Courses

In a 2015 interview with David Simon (creator of The Wire) President Barak Obama offered that The Wire is, "one of the greatest -- not just television shows, but pieces of [American] art in the last couple of decades."  The Wire combines hyperrealism (from a-quasi anthropological capture of syntax and dialect that recalls the language of Langston Hughes and Zora Neal Hurston to a preference for actors who lived “the game” in Baltimore’s inner city) with the reinvention of fundamental American themes (from picaresque individualisms, to coming to terms with the illusory “American dream”, to a fundamental loss of faith in American institutions), and engages in a scathing expose of the shared dysfunction among the bureaucracies (police, courts, public schools etc.) that manage a troubled American inner city.  On a more macro level The Wire humanizes (and therefore vastly problematizes) assumptions about the individual Americans’ who inhabit America’s most dangerous urban environments from gang members to police officers to teachers and even ordinary citizens.

The Wire, of course, did not single-handedly reshape American television. Scholars like Martin Shuster refer to this period of television history as “new television.” That is, the product of new imaginations that felt television had exhausted its normative points of reference, subject matter and narrative technique. Many of the shows from this period sought to reinvent television for interaction with an evolving zeitgeist shaped by shared dissolution with 21st century American life: “I’d been thinking: it’s good to be in a thing from the ground floor, I came too late for that, I know.  But lately I’m getting the feeling I might be in at the end.  That the best is over,” Tony Soprano confides to Dr. Malfi in S1.E1 of the Sopranos.  Series that fall within this rubric include (in chronological order): The Sopranos; The Wire; Deadwood; Madmen; and Breaking Bad.

Traditionally, stories have followed a linear path, with a clear distinction between teller and audience. Yet, since the late 20th century, this model is shifting. Today, postmodern fiction, video games, interactive films, VR, participatory theater and immersive experiences offer audiences agency, creating a challenge for creators: how do they uphold narrative integrity while allowing for choice, collaboration, and remixing?

In this class, we’ll examine how modern narrative designers craft stories across media that invite audience participation. Through history, analysis, and workshops, we’ll explore how creators design for interaction while preserving tone and themes, turning audiences into active participants.

For the final assignment, students will develop a 12-15 minute pitch presentation for an original story concept, adapting it into an interactive format that balances strong authorial vision with audience agency.

This practical lab focuses on the fundamental aspects of development, planning and preparation for low budget films. While using a short film script as their own case study – students will learn pitching, development, script breakdown, scheduling, budgeting and fundraising. Discussion of legal issues, location scouting, deliverables, marketing, distribution and film festival strategy will allow students to move forward with their own projects after completing the class. Using weekly assignments, in-class presentations and textbook readings to reinforce each class discussion topic, students will complete the class having created a final prep/production binder for their project, which includes the script breakdown, production schedule, line item budget, financing/fundraising plan and film festival strategy for their chosen script.

Modern feature-length screenplays demand a specific architecture. In this class students will enter with an idea for a film, and during the first eight sessions build a coherent treatment; that is, a summary of the events and major emotional arcs of the film's three acts. In the final four sessions students will begin and complete the first act of their feature-length screenplay.

Documentaries are proliferating with increasing intensity around the world. They circulate as market commodities, forms of entertainment, and vehicles for social change. In this class we will compare different national and regional contexts of contemporary documentary, including projects created within the media industries of China, Cambodia, Chechnya, Ukraine, Nigeria, and India. We will also examine the presence of “the global” within the United States, which involves exploring questions of immigration, border-crossing, and transnational co-production. Crucial to our course will be the close analysis of how documentaries actively address civil rights struggles, oppressive government regimes, cultural trends, environmental crises, and progressive social movements to create more inclusive, equitable communities. So, too, will we examine emerging technologies (AI, virtual and augmented reality), star-studded film festivals, and the reach and impact of mega studios such as Netflix and Wanda. Guest speakers (scholars, filmmakers, programmers) working in the field will enrich our class discussions. Site visits will offer the opportunity to engage with documentary through the cultural offerings of the city. This course fulfills the Global Core requirement.

Equivalent to FREN UN1101. Designed to help students understand, speak, read, and write French, and to recognize cultural features of French-speaking communities, now with the help of a newly digitized audio program. Students learn to provide information in French about their feelings, environment, families, and daily activities. Daily assignments, quizzes, laboratory work, and screening of video material.

Prerequisites: one term of college French or one year of secondary school French. $15.00= Language Resource Fee, $15.00 = Materials Fee , Equivalent to FREN UN1102. Continues the work of French S1101D and completes the study of elementary French. Students continue to develop communicative skills, narrating recent events (past, present, and future), describing daily life activities, and learning about cultural features of France and of the wider Francophone world. Following the communicative approach, students, with the help of the instructor, learn to solve problems using the language, to communicate their feelings and opinions, and to obtain information from others. Daily assignments, quizzes, laboratory work, and screening of video materials.

Primarily for graduate students in other departments who have some background in French and who wish to meet the French reading requirement for the Ph.D. degree, or for scholars whose research involves references in the French language. Intensive reading and translation, both prepared and at sight, in works drawn from literature, criticism, philosophy, and history. Brief review of grammar; vocabulary exercises.

This intensive program provides one year of German in one six-week session. The course enables students to understand, speak, read, and write in German about a range of subjects (such as: family activities, studies, work and home life, as well as travel, economics, and current events) and helps them develop an understanding of German speaking cultures. Classes are conducted in German and supplemented with written homework and audiovisual materials. Assignments and activities are diversified to integrate undergraduate and graduate students’ academic and personal interests. The program draws on the German heritage of New York City (museums, Goethe Institut, restaurants, etc.). Students are encouraged to attend German-language films and musical performances. Students have many opportunities for informal conversation. Upon successful completion of the course (with a minimum grade of B), students should achieve novice high to intermediate low proficiency (ACTFL scale). Final grades are based on frequent oral and written tests, writing assignments, a project on German culture in New York, and a final examination (written and oral). Students are advised that this course constitutes a full-time commitment. The workload of this course is very intense and students will be expected to spend 4-6 hours studying every day outside of class and additional time on weekends. The Department of Germanic Languages will assist in selecting the appropriate course. Equivalent to the combination of GERM UN1101 and UN1102 taught during the regular semesters.

If prior knowledge of German, a placement exam is required. Students should contact Jutta Schmiers-Heller (js2331) to schedule a test or if they have other questions about the course.

Prerequisites: Equivalent to GERM UN2101 Topics include personal interests, biographies, German unification, stereotypes, and German-American relations. Assignments and activities are diversified to integrate undergraduate and graduate students’ academic and personal interests. Upon successful completion of the course (with a minimum grade of B), students should achieve intermediate-high proficiency (ACTFL scale) in speaking, listening, reading, and writing German. Students are advised that this course is a full-time commitment. Students should expect to study 2 hours every day for every hour spent in the classroom and additional time on weekends. Students planning to study in Berlin in spring are advised to complete GERM S2101 in the Summer Session. The Department of Germanic Languages will assist in selecting the appropriate course. Equivalent to GERM UN2101 taught during the regular semesters.