Research-Intensive  

CMPL 447 Wicked Desire: Vladimir Nabokov, Lolita, on Page and Screen (Shvabrin)

CMPL 520 Cinema, Painting, and The Frame (Flaxman) (may require Tar Heel Tracker adjustment)

ENGL 680 Film Theory (Warner) (may require Tar Heel Tracker adjustment)

 

ENGLISH AND COMPARATIVE LITERATURE 

CMPL 143 (001 – LEC) History of Global Cinema

MoWe 1:25 PM – 2:15 PM

Martin Johnson

Drawing deeply and widely from the history of motion pictures, this course considers how the cinema is used to deliver spectacle and develop narrative, measure time and map space, mark genre and make nations, depict reality and experiment with visual expression. By the end of our journey, we will be able to think analytically, historically, and comparatively about a medium that continues to connect distant cultures and peoples. This course satisfies the FC-AESTH requirement in the IDEAs in Action curriculum. It is also a core component of the Film Studies concentration within English and Comparative Literature, as well as the Global Cinema Minor. 

CMPL 143 (601 – REC) History of Global Cinema

Fr 12:20 PM – 1:10 PM

Carson Watlington

This course is designed to introduce students to the field of global cinema and, thence, to the methods of comparativist film study.

CMPL 143 (602 – REC) History of Global Cinema

Fr 1:25 PM – 2:15 PM

Carson Watlington

This course is designed to introduce students to the field of global cinema and, thence, to the methods of comparativist film study.

CMPL 143 (603 – REC) History of Global Cinema

Fr 1:25 PM – 2:15 PM

Rose Steptoe

This course is designed to introduce students to the field of global cinema and, thence, to the methods of comparativist film study.

CMPL 143 (604 – REC) History of Global Cinema

Fr 2:30 PM – 3:20 PM

Rose Steptoe

This course is designed to introduce students to the field of global cinema and, thence, to the methods of comparativist film study.

CMPL 263 (001) European Exile Cinema* 

MoWeFr 1:25PM – 2:15PM

Inga Pollmann

This course examines the work of one or several film directors who went into exile during the Third Reich to discuss: How does the experience of exile influence film style? What are theories and histories of exile and exile cinema, and how do they relate to other approaches to film, via national film histories, genre, style, etc.? How does a biography of exile relate to so-called auteur theory? Readings and Discussions in English.

*Combined Section with GERM 263-001 AND CMPL 263-001

CMPL 280 (001) Film Genres: Romantic Comedy, Western, and Detective Film (Film Noir)

TTh 12:30 PM – 1:45 PM

Gregory Flaxman

This course introduces students to the methods of genre theory and analysis as they pertain to cinema. The course may either provide a survey of several different genres or examine a particular genre in depth as it has evolved historically. National and/or transnational dimensions of popular genres may be emphasized.

CMPL 280 (002) Film Genres: Melodrama

MoWeFr 10:10 AM – 11:00 AM

Inga Pollmann 

This course introduces students to the methods of genre theory and analysis as they 

pertain to cinema. The course may either provide a survey of several different genres or examine a particular genre in depth as it has evolved historically. National and/or transnational dimensions of popular genres may be emphasized.

CMPL 282 Russian Literature in World Cinema*

TuTh 2:00PM – 3:15PM

Stanislav Shvabrin 

Survey of masterpieces of Russian literature in the context of their transcultural cinematic adaptations. Lectures and readings in English.

*Combined section with RUSS 282

CMPL 447 Wicked Desire: Vladimir Nabokov, Lolita, on Page and Screen*

TuTh 11:00AM – 12:15PM

Stanislav Shvabrin

Vladimir Nabokov’s novel Lolita (1955) became a global phenomenon due to its unflinching portrayal of pedophilia. This course will delve deeper into the novel’s moral complexity, its international context, and its reflection in mass culture, including movies by Stanley Kubrick (1962) and Adrian Lyne (1997). Taught in English; some readings in Russian for qualified students.

*Combined section with RUSS 477

CMPL 520 Cinema, Painting, and The Frame 

TuTh 3:30PM – 4:45PM

Gregory Flaxman

This course comparatively explores the relationship between cinema and painting. Drawing on methods and concepts from art history, and considering photography as an intermediary between painting and film, this course considers the aesthetic, political, and philosophical dimensions of the frame.

CMPL 527 Cold War Culture in East Asia: Transnational and Intermedial Connections*

TuTh 12:30PM – 1:45PM

Jonathan Kief

This course introduces students to the specific contours that the Cold War accrued in East Asia. Focusing on literature and film, it explores what the fall of the Japanese Empire and the emergence of the post-1945 world meant across the region.

*Combined section with ASIA 427 and PWAD 427.

ENGL 53 FYS Slavery in Afam Lit/Film

MoWeFr 4:40 PM – 5:30 PM

Danielle Christmas

The seminar’s purpose is to explore the African American slave narrative tradition from its 19th-century origins in autobiography to its present manifestations in prize-winning fiction and film.

ENGL 86 First-Year Seminar: The Cities of Modernism 

MoWeFr 2:30PM – 3:20PM

Rebecka Rutledge Fisher

This course is a cross-cultural and intermedial exploration of the imagery of the Great City in high modernist works of literature, art, and film.

ENGL 87 First-Year Seminar: Jane Austen, Then and Now

MoWeFr 12:20PM – 1:10PM

Jeanne Moskal

This course focuses on the fiction of Jane Austen and its representations in film.

ENGL 143 Film & Culture

TuTh 9:30 AM – 10:45 AM

Nicole Berland 

Examines the ways culture shapes and is shaped by film. This course uses comparative 

methods to contrast films as historic or contemporary, mainstream or cutting-edge, in English or a foreign language, etc.

ENGL 255 Introduction to Media Studies

TuTh 11:00AM – 12:15PM

Daelena Tinnin-Gadson

This course provides an introduction to concepts of media studies as they bear on the critical examination of cinema, television, and other cultural forms.  Students explore different theoretical perspectives on the role and power of media in society in influencing social values, political beliefs, identities, and behaviors.

ENGL 257 (603 – REC) Video Games and Narrative Cinema 

MoWe 5:45PM – 6:35PM

Steven Gotzler

In this hands-on gaming course, students decipher the narrative design of video games while exploring the legacy of cinema to gameplay. They also apply critical gaming concepts (agency, world-building, point of view, authorship, representation, narrative choice, play) to evaluate cinema as a ludic and participatory artform beyond conventional narrative elements.

ENGL 257 (604 – REC) Video Games and Narrative Cinema 

Fr 3:35PM – 4:25PM

David Hall

In this hands-on gaming course, students decipher the narrative design of video games while exploring the legacy of cinema to gameplay. They also apply critical gaming concepts (agency, world-building, point of view, authorship, representation, narrative choice, play) to evaluate cinema as a ludic and participatory artform beyond conventional narrative elements.

ENGL 287 Black Horror and the Moving Image

TuTh 2:00PM – 3:15PM

Daelena Tinnin-Gadson

This course explores Black horror as a cinematic universe held together through the logics, sounds, and aesthetics of anti-blackness, violence, nostalgia, Black trauma, and themes/tropes from horror media. We will consider the relationship between horror and Black modes of expression focusing on the various ways Black filmmakers, writers, and artists have attempted to visualize the haunting connections between the body, the flesh, and the cultural geography of America and the Black Diaspora.

ENGL 378 Film Criticism 

MoWe 3:35 PM – 4:50 PM

Martin L Johnson

Reviled, worshiped, ignored, and coddled—sometimes on the same day—film critics have long played an important role in the ecosystem of the cinema. Critics such as Bosley Crowther, Iris Berry, James Agee, and Otis Ferguson helped raise cinema’s status as an art form in the 1940s and 1950s, while in the 1960s Pauline Kael, Andrew Sarris, and Manny Farber fostered a generation of cinephiles who passionately argued for their favorite directors, genres, and movie stars. Starting in the 1970s, Leonard Maltin, Gene Siskel, and Roger Ebert brought film criticism to the masses, making four-stars and two-thumbs-up signs of a film worth seeing. In the 1990s and early 2000s, a new generation of film critics, including B. Ruby Rich, Manohla Dargis, Armond White, and Dennis Lim, brought diverse perspectives into a domain that, like the cinema itself, was overwhelmingly populated by cisgendered straight white men. In the Internet age, film criticism has been democratized, with new venues—podcasts, web magazines, and social media accounts—complementing, and even replacing, once revered perches of critical authority.

In this course, we consider the history of film criticism and, through a series of writing exercises, develop our own critical voice. We will come away from this course not just with a better understanding of film criticism’s long history, but also of what our taste in film says about ourselves.

ENGL 381 Literature & Cinema 

MoWeFr 2:30 PM – 3:20 PM

Marc Cohen 

The course introduces students to the complex narrative, aesthetic, and rhetorical relationship between literature and cinema.

ENGL 389 Major Film Directors 

TuTh 11:00AM – 12:15PM

Rick Warner 

The course explores the films, public persona, and enduring influence of Alfred Hitchcock, the “master of suspense.” The British-American filmmaker expanded the resources of his medium, experimenting with form and provocative subjects while straddling the boundary between popular entertainment and art cinema. We will take his output and legacy as an occasion to investigate the concept of film authorship. Our discussions will concern the enduring value, as well as the drawbacks, of the notion of the auteur—a term reserved for filmmakers, usually directors, who have a distinct, idiosyncratic style and recurring thematic preoccupations. We will balance out this perspective with other critical and theoretical approaches that range from gender studies and psychoanalysis to genre criticism. The first part of the course focuses on some of Hitchcock’s most indelible films. The remaining weeks then survey his influence on later filmmakers—directors who operate in Hitchcock’s shadow in genres of horror, thriller, comedy, romance, melodrama, and art cinema. We will also consider women directors who devise alternative forms of suspense that abandon Hitchcockian strategies. Indeed, not all the films we examine in the second half of the course simply pay tribute to Hitchcock; they creatively reconfigure and, in some cases, criticize Hitchcock’s practices. We will repeatedly address Hitchcock’s major influence where his controversial treatment of female characters is concerned, engaging this issue through a feminist lens. While this course is about authorship, it also serves in part as a study of gender and sexuality in cinema. Multiple weeks in the course will also take up matters of race. Furthermore, we will think extensively about how these films involve and impact the viewer—how they tend to implicate us in visceral, psychological, and self-conscious ways. The focus of our study, then, will be not only the films on the screen but our very experiences when we encounter them. 

 

Films likely to be shown: Shadow of a Doubt, North by Northwest, Strangers on a Train, Rear Window, Vertigo(Hitchcock), Psycho, The Birds, Don’t Look Now (Roeg), Night of the Living Dead (Romero), The Silence of the Lambs (Demme), Phoenix (Petzold), Women on the Verge of a Nervous Breakdown (Almodóvar), Creepy (K. Kurosawa), Eyes Wide Shut (Kubrick), Gone Girl (Fincher), The Game (Fincher), Carrie (De Palma), We Need to Talk About Kevin (Ramsay), Parasite (Bong), Decision to Leave (Park), Get Out (Peele), Neighboring Sounds(Mendonça Filho), Open Your Eyes (Amenábar), Portrait of a Lady on Fire (Sciamma). This course satisfies the VP requirement. It also counts for the Global Cinema Minor and the Film Studies Concentration within the ECL major. Also satisfies FC-AESTH, FC-KNOWING.

 

ENGL 680 Film Theory 

TuTh 2:00PM – 3:15PM

Rick Warner 

This course offers a rigorous, wide-ranging survey of film theory from the 1920s to the present. We will begin by reconsidering the question of medium specificity that preoccupies much of classical film theory as it seeks to establish the aesthetic legitimacy of cinema relative to the other arts. In particular, we will consider theoretical approaches that emphasize certain devices and resources of cinema, namely the close-up, montage, the long take, and what French theorists and directors of the 1920s mysteriously call photogénie. We will also compare constructivist and realist theories of cinema in the classical stage, noting their political and aesthetic disagreements. Our conversations will shift to the politics of representation through discussions of race, gender, and sexuality. From there, we’ll increasingly focus on contemporary approaches that prioritize the embodied role of the spectator, such as affect theory and phenomenology (which, in essence, is a philosophy firmly grounded in embodied experience). Questions of mood, atmosphere, and the multisensory impact of cinema—including sound—will be our focus in this phase of the course. We will have a unit on documentary that will challenge the conventional separation of fiction and nonfiction filmmaking. In the last stretch of the semester, we will reflect on how the introduction of digital technology across every aspect of production and reception has impacted theories of cinema. What happens to “film” when it no longer has light-sensitive celluloid as its defining material and technological support—when the film strip is replaced by a computational language of 1s and 0s? Is classical film theory still relevant in today’s media environment where digital streaming has become the main locus of film viewing, and where film is tied to television and videogames in increasingly complex ways? We will consider how theories of post-cinematic media have addressed these questions. The environmental, ecological dimensions of cinema will also attract our attention near the end of the course.

Theorists we will read: Jean Epstein, Sergei Eisenstein, André Bazin, Walter Benjamin, Laura Mulvey, Roland Barthes, Manthia Diawara, Bertolt Brecht, Maurice Merleau-Ponty, Frantz Fanon, and many more. The films we will study in this course will not simply be subordinate to the theories we read; we will consider films and film theories on equal footing. Films we will likely watch include Arrival (Villeneuve), Adaptation (Jonze), Moonlight (Jenkins), Paprika (Son), Dunkirk (Nolan), Vivre sa vie (Godard), Jeanne Dielman (Akerman), Two Days, One Night (Dardennes), Aftersun (Wells), Stalker (Tarkovsky), To Sleep with Anger (Burnett), Three Colors: Blue (Kieslowski), Old Joy (Reichardt), Burning (Lee), La Jetée (Marker), It’s a Beautiful Day in the Neighborhood (Heller), Boogie Nights (Anderson), Velvet Goldmine (Haynes), The Watermelon Woman (Dunye), The Matrix (Wachowskis), Mulholland Dr. (Lynch),  and 2001: A Space Odyssey (Kubrick).This course satisfies the VP requirement. It also counts for the Global Cinema Minor and the Film Studies Concentration within the ECL major. Also satisfies FC-AESTH, FC-KNOWING.

GENERAL COURSE LIST

AAAD 51 First-Year Seminar: Masquerades of Blackness

TuTh 9:30AM – 10:45AM

Charlene Regester

This course is designed to investigate how race has been represented in cinema historically with an emphasis on representations of race when blackness is masqueraded.

AAAD 202 (001) African Film and Performance 

MoWe 3:35 PM – 4:50 PM 

Samba Camara 

This course studies African film and performance as two distinct, but interconnected 

genres of artistic expression used for negotiating a postcolonial African agency.

AAAD 250 The African American in Motion Pictures: 1900 to the Present

Tu 2:00 PM – 4:50 PM

Charlene Regester 

This course will analyze the role of the African American in motion pictures, explore the 

development of stereotypical portrayals, and investigate the efforts of African American actors and actresses to overcome these portrayals.

AMST 371  LGTBQ Film and Fiction from 1950 to the Present

MoWe 3:35PM – 4:50PM

Michelle Robinson

An interdisciplinary seminar that explores stylistic choices and representational modes 

available to LGTBQ artists in the United States since 1950. We will relate shifts in cinematic and literary representations and aesthetic strategies to developments in political, social, and economic life.

ANTH 120 Anthropology through Expressive Cultures

MoWeFr 12:20PM – 1:10PM

Theo Kassebaum

Introduction to cultural analysis and the anthropological point of view through analytic 

and interpretive readings of films, fiction, and ethnography. Emphasis on social conditions and native points of view.

ARTS 59 First-Year Seminar: Time, A Doorway to Visual Expression

MoWe 11:15AM – 12:45PM

James Hirschfield

This class will study one of the lesser considered, but most intriguing, visualcomponents: the element of time.

ARTS 106 (001) Video I

TuTh 2:00PM – 4:45PM

Chloe Rager

This foundation course introduces concepts and techniques of temporal art making. Through projects designed to develop an understanding of the creative language unique to digital media, students will learn various software programs and basic digital strategies to realize time-based works of art. Foundation requirement for studio majors.

ARTS 106 (002) Video I

TuTh 11:00AM – 1:45PM

Stella Rosen

This foundation course introduces concepts and techniques of temporal art making. 

Through projects designed to develop an understanding of the creative language unique to digital media, students will learn various software programs and basic digital strategies to realize time-based works of art. Foundation requirement for studio majors.

ARTS 206 Video II

MoWe 6:00PM – 8:45PM

Stella Rosen

Prerequisite, ARTS 106; permission of the instructor for students lacking the prerequisite. In this intermediate-level class students expand on video production strategies and concepts such as lighting theory, location sound recording, montage, and sound design while developing individual and collaborative processes for moving image production.

ASIA 59  First-Year Seminar: Media Masala: Popular Music, TV, and the Internet in Modern India and Pakistan

TuTh 3:30PM – 4:45PM

Afroz Taj

Explores different examples of broadcast and digital media (music videos, soap operas 

and reality shows, radio, and social media) with respect to history, gender, sexuality, globalization, environment, religion, regionalism, and activism.

ASIA 72 First-Year Seminar: Transnational Korea: Literature, Film, and Popular Culture

TuTh 3:30 PM – 4:45 PM

Jonathan Kief

This first-year seminar introduces students to the history of transnational imaginations in modern Korea. Using literature, film, and television, it explores the ways in which Korean cultural producers have used narratives of transnational travel and exchange to rethink Korea’s place in the world and refashion the bounds of Korean identity.

ASIA 427 Cold War Culture in East Asia: Transnational and Intermedial Connections*

TuTh 12:30PM – 1:45PM

Jonathan Kief

This course introduces students to the specific contours that the Cold War accrued in East Asia. Focusing on literature and film, it explores what the fall of the Japanese Empire and the emergence of the post-1945 world meant across the region.

*Combined section with CMPL 527 and PWAD 427

COMM 140 (001-LEC) Introduction to Media History, Theory, and Criticism

MoWe 9:05AM – 9:55AM

David Monje

An introduction to the critical analysis of film, television, advertising, video, and new media texts, contexts, and audiences.

COMM 140 (01F-LEC) Introduction to Media History, Theory, and Criticism

MoWe 11:15AM – 12:30PM

David Monje

An introduction to the critical analysis of film, television, advertising, video, and new media texts, contexts, and audiences.

COMM 230 (002-LEC) Audio/Video/Film Production and Writing

TuTh 12:30PM – 1:45PM

Kristin Hondros

Prerequisites, COMM 130 and 140; Grade of C or better in COMM 130; permission of the instructor for students lacking the prerequisites. The material, processes, and procedures of audio, video, and film production; emphasis on the control of those elements of convention that define form in the appropriate medium. Lecture and laboratory hours.

COMM 288 Media Studies of Japan*

TuTh 2:00PM – 3:15PM

Yurika Tamura

This course introduces Japanese thoughts and culture through the lens of media cultural studies, and studies socio-cultural issues of Japan through media productions and trends. We will learn about Japan’s nationalism and imperialism, gender and family ideologies, post-Bubble economic misery and homelessness, memories of war, feminist and minority struggles, working culture, technology, and post-Fukushima philosophy of survival in film, commercials, print media, news, and TV shows.

*Combined section with JAPN 288-001 and COMM 288-001

COMM 330 (001-LEC) Introduction to Writing for Film and Television

MoWe 11:15 AM – 12:30 PM

Michael D Acosta

An introduction to screenwriting for film and television with strong emphasis on the scene.

COMM 330 (002-LEC) Introduction to Writing for Film and Television 

TuTh 12:30 PM – 1:45 PM

Nizar Wattad

An introduction to screenwriting for film and television with strong emphasis on the scene.

COMM 331 Writing the Short Film 

TuTh 11:00 AM – 12:15 PM

Joy Goodwin

Students practice and learn the craft of narrative, short film writing by conceptualizing, 

outlining, writing, and rewriting three short film scripts. They include one three-minute silent, one five-minute script with dialogue, and one 15-minute script with dialogue.

COMM 431 Advanced Audio Production 

MoWe 9:05AM – 10:20AM

Mark Robinson

Prerequisite, COMM 130 or 150; Grade of C or better in COMM 130; permission of the 

instructor for students lacking the prerequisite. Advanced analysis and application of the principles and methods of audio production.

DRAM 245 Acting for the Camera

TuTh 11:00AM – 12:15PM

Samuel Gates

Prerequisite, DRAM 135 or 150; permission of the instructor for students lacking the 

prerequisite. The process of acting and its relationship to the technical and artistic demands of television/film production. Problems of continuity and out-of-sequence filming. Concentration and thinking on camera.

FREN 586 Studies in French Cinema: Jean-Luc Godard

TuTh 3:30 PM – 4:45 PM 

Hassan Melehy 

Recommended preparation for French majors and minors, FREN 300 and one of FREN 

255, 260, or 262; for all other students, CMPL 143. Themes, periods, and movements in the history of French cinema. The course may cover early cinema, silent film, poetic realism of the 1930s, postwar cinema, the French New Wave, or late twentieth- and early twenty-first century cinema. Taught in English or French. See department announcements for current topic and language of instruction.

GERM 263 European Exile Cinema* 

MoWeFr 1:25 PM – 2:15 PM

Inga Pollmann

This course examines the work of one or several film directors who went into exile during the Third Reich to discuss: How does the experience of exile influence film style? What are theories and histories of exile and exile cinema, and how do they relate to other approaches to film, via national film histories, genre, style, etc.? How does a biography of exile relate to so-called auteur theory? Readings and Discussions in English.

*Combined section with CMPL 263

GSLL 273 Close Your Eyes and See a Film: The Documentary in Central Europe

TuTh 12:30PM – 1:45PM

Eliza Rose

Aesthetic experiment, agit-prop tool, and instrument of social critique: documentary film 

is a flexible form. In the Socialist Bloc, documentary was sanctioned by the state but often used to undermine state power. This course is a survey of Polish, Czech, Yugoslav and Hungarian documentary film. We will explore studio productions alongside home movies, amateur films, and art films. Does documentary simply record reality, or can it change reality too? Readings & discussions in English.

PRSN 306 Persian Language through Literature and Film

MoWeFr 1:25PM – 2:15PM

Shahla Adel

Prerequisite, PRSN 204. Students will study literary writings and filmic texts from 

traditional literature to contemporary media (including plays, film, television, etc.). Students will engage in various communicative activities focusing on all language skills and building vocabulary and idiomatic expressions. Literary and filmic texts will also improve students’ cultural awareness.

PHIL 381 Philosophy and Film 

Th 2:00 PM  – 4:30 PM 

Sarah Stroud

Prerequisite, one previous PHIL course. An examination of how philosophical issues are 

explored in the medium of film.

PORT 323 Advanced Communication in Portuguese: History, Nature, and Society

MoWeFr 9:05AM – 9:55AM

Paulo Rodrigues Ferreira

Prerequisite, PORT 204 or 402. Emphasizes the learning of Portuguese through cultural 

context. Language, society, and miscegenation will be approached through texts and films. Focus on important aspects of religion, festivities, and popular music from the Portuguese-speaking countries of three continents.

PORT 388 Portuguese, Brazilian, and African Identity in Film

MoWeFr 11:15AM – 12:05PM

Nilzimar Vieira Hauskrecht

Study of the literary and cultural film production of the Portuguese-speaking world on 

three continents. Films in Portuguese with English subtitles.

PWAD 427 Cold War Culture in East Asia: Transnational and Intermedial Connections*

TuTh 12:30PM – 1:45PM

Jonathan Kief

This course introduces students to the specific contours that the Cold War accrued in East Asia. Focusing on literature and film, it explores what the fall of the Japanese Empire and the emergence of the post-1945 world meant across the region.

*Combined section with ASIA 427, CMPL 527, and PWAD 427

*Combined section with ASIA 435, PWAD 435, and CMPL 535

SPAN 261 (004-LEC) Advanced Spanish in Context 

MoWeFr 11:15AM – 12:05PM

Helene De Fays

Prerequisite, SPAN 204. Fifth semester Spanish course required for all majors and minors that uses literature, film, and culture as a basis for reviewing grammatical concepts, developing writing competency, and improving overall communication skills. Students may not receive credit for both SPAN 261 and SPAN 267.

SPAN 261 (005-LEC) Advanced Spanish in Context 

MoWeFr 12:20PM – 1:10PM

Abel Munoz-Hermoso

Prerequisite, SPAN 204. Fifth semester Spanish course required for all majors and minors that uses literature, film, and culture as a basis for reviewing grammatical concepts, developing writing competency, and improving overall communication skills. Students may not receive credit for both SPAN 261 and SPAN 267.

SPAN 267 (002-LEC) Advanced Spanish in Context for Heritage Learners

MoWeFr 11:15AM – 12:05PM

Monica Lopez-Vazquez

Prerequisite, SPAN 204 or SPAN 205; permission of the instructor for students lacking 

the prerequisite. Fifth semester Spanish course, designed specifically for Heritage learners, required for all majors and minors. Uses literature, film, and culture as a basis for reviewing grammatical concepts, developing writing competency, and improving overall communication skills. Students may not receive credit for both SPAN 267 and SPAN 261.

SPAN 301 (001-LEC) Introduction to Literary and Cultural Analysis

TuTh 11:00AM – 12:15PM

Irene Gomez-Castellano

Prerequisite, SPAN 261 or SPAN 267. Prepares students to formulate and communicate 

critical analyses of literary works in at least three genres chosen from theater, poetry, essay, narrative, and film while situating the readings within a cultural context. Students will improve Spanish language proficiency and appreciation of different world views through literature and culture. Previously offered as SPAN 260. Students may not receive credit for both SPAN 301 and SPAN 260 or 302.

SPAN 301 (003-LEC) Introduction to Literary and Cultural Analysis

TuTh 2:00PM – 3:15PM

Adam Cohn

Prerequisite, SPAN 261 or SPAN 267. Prepares students to formulate and communicate critical analyses of literary works in at least three genres chosen from theater, poetry, essay, narrative, and film while situating the readings within a cultural context. Students will improve Spanish language proficiency and appreciation of different world views through literature and culture. Previously offered as SPAN 260. Students may not receive credit for both SPAN 301 and SPAN 260 or 302.

SPAN 301H (001) Introduction to Literary and Cultural Analysis

MoWeFr 11:15AM – 12:05PM

Cristina Carrasco

This course is designed for students in the Honors Program, who have been 

recommended by their SPAN 261 instructor, or who have received the approval of the SPAN 301 course coordinator. The course prepares students to analyze texts in at least three different genres (theater, poetry, essay, narrative, or film), within a cultural context. In this process, students will improve their language proficiency in Spanish as they are exposed to different world views through the study of literature and culture. SPAN 301H differs from SPAN 301 in several ways; writing assignments are more challenging in terms of length and research expectations, and students use a Spanish conversation digital platform to further practice their Spanish skills speaking with native speakers. In addition, students also work on a creative, non-traditional, final project (a musical composition, an original short story, a graphic text, or any other cultural project based on their academic interests and inspired by our readings and discussions). The course also integrates cultural events outside of the classroom such as movies, guest lectures, art exhibits, or performances as part of class participation.  

  

REGISTRATION LIMITED TO MEMBERS OF HONORS CAROLINA. 

Prerequisite, SPAN 261 or SPAN 267 

SPAN 301H (002) Introduction to Literary and Cultural Analysis

MoWeFr 11:15AM – 12:05PM

Cristina Carrasco

This course is designed for students in the Honors Program, who have been 

recommended by their SPAN 261 instructor, or who have received the approval of the SPAN 301 course coordinator. The course prepares students to analyze texts in at least three different genres (theater, poetry, essay, narrative, or film), within a cultural context. In this process, students will improve their language proficiency in Spanish as they are exposed to different world views through the study of literature and culture. SPAN 301H differs from SPAN 301 in several ways; writing assignments are more challenging in terms of length and research expectations, and students use a Spanish conversation digital platform to further practice their Spanish skills speaking with native speakers. In addition, students also work on a creative, non-traditional, final project (a musical composition, an original short story, a graphic text, or any other cultural project based on their academic interests and inspired by our readings and discussions). The course also integrates cultural events outside of the classroom such as movies, guest lectures, art exhibits, or performances as part of class participation.  

  

REGISTRATION LIMITED TO MEMBERS OF HONORS CAROLINA. 

Prerequisite, SPAN 261 or SPAN 267 

SPAN 340 (001-LEC) Iberian Cultural Topics

TuTh 11:00 AM – 12:15PM

Pello Huesa

Prerequisite, SPAN 261 or 267. This course studies trends in thought, art, film, music, 

and social practices in the Iberian context, and includes the study of Spain’s historical nationalities. Topics may include nationalism, ethnicity, race, class, gender, migration, and popular culture.

SPAN 340 (002-LEC) Iberian Cultural Topics

MoWeFr 1:25PM – 2:15PM

Cristina Carrasco

Prerequisite, SPAN 261 or 267. This course studies trends in thought, art, film, music, and social practices in the Iberian context, and includes the study of Spain’s historical nationalities. Topics may include nationalism, ethnicity, race, class, gender, migration, and popular culture.

SPAN 344 (001-LEC) Latin@ American Cultural Topics

TuTh 11:00AM – 12:15PM

Oswaldo Estrada

Prerequisite, SPAN 261 or 267. This course studies trends in thought, art, film, music, 

social practices, in the Spanish speaking Americas, including the United States. Topics may include colonialism, race, class, ethnicity, modernization, ecology, religion, gender, and popular culture.

RELI 70 First-Year Seminar: Jesus in Scholarship and Film

TuTh 9:30AM – 10:45AM

Bart Ehrman

This seminar explores the ways the historical Jesus has been portrayed in the writings of modern scholars and films of the 20th and 21st centuries.

RUSS 282 Russian Lit in Cinema* 

TuTh 2:00 PM – 3:15 PM

Stanislav Shvabrin 

Survey of masterpieces of Russian literature in the context of their transcultural cinematic adaptations. Lectures and readings in English.

*Combined section with CMPL 282

RUSS 477 Wicked Desire: Vladimir Nabokov, Lolita, on Page and Screen*

TuTh 11:00AM – 12:15PM

Stanislav Shvabrin

Vladimir Nabokov’s novel Lolita (1955) became a global phenomenon due to its unflinching portrayal of pedophilia. This course will delve deeper into the novel’s moral complexity, its international context, and its reflection in mass culture, including movies by Stanley Kubrick (1962) and Adrian Lyne (1997). Taught in English; some readings in Russian for qualified students.

*Combined section with CMPL 477