Comm 291A: "Virgins and Vamps:" Women in American Drama and Theatre
Prof. Susan Anthony
This theatre history course investigates the careers and depictions of women in dramatic texts, theatrical productions, and popular entertainment in the United States from the Colonial period to the 21st century. Students will consider perceptions of womanhood, femininity, and female sexuality in these eras, along with perceptions of beauty, non-traditional femininity, race, social class, ethnicity, and female agency.
COMM 291B: Multimedia Storytelling
Prof. Mark Tatge
Study of the dynamics of non-fiction storytelling through the use of traditional story framing constructs used by magazine journalists. Strong emphasis placed on story development and use of journalistic reporting techniques to create compelling non-fiction stories. Each student builds a website and publishes content produced in this course. We will cover the basics of website creation, design and search engine optimization. Prerequisites: Sophomore or above standing. Recommended: Basic knowledge of multimedia editing software in a PC or Mac environment (iMovie, Final Cut or Sony Vegas), student media experience, and completion of one or more of the following: Eng 232, Eng 321, Comm 235, Comm 236.
Work completed and published by previous Multimedia Storytelling 291 students can be found at this address: www.tellingdigitalstories.com
Comm 210A: Performance Studies I
Professor Caroline Good
This course surveys acting styles of the theatre from Ancient Greece to contemporary America as reflected through theory and criticism, costume, and acting. Nine major performance styles, including Commedia dell’Arte and Shakespeare, are studied along with improvisation, correlating period movement, and stage dialects.
Comm 310A: Performance Studies II
Professor Steve Timm
Performance Studies seeks to broaden the definition of performance and the texts upon which they are based. This course investigates literature, discourse, image, gesture and the body through analytical and artistic applications.
Comm 310/Spring 2014 will focus on the history, texts and creative process of solo performance pieces—particularly those pieces connected to social and political movements over the last 100 years. Students will write and perform solo pieces using a variety of source materials: personal experience, historical figures and events, political/social movements , current events and literature. While the emphasis in this course will be on the creation of original works, a thorough understanding of the critical and historical traditions influencing and shaping the performance practice is expected. A sample of works we’ll study include performance pieces by Beatrice Herford, “Moms” Mabley, Brother Theodore, Lenny Bruce, Spaulding Gray, Laurie Anderson, Rachel Rosenthal, Guillermo Gomez-Pena, Eric Bogosian, Anna Deavere Smith and many others. This course is recommended for upper level students. No prerequisites.
Comm 315A: Gender & Theatre
Prof. Susan Anthony
This class explores ways in which theatrical works (drama, theatre, and popular entertainment) reflect, reinforce, challenge or disrupt sex and gender roles throughout various historical periods. Topics will include depictions of women and men in drama and theatre, LGBT performance, and performance art. Students will read and discuss dramatic texts, theatrical/dramatic theory, work on research, writing,and speaking skills, and attend live performances.
Comm 325A: Adv. Interpersonal Communication
Prof. Jennifer Adams
In this course, students will explore the experience of friendship over the course of the lifespan. Readings in interpersonal communication theory will be supplemented with classic texts from philosophy and literature in order to explore this vital human relationship.
COMM 328A: Mediate & Negotiate
Prof. Kent Menzel
Topics in Conflict Communication: Mediation and Negotiation as Forms
of Alternative Dispute Resolution
In this course we will begin with the study basic theories of conflict as a foundation for an exploration of the major strategies of alternative dispute resolution, including mediation, negotiation, and arbitration. In addition to the analysis of case studies, students in the course will have the opportunity to create, prepare, and
participate in conflict resolution role-playing scenarios.
COMM 401A: Big Screen, Small Box: Inside the Film & Television Industries
Prof. Kevin Howley
This course is a critical examination of the film and television industries. Through a variety of sources, including films and TV programs about film and television production, this course analyzes these industries from social, economic, political and cultural perspectives. Scholarly and popular press readings cover a number of issues including the creative process, film and television audiences, questions of media ownership and control, movie “magic,” and the nature of stardom.
COMM 401B: Film Theory
Prof. Seth Friedman
What is cinema? This seemingly simple question will be the primary focus of this upper-level seminar on film theory because it has consistently inspired great debate about the medium since its emergence. Indeed, many critics argue that an interrogation of the essence of cinema has only become more salient in the digital age, as the ways that films are now constructed, distributed, viewed, interpreted, and discussed have both dramatically changed and remained remarkably similar amidst the advent of new media technologies. As this example begins to suggest, scholarly examinations of the meaning of cinema are often centered on two ostensibly contradictory concerns: the medium’s specificity and its connections to other arts and modes of communication. Consequently, this class will survey a number of the most influential classic and contemporary writings on cinema to help us gain a better understanding of how the medium is distinct as well as related to other forms of expression, social institutions, and cultural practices.