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Art and Art History

Contacts

Office: Nathan Cummings Art Building, Room 101, 435 Lasuen Mall
Mail Code: 94305-2018
Phone: (650) 723-3404
Web Site: http://art.stanford.edu

Courses offered by the Department of Art & Art History are listed on the Stanford Bulletin's ExploreCourses web site under the subject codes ARTHIST (Art History), ARTSTUDI (Art Practice), FILMSTUD (Film Studies), and FILMPROD (Film Practice).

Mission of the Department of Art and Art History

The department offers courses of study in:

  1. Art History
  2. Art Practice (studio)
  3. Design
  4. Film and Media Studies
  5. Film Production

leading to the following degrees: B.A. degree in Art History; B.A. degree in Art Practice; B.A. degree in Film and Media Studies; M.F.A. degree in Art Practice; M.F.A. degree in Design; M.F.A. degree in Documentary Film and Video; Ph.D. degree in Art History.

The undergraduate program is designed to help students think critically about the visual arts and visual culture. Courses focus on the meaning of images and media, and their historical development, roles in society, and relationships to disciplines such as literature, music, and philosophy. Work performed in the classroom, studio, and screening room is designed to develop a student's powers of perception, capacity for visual analysis, and knowledge of technical processes.

Learning Outcomes (Undergraduate)

The department expects undergraduate majors in the program to be able to demonstrate the following learning outcomes. These learning outcomes are used in evaluating students and the department's undergraduate program.

Students in historical studies are expected to demonstrate:

  1. knowledge and awareness of art and/or film terminology and concepts;
  2. ability to develop effective and nuanced lines of interpretation;
  3. improved critical thinking skills using primary and secondary source materials;
  4. improvement in analytical writing skills and close reading skills;
  5. ability to form and validate their own and others' opinions through knowledge of artistic movements and sociohistorical events.

Students in creative art are expected to demonstrate:

  1. enhanced awareness of the role of art in intellectual and cultural life;
  2. problem solving skills to organize, analyze and interpret visual information;

  3. mastery of techniques and materials of a discipline with awareness of historical and current practices;
  4. selection of  materials, processes, form, and content to achieve poetic and expressive relationships to artistic media;
  5. ability to apply critical analysis to the student’s own work and the work of others;
  6. effective techniques for the preparation and presentation of work consistent with professional practices in the field.

Learning Outcomes (Graduate)

The purpose of the master's programs is to further develop knowledge and skills in Art and Art History and to prepare students for a professional career or doctoral studies. This is achieved through completion of courses, in the primary field as well as related areas, and experience with independent work and specialization.

The Ph.D. is conferred upon candidates in Art History (including Film and Media Studies) who have demonstrated substantial scholarship and the ability to conduct independent research and analysis in their respective disciplines.  Through completion of advanced course work and rigorous skills training, the doctoral program prepares students to make original contributions to knowledge in their fields and to interpret and present the results of their research.

Iris and and B. Gerald Cantor Center For Visual Arts

The Cantor Arts Center at Stanford University is a major resource for the department. The Cantor presents art from around the world in 24 galleries: from Africa to the Americas to Asia, and from ancient to contemporary periods. The Cantor offers changing selections from its 30,000-object collection; the Rodin Sculpture Garden; special exhibitions; and a variety of educational programs. Through collaborations with the teaching program, student internships, and student activities, the Cantor provides a rich resource for Stanford students.

Art History

Undergraduate Program in Art History

The discipline of Art History teaches students how to analyze and interpret works of fine art (paintings, drawings, prints, and sculpture), photography and moving image media (film, video, television, and digital art), material culture (ritual objects, fashion, advertisements, and the decorative, applied, and industrial arts), and the built environment (architecture, urbanism, and design). The department takes it as axiomatic that the skills of visual literacy and analysis are not innate but may be acquired through training and practice. Objects of study are drawn from the cultures of Africa, Asia, the Americas, from the Middle East; from Western, Central, and Eastern Europe; and from antiquity to the present.

Art History is a historical discipline that seeks to reintegrate the work of art into the original context of its making and reception, foregrounding its significant status as both historical document and act of social communication. At the same time, Art History seeks to understand the ways in which the work of art transcends the historical moment of its production, taking on different meanings in later historical periods, including the present. As part of their visual training, students of Art History become proficient in cultural analysis and historical interpretation. Art History thus envisions itself as uniquely well positioned to train students from a variety of disciplines in the light of the dramatic visual turn that has gripped the humanities and the sciences over the course of the last decade, with more and more disciplines becoming vitally interested in visual forms and modes of communication.

Graduate Program in Art History

The doctoral program in Art History at Stanford is relatively small, and affords the graduate student the opportunity to work intensively with individual members of the faculty. The Doctor of Philosophy degree is taken in a particular field, supported by a background in the general history of art. Doctoral candidates also undertake collateral studies in other graduate departments or in one of the University's interdisciplinary programs.

Art Practice (Studio)

Undergraduate Program in Art Practice (Studio)

The Art Practice program offers production-based courses founded on the concepts, skills and cultural viewpoints that characterize contemporary art practice. The goal is to educate students, both majors and minors, in the craft, culture, and theory of current fine art practices to prepare them for successful careers as artists. The art practice program is designed to develop in-depth skills in more than one area of the visual arts. It emphasizes the expressive potential of an integration of media, often via a cross-disciplinary, interactive path. Through collaboration and connections with scientists, engineers, and humanities scholars, the program addresses a breadth of topical and artistic concerns central to a vital undergraduate education.

Graduate Program in Painting, Sculpture, New Genres, and Photography

The program provides a demanding course of study designed to challenge advanced students. Participants are chosen for the program on the basis of work that indicates high artistic individuality, achievement, and promise. Candidates should embody the intellectual curiosity and broad interests appropriate to, and best served by, work and study within the University context.  

The Graduate Program in Design

Working jointly, the departments of Art & Art History and Mechanical Engineering offer graduate degrees in product and visual design. A large physical environment, the Design Yard, provides professional studio space and well-equipped shops. Flexible programs may include graduate courses in fields such as engineering design, biotechnology, marketing, microcomputers, or the studio and art history curriculum. The program centers on a master's project and may also include work in advanced art and design. The program is structured to balance independent concentration with the use of the University and community, and interaction with the students and faculty of the graduate Design program. Cross-disciplinary interaction is encouraged by a four-person graduate Design faculty.

Film and Media Studies

Undergraduate Program in Film and Media Studies

The Bachelor of Arts in Film and Media Studies provides an introduction to film aesthetics, national cinematic traditions, modes of production in narrative, documentary, and experimental films, the incorporation of moving image media by contemporary artists, and the proliferation of new forms of digital media. The program is designed to develop the critical vocabulary and intellectual framework for understanding the role of cinema and related media within broad cultural and historical concepts.

Graduate Program in Documentary Film and Video

The Master of Fine Arts program in documentary production provides a historical, theoretical, and critical framework within which students master the conceptual and practical skills for producing nonfiction film and video. The M.F.A. is a terminal degree program with a two-year, full-time curriculum representing a synthesis of film praxis and film and media history, theory, and criticism. Courses provide an intellectual and theoretical framework within which students' creative work is developed. Students proceed through the program as a cohort. The program does not permit leaves of absence.

The M.F.A. degree is designed to prepare graduate students for professional careers in film, video, and digital media. Graduates are qualified to teach at the university level. The philosophy of the program is predicated on a paradigm of independent media that values artistic expression, social awareness, and an articulated perspective. Students become conversant with the documentary tradition as well as with alternative media and new directions in documentary. Training in documentary production is combined with the development of research skills in film criticism and analysis. Electives in film studies, art history, and studio art provide an intellectual and theoretical framework within which creative work is realized. The parallel focus on production and studies prepares students for an academic position that may require teaching both film studies and production.

Art and Art History Department Course Catalog Numbering System

The first digit of the ARTHIST and FILMSTUD course number indicates its general level of sophistication.

Digit Area
001-099Introductory
100-199Undergraduate level lectures
200-299Undergraduate seminars/individual work
300-399Graduate level lectures
400-599Graduate seminars/individual work

 Art History

Digit Area
001-099Introductory
100-104Ancient
105-109Medieval
110-119Renaissance
120-139Early Modern
140-159Modern
160-179Contemporary
180-189Asia
190-195Africa and the Americas
200-299Seminars and Colloquia
410-499Historical Studies
500-599Critical Studies
600-699Graduate Research

Art Practice (Studio)

Digit Area
001-099Courses for Non-Major (Lower Level)
100-199Lower Level Undergraduate Courses
200-299Upper Level Undergraduate Courses
300-399Graduate Seminars

Film and Media Studies

Digit Area
004-103Introductory
111-118Genre
130-139National Cinemas
140-149Aesthetics
150-159Other
220-299Undergraduate Seminars
400-660Graduate Seminars

 Film Production 

Digit Area
001-199Undergraduate Courses
300-399Graduate Courses
400-499Graduate Courses for MFA Doc Film Students Only

Bachelor of Arts in Art History

Suggested Preparation for the Major

Students considering a major in art history should take either  ARTHIST 1A Introduction to the Visual Arts: Prehistoric through Medieval  or ARTHIST 1B , during their freshman or sophomore year.

Fields of Study or Degree Options

Students who wish to major in Art History must meet with the undergraduate coordinator. At that time the student selects a faculty adviser and declares the major on Axess. Concentrations within the major are approved by the student's major adviser and are not declared on Axess. Sample concentrations include:

  1. Topical concentrations: art and gender; art, politics, race, and ethnicity; art, science, and technology; urban studies
  2. Genre concentrations: architecture; painting; sculpture; film studies; prints and media; decorative arts and material culture
  3. Historical and national concentrations: ancient and medieval; Renaissance and early modern; modern and contemporary; America; Africa; Asia; the Americas
  4. Interdisciplinary concentrations: art and literature; art and history; art and religion; art and economics; art and medicine (with adviser consent a maximum of two concentration courses may be taken outside the department).

Degree Requirements

All undergraduate majors complete a minimum of 65 units (15 courses that carry 4 or 5 units each). Students are required to complete four core courses,  two seminar courses for the major (ARTHIST 294 andARTHIST 296 Junior Seminar: Methods & Historiography of Art History), five Art History foundation courses, three concentration courses, one of which must be a seminar, Art Practice course (4 units). Courses must be taken for a letter grade. Majors are required to attend an orientation session presented by the professional staff of the Art and Architecture Library, which introduces the tools of research and reference available on campus or through the Internet. This requirement should be completed no later than the quarter following the major declaration.

Required Courses

  1. Core Courses (20 units)

    Select four of the following:20
    Introduction to the Visual Arts: Prehistoric through Medieval (meets WAY A-II and ED)
    ARTHIST 1B
    (meets WAY A-II)
    ARTHIST 2
    (meets WAY A-II)
    Introduction to World Architecture (meets WAY A-II)
    Introduction to Film Study (meets WAY A-II)
    Total Units20
  2. Foundation Courses (20 units)

    In order that students acquire a broad overview of different historical periods and different geographic regions, majors must take five Art History lecture courses, one from each of the following five categories:
    Take one course from each of the following categories:
    Ancient and Medieval
    Select one of the following:4
    ARTHIST 100N
    (meets WAY A-II)
    ARTHIST 101
    ARTHIST 102
    (meets WAY A-II)
    ARTHIST 105B
    (meets WAY ED)
    ARTHIST 109
    Renaissance and Early Modern
    Select one of the following:4
    Introduction to Italian Renaissance, 1420-1580
    ARTHIST 118N
    ARTHIST 120
    Modern, Contemporary, and the U.S
    Select one of the following:4
    ARTHIST 144
    (meets WAY ER)
    MODERNISM AND MODERNITY (meets WAY A-II)
    ARTHIST 152
    (meets WAY A-II and SI)
    Abstract Expressionism: Painting/Modern/America
    ARTHIST 154
    (meets WAY A-II)
    ARTHIST 156N
    ARTHIST 160
    Technology and the Visual Imagination
    Representing Fashion
    Asia, Africa, and the Americas
    Select one of the following:4
    Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting
    ARTHIST 186
    ARTHIST 188B
    Global Currents: Early Modern Art Enterprises, Economies, and Imaginaries
    Art of the African Diaspora
    Film & Media Studies
    Select one of the following:4
    Introduction to Film Study (meets WAY A-II)
    FILMSTUD 100B
    (meets WAY A-II)
    FILMSTUD 100C
    (meets WAY A-II)
    Fundamentals of Cinematic Analysis (meets WAY A-II)
    Theories of the Moving Image (meets WAY A-II)
    International Documentary
    Technology and the Visual Imagination
  3. Seminar Courses for Majors (10 units)

    Writing in the Major (5 units): This course is designed for Art History majors in their junior year, equipping them with the scholarly tools necessary for writing about art in a variety of contexts as they progress through the major. This course fulfills the requirements of Writing in the Major (WIM).
     

    Capstone Junior Seminar (5 units): This course is designed to introduce majors to methods and theories underlying the practice of Art History. The seminar is offered annually, typically during Autumn Quarter.

    Take each of the following:
    Writing in the Major
    ARTHIST 294 (Required: WIM course)5
    Capstone Junior Seminar
    ARTHIST 296Junior Seminar: Methods & Historiography of Art History5
  4. Seminar Requirement (5 units)

    The student needs one additional seminar course within his or her area of concentration.

    Select one of the following:
    ARTHIST 203Greek Art In and Out of Context4-5
    ARTHIST 2055
    ARTHIST 207C5
    ARTHIST 2125
    ARTHIST 217B5
    ARTHIST 2255
    ARTHIST 243C5
    ARTHIST 246BPop Art5
    ARTHIST 269A5
    ARTHIST 2785
    ARTHIST 287A5
  5. Area of Concentration (8-10 units)

    The department encourages students to pursue their interests by designing an area of concentration tailored to their own intellectual concerns. This area of concentration provides the student with an in-depth understanding of a coherent topic in Art History and consists of three Art History courses: one must be a seminar, and two of the three courses must be in a single field or concentration constructed by the student in consultation with his or her faculty adviser. Students must submit an area of concentration form, signed by their faculty adviser, during Winter Quarter of the junior year.
  6. Art Practice Course (4 units)

    Majors are required to complete at least one introductory Art Practice course.

Honors Program in Art History

The purpose of the honors program is to extend and deepen work done in Art History classes.  The honors thesis topic typically emerges out of prior course work; it should be focused and have clear parameters. Ordinarily, an honors thesis is not an exploration of an area that the student has never studied before.

Admission to the Program

The minimum requirement for admission to the Honors Program is an overall GPA of 3.5, and at least 3.5 in Art History courses. Students must complete at least five Art History courses at Stanford by the end of their junior year, and four must be completed by the end of Winter Quarter; with the adviser's approval, two of these courses may be taken at an overseas campus or Stanford in Washington. Students interested in pursuing Honors should consult a potential thesis adviser on the Art History faculty during the Autumn Quarter of junior year. Thesis advisers must be in residence during Autumn Quarter of the student's senior year, and it is recommended that they be in residence throughout the senior year. Students considering honors should contact the Director of the Honors Program in their junior year as soon as they begin to think about writing an honors thesis. Those wishing to do so must announce their intention to write an honors thesis by submitting an intent form signed by their thesis adviser (who need not be the student's academic adviser) by February 1 of their junior year.

Submission of the Thesis Proposal Package

Candidates for the honors program must submit a five-page (double-spaced) thesis proposal, including bibliography and illustrations, and one completed paper that demonstrates the student's ability to conceptualize and write cogently about art historical issues. The deadline for submitting the complete package to the department's undergraduate coordinator is the third week of Spring Quarter of the candidate's junior year.  Upon approval by a majority of the faculty at its regular meeting in early May, the candidate is accepted into the honors program.

Research and Writing of the Honors Thesis

Once admitted to the honors program, students work with the Director of the Honors Program  and their thesis adviser to define the scope of study, establish a research and writing timetable, and enlist one other faculty member, ideally but not necessarily in the Department of Art and Art History, to serve as a second reader. The summer between junior and senior years is usually devoted to refining the topic and pursuing any off-campus research. Students are encouraged to apply for UAR research grants to help finance trips or expenses related to research for their honors thesis.

During their senior year, students must register for 10 units of ARTHIST 297 , 5 units of which may count towards the student's concentration in Art History. Students are required to register for 2-5 units each quarter during their senior year, for a total of 10 units.

Submission and Approval of the Honors Thesis

With the guidance of the Director of the Honors Program, students and thesis advisers should plan their work so that a complete, final manuscript is submitted to the thesis adviser and the second reader by the beginning of the seventh week of the student's final quarter at Stanford. The thesis adviser assigns a letter grade; both the adviser  and the second reader must approve the honors thesis in order to qualify the student to graduate with honors.

Bachelor of Arts in Art Practice (Studio)

Degree Requirements

All undergraduate majors complete a minimum of 65 units including six lower level courses, six upper level courses, and four art history courses, including the WIM course ARTHIST 294 . All courses must be taken for a letter grade. University units earned by placement tests or advanced placement work in secondary school are not counted within the 65 units. The studio requirements are divided into lower level (introductory, 100 level) and upper level (advanced, 200 level) course work. At the lower level, students focus on a range of subject matter from historical motifs (figure, still life, landscape) to contemporary ideas in art. Upper level courses are designed to stretch the student's understanding of materials, techniques, site, and social relevance. Experimental and challenging in nature, these courses cross area boundaries. Independent study supervised by a member of the permanent faculty is also available to the advanced student.

Students are encouraged to move through the requirements for the major in the sequence outlined. Students are exposed to a range of practices early in their development in order to have a good basis of comparison if they choose to focus on a particular medium. This sequence of courses also broadens the students' skills and enables them to combine materials and methods. In all courses, students are expected to pass mid-term and final reviews and critiques of their work.

To declare the major, students must meet with the undergraduate coordinator. At that time the student selects a faculty adviser. Art Practice majors are required to meet with both their adviser and the undergraduate coordinator during the first two weeks of each quarter to have course work approved and make certain they are meeting degree requirements. Majors are required to attend an orientation session presented by the professional staff of the Art and Architecture Library, which introduces the tools of research and reference available on campus or through the Internet. This requirement should be completed no later than the quarter following the major declaration.

Required Courses

1. Six lower level courses (24 units)

Select six of the following:24
Interactive Art: Making it with Arduino
ARTSTUDI 131
Drawing I
ARTSTUDI 141
Painting I
ARTSTUDI 147
Monotype
ARTSTUDI 148B
Sculpture I
Ecology of Materials
ARTSTUDI 160
Introduction to Photography
Cell Phone Photography
ARTSTUDI 174B
Video Art I
Art and Electronics
Digital Art I
FILMPROD 114

2. Six upper level courses (24 units):

a. ARTSTUDI 230 Interdisciplinary Art Survey is a required course which focuses on direct experiences of multidisciplinary art and art practices. ARTSTUDI 249 (8 units)

b. Students select four optional courses from the following list.

Select four of the following:12-16
ARTSTUDI 236
ARTSTUDI 245
ARTSTUDI 249
ARTSTUDI 252
Kinetic Sculpture
ARTSTUDI 260
ARTSTUDI 262
ARTSTUDI 270
The View Camera: Its Uses and Techniques
ARTSTUDI 274
ARTSTUDI 275
ARTSTUDI 276
Project class: Digital and Analogue Projects in Photography
ARTSTUDI 278
ARTSTUDI 284

3. Four Art History courses (17-20 units)

ARTHIST 294 (Required: WIM course)5
Three other art history courses, one must be from the modern art series.12-15
One Film & Media Studies course may satisfy an Art History elective.

Transfer Credit Evaluation

Upon declaring an Art Practice major, a student transferring from another school must have his or her work evaluated by the Director of Undergraduate Studies (DUS) in Art Practice. A maximum of 13 transfer units are applied toward the 65 total units required for the major. A student wishing to have more than 13 units applied toward the major must submit a petition to the Director of Undergraduate Studies in Art Practice and then have his or her work reviewed by a studio committee.

Overseas Study or Study Abroad

A minimum of 52 of the 65 units required for the Art Practice major and a minimum of 32 of the 36 units required for the Art Practice minor must be taken at the Stanford campus. A student must meet with his or her adviser and with the undergraduate coordinator before planning an overseas campus program.

Bachelor of Arts in Film and Media Studies

Suggested Preparation for the Major

Students considering a major in film and media studies should takeFILMSTUD 4 Introduction to Film Study, and are encouraged to take either ARTHIST 1A Introduction to the Visual Arts: Prehistoric through Medieval or ARTHIST 1B , during their freshman or sophomore year. These courses anchor the major through exposure to film language, genre, and visual and narrative structures. Majors are required to take one course in the fundamentals of film and video production.

Suggested or Recommended Courses (all of which meet major requirements)
ARTHIST 1AIntroduction to the Visual Arts: Prehistoric through Medieval (meets WAY A-II and ED)4
ARTHIST 1B (meets WAY A-II)5
FILMSTUD 4Introduction to Film Study (meets WAY A-II)5
FILMSTUD 101Fundamentals of Cinematic Analysis (meets WAY A-II)4

Fields of Study or Degree Option

Advanced undergraduate courses are offered in five fields of study. These fields are declared on Axess; they appear on the transcript but they do not appear on the diploma:

  • Film History
  • Film and Culture
  • Film, Media, and Technology
  • Writing, Criticism, and Practice
  • Aesthetics and Performance

Working with a faculty adviser, students choose five courses in their field from course offerings in Art and Art History and one course from another department in the University.

Degree Requirements

All undergraduate majors complete a minimum of 65 units (16 courses of 3-5 units each), or 15 courses plus an honors thesis. FILMSTUD 101 Fundamentals of Cinematic Analysis (WIM course) is required for all majors. All courses for the major must be taken for a letter grade. To declare the major, students must meet with the undergraduate coordinator. At that time the student selects a faculty adviser. Majors are required to attend an orientation session presented by the professional staff of the Art and Architecture Library, which introduces the tools of research and reference available on campus or through the Internet. This requirement should be completed no later than the quarter following the major declaration.

Required Courses

FILMSTUD 4Introduction to Film Study (meets WAY A-II)5
FILMSTUD 65
FILMSTUD 100AHistory of World Cinema I, 1895-19294
FILMSTUD 100B (meets WAY A-II)4
FILMSTUD 100C (meets WAY A-II)4
FILMSTUD 101Fundamentals of Cinematic Analysis (WIM Course, meets WAY A-II)4
FILMSTUD 102Theories of the Moving Image (meets WAY A-II)4
FILMPROD 114 (meets WAY CE)5
Concentration 1
FILMSTUD 290 25
Choose one of the following:
ARTHIST 1AIntroduction to the Visual Arts: Prehistoric through Medieval (meets WAY A-II and ED)5
ARTHIST 1B (meets WAY A-II)
1

Concentration - Five courses, four of which must be in a single film and media studies concentration developed by the student in consultation with an adviser. Concentration areas are: film history; film and culture; aesthetics and performance; film, media, and technology; and writing, criticism, and practice. The remaining course must be related, situating the student's concentration in a broader context.

2

Capstone Experience - FILMSTUD 290 , offered once a year. The Senior Seminar represents the culminating intellectual experience for Film Studies majors choosing not to write an honors thesis. Honors thesis writers may also take the senior seminar. Seniors who may not be in residence in the quarter that the senior seminar is offered may enroll in their junior year. Movies and Methods provides majors with an opportunity to synthesize their previous work in Film Studies and work in an advanced setting with a faculty member.

Electives (20 units)

Film Studies Concentration Electives
FILMSTUD 110N (meets WAY A-II)3
FILMSTUD 116International Documentary4
FILMSTUD 164ATechnology and the Visual Imagination (substitution course for FILMSTUD 6 requirement)4
FILMSTUD 245B5
FILMSTUD 250BBollywood and Beyond: An Introduction to Indian Film3-5
FILMPROD 101Screenwriting (must be approved by the faculty adviser)5
FILMPROD 104 (must be approved by the faculty adviser, meets WAY CE)4
FILMPROD 105Script Analysis (must be approved by the faculty adviser)4
FILMPROD 110 (must be approved by the faculty adviser)5

Honors Program in Film and Media Studies

The purpose of the honors program is to extend and deepen work done in Film and Media Studies classes.  The honors thesis topic typically emerges out of prior coursework; it should be focused and have clear parameters. Ordinarily, an honors thesis is not an exploration of an area that the student has never studied before.

Admission to the Program

The minimum requirement for admission to the honor program is an overall GPA of 3.5, and at least 3.5 in Film and Media Studies courses. Students must complete at least five Film and Media Studies courses at Stanford by the end of their junior year, and four must be completed by the end of winter quarter; with the adviser’s approval, two of these courses may be taken at an overseas campus. Students interested in pursuing honors should consult a potential thesis adviser on the Film and Media Studies faculty during the Fall Quarter of junior year. Thesis advisers must be in residence during Autumn Quarter of the student's senior year, and it is highly recommended that they be in residence throughout the senior year. Students considering honors should contact the Director of the Honors Program in their junior year as soon as they begin to think about writing an honors thesis. Those wishing to do so must announce their intention to write an honors thesis by submitting an intent form signed by their thesis adviser (who need not be the student's academic adviser) by February 1 of their junior year.

Submission of the Thesis Proposal Package

Candidates for the Honors Program must submit a five-page (double-spaced) thesis proposal, including bibliography, a tentative schedule for research and writing, and one completed paper that demonstrates the student's ability to conceptualize and write cogently about film. The deadline for submitting the complete package to the department's undergraduate coordinator is the third week of Spring Quarter of the candidate's junior year.  Upon approval by a majority of the faculty at its regular meeting in early May, the candidate is accepted into the honors program.

Research and Writing of the Honors Thesis

Once admitted to the honors program, students work with the Director of the Honors Program  and their thesis adviser to define the scope of study, establish a research and writing timetable, and enlist one other faculty member, ideally but not necessarily in the Department of Art and Art History, to serve as a second reader. The summer between junior and senior years is usually devoted to refining the topic and pursuing any off-campus research. Students are encouraged to apply for UAR research grants to help finance trips or expenses related to research for their honors thesis.

During their senior year, students must register for 10 units of FILMSTUD 297 Honors Thesis Writing, 5 units of which may count towards the student's concentration in Film and Media Studies. Students are required to register for two to five units each quarter during their senior year, for a total of ten units.

Submission and Approval of the Honors Thesis

With the guidance of the Director of the Honors Program, students and thesis advisers should plan their work so that a complete, final manuscript is submitted to the thesis adviser and the second reader by the beginning of the seventh week of the student's final quarter at Stanford. The thesis adviser assigns a letter grade; both the adviser and the second reader must approve the honors thesis in order to qualify the student to graduate with honors.

Required Course

FILMSTUD 297Honors Thesis Writing1-5

Minor in Art History

A student declaring a minor in Art History must complete 25 units of course work in one of the following four tracks: Open, Modern, Asian, or Architecture. Upon declaring the minor, students are assigned a faculty adviser with whom they plan their course of study and electives. A proposed course of study must be approved by the adviser and placed in the student's departmental file. Only one class may be taken for credit outside of the Stanford campus; this includes courses taken in the Overseas Studies Program. Minors are required to attend an orientation session presented by the professional staff of the Art and Architecture Library, which introduces the tools of research and reference available on campus or through the Internet. This requirement should be completed no later than the quarter following the minor declaration.

Degree Requirements

A student with a minor in Art History must complete six Art History courses for a total of 25 units.

Open Track
choose one of the following:
Introduction to the Visual Arts: Prehistoric through Medieval
ARTHIST 1B
Plus five Art History lecture courses or seminars in any field.
Modern Track
choose one of the following:
Introduction to the Visual Arts: Prehistoric through Medieval
ARTHIST 1B
Plus five Art History lecture courses or seminars in any aspect of 19th- to 20th-century art.
Asian Track
ARTHIST 2
Plus five Art History lecture courses or seminars in Asian Art (ARTHIST 1A OR ARTHIST 1B may be one of the five courses).
Architecture Track
Introduction to World Architecture
Plus five Art History lecture courses or seminars in Architectural History (ARTHIST 1A OR ARTHIST 1B may be one of the five courses).

Minor in Art Practice (Studio)

A student declaring a minor in Art Practice must complete 36 units of Art Practice and Art History course work. All minors are required to attend an orientation session presented by the professional staff of the Art and Architecture Library, which introduces the tools of research and reference available on campus or through the internet. Minors are required to meet with both their adviser and the undergraduate coordinator during the first two weeks of each quarter to have course work approved and to make certain they are meeting degree requirements.

Degree Requirements

A student with a minor in Art Practice must complete nine courses for a total of 36 units.

  1. Three lower level courses (12 units) selected from:
  2. Select three of the following:12
    Interactive Art: Making it with Arduino (meets WAY CE)
    ARTSTUDI 131
    (meets WAY CE)
    Drawing I (meets WAY CE)
    ARTSTUDI 141
    Painting I (meets WAY CE)
    ARTSTUDI 147
    (meets WAY CE)
    ARTSTUDI 148B
    (meets WAY CE)
    Etching
    Sculpture I (meets WAY CE)
    Ecology of Materials (meets WAY CE)
    ARTSTUDI 160
    (meets WAY CE)
    Introduction to Photography (meets WAY CE)
    ARTSTUDI 171
    Cell Phone Photography (meets WAY CE)
    ARTSTUDI 174B
    (meets WAY CE)
    Video Art I (meets WAY CE)
    Art and Electronics (meets WAY CE)
    Digital Art I (meets WAY CE)
    FILMPROD 114
    (meets WAY CE)
  3. Three upper level courses (11 units):
    1. ARTSTUDI 230Interdisciplinary Art Survey4
    2. Select two of the following:8
      ARTSTUDI 236
      ARTSTUDI 245
      Individual Work: Drawing and Painting
      ARTSTUDI 249
      ARTSTUDI 252
      Kinetic Sculpture
      ARTSTUDI 260
      ARTSTUDI 262
      ARTSTUDI 270
      The View Camera: Its Uses and Techniques
      ARTSTUDI 272
      ARTSTUDI 274
      ARTSTUDI 275
      ARTSTUDI 276
      Project class: Digital and Analogue Projects in Photography
      ARTSTUDI 278
      ARTSTUDI 279A
      ARTSTUDI 284
  4. Three Art History Courses (13 units):
  5. Select two of the following:8-10
    ARTHIST 144
    (meets WAY ER)
    MODERNISM AND MODERNITY (meets WAY A-II)
    ARTHIST 152
    (meets WAY A-II and SI)
    ARTHIST 154
    (meets WAY A-II)
    Abstract Expressionism: Painting/Modern/America
    ARTHIST 156N
    ARTHIST 160
    Technology and the Visual Imagination
    Representing Fashion
    One other art history course
    ARTHIST 100N
    (meets WAY A-II)
    ARTHIST 101
    ARTHIST 102
    (meets WAY A-II)
    ARTHIST 105B
    (meets WAY ED)
    ARTHIST 109
    Introduction to Italian Renaissance, 1420-1580
    ARTHIST 118N
    ARTHIST 120
    Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting
    ARTHIST 186
    ARTHIST 188B
    Global Currents: Early Modern Art Enterprises, Economies, and Imaginaries
    Art of the African Diaspora
    Greek Art In and Out of Context
    ARTHIST 205
    ARTHIST 207C
    ARTHIST 212
    ARTHIST 217B
    ARTHIST 225
    ARTHIST 243C
    Pop Art
    ARTHIST 269A
    ARTHIST 278
    ARTHIST 287A

Courses may not be offered every year and are subject to change.

Minor in Film and Media Studies

A minor in Film Studies requires four core courses and three elective courses for a total of seven courses. Courses must focus on film and use the method of film study towards completion of the minor; courses that use film to illustrate a cultural topic are not eligible. Film Production and Studio Art courses may not be used towards the requirements.

Upon declaring the minor, students are assigned an adviser with whom they plan their course of study and electives. A proposed course of study must be approved by the adviser and placed in the student's departmental file. Only one class may be taken for credit outside the Stanford campus, including Stanford Overseas Studies programs. Minors are required to attend an orientation session presented by the professional staff of the Art Library, which introduces the many tools of research and reference available on campus or through the Internet. This requirement should be completed no later than the quarter following the minor declaration.

Degree Requirements

The minor in Film Studies requires seven courses for a minimum of 29 units.

Required Courses for the Minor

FILMSTUD 4Introduction to Film Study (meets WAY A-II)5
FILMSTUD 102Theories of the Moving Image (meets WAY A-II)4
Select one of the following:4
FILMSTUD 100B
(meets WAY A-II)
FILMSTUD 100C
(meets WAY A-II)
One course in a national cinema or an additional course in film history4-5

Elective Courses for the Minor

Three elective courses, which may include only one film production course. An elective can be chosen from courses in other departments only if approved by the Film Studies coordinator and core faculty for their stress on methods of film analysis. These may include courses in national cinemas, film genres, experimental and documentary film, or film theory.

Elective Courses12-15
FILMSTUD 110N
(meets WAY A-II)
FILMSTUD 114
International Documentary
Technology and the Visual Imagination
FILMSTUD 245B
Bollywood and Beyond: An Introduction to Indian Film
Screenwriting
FILMPROD 104
(meets WAY CE)
Script Analysis
FILMPROD 110
FILMPROD 114
(meets WAY CE)

Master of Arts in Art History

University requirements for the M.A. are described in the "Graduate Degrees" section of this bulletin.

Admission

The department offers M.A. and Ph.D. degrees, although the M.A. is only granted as a step toward fulfilling requirements for the Ph.D. The department does not admit students who wish to work only toward the M.A. degree. Please see the Ph.D. section for admissions information.

Degree Requirements

  1. Units

    Completing a total of at least 45 units of graduate work at Stanford in the history of art in courses at the 200 level and above, including a seminar in art historiography/visual theory.
  2. Languages

    Reading knowledge of at least one foreign language, preferably German, French or Italian. Students in Chinese and Japanese art are ordinarily expected to demonstrate reading competence in modern and classical Chinese or Japanese, depending on the student's area of focus. Final determination of which foreign languages will fulfill the requirement is made in consultation with the student's primary adviser.
  3. Papers

    Submission of one paper from among those written during the year that demonstrates depth of research and capacity to build an argument.  The paper should be perfected under the supervision of a member of the department faculty.
  4. Area Coverage

    Demonstration to the faculty, by course work and/or examination, that the student has adequate knowledge of the major areas of the history of art represented in the department curriculum.

Master of Fine Arts in Art Practice (Studio)

University requirements for the M.F.A. are described in the "Graduate Degrees" section of this bulletin.

Admission

The applicant must have a B.A., B.F.A, or B.S. from an accredited school. It is expected that the applicant will have a strong background in art practice, either an undergraduate degree or at least three years of independent studio practice. Students accepted to the program are admitted for the beginning of the following Autumn Quarter. No applicants for mid-year entrance are considered.

Portfolio Specifications—See the department's Graduate Admission web site for portfolio requirements.

Fields of Study or Degree Options

Fields of study for the M.F.A. degree are offered in Painting, Sculpture, New Genres, and Photography. These fields of study are not declared on Axess; they are not printed on the transcript or the diploma.

Degree Requirements

  1. Residency

    Completing a minimum of two years (six quarters) of graduate work in residence at Stanford.
  2. Units

    The student must complete 48 units of study. Students must discuss their programs of study with their academic adviser and the department's student services administrator to ensure that an appropriate program of study is chosen.
  3. Seminar Requirement

    Six quarters (36 units) of , which includes two weekly seminars (the Object Seminar and the Concept Seminar) and Studio Practice, which is an individual tutorial with a selected member of the faculty.
    First Year Seminar Requirements
    ARTSTUDI 361MFA First Year Seminar: Context2
    ARTSTUDI 342A (2 units per quarter- Autumn and Winter)4
    ARTSTUDI 342BMFA: Concept Seminar (2 units per quarter- Autumn and Winter)4
    ARTSTUDI 342CM.F.A Seminar2
    ARTSTUDI 342 (1 unit per quarter)3
    Second-Year Seminar Requirements
    ARTSTUDI 342A (4 units per quarter- Autumn and Winter)8
    ARTSTUDI 342BMFA: Concept Seminar (4 units per quarter- Autumn and Winter)8
    ARTSTUDI 342CM.F.A Seminar2
    ARTSTUDI 342 (1 unit per quarter)3
  4. Elective Requirement

    Three courses of academic electives (12 units) are required in the first year. These courses can be chosen from a large variety of disciplines in consultation with the Director of Graduate Studies.
  5. Faculty Reviews

    The student is expected to pass four faculty reviews. The purpose of these reviews is to evaluate development and to assess the progress of the student.
    1. At the end of the first quarter; any student judged to be making inadequate progress is placed on probation and requires an additional review at the end of the second quarter
    2. At the end of the third quarter, at which time recommendation to proceed to the second year is determined.
    3. At the start of the fifth quarter. If the review is not satisfactory the student is placed on probation and an additional review is scheduled at the end of the 5th quarter.
    4. At the time of the M.F.A. exhibition.
  6. Thesis

    The thesis consists of two portions: an exhibition at the end of the final quarter, and a written paper addressing the development of their work over the two-year period at Stanford, to be completed during the fifth quarter. Both the written portion and participation in the M.F.A. exhibition at the end of the year are required.
  7. Graduate Student Teaching

    Regardless of their source of funding, students are required to assist with the department's teaching program for a minimum of eight hours per week over the period of six quarters; the particulars of this assignment are at the department's convenience.

The studio faculty reserves the right to make use of graduate paintings, sculptures, and photographs in exhibitions serving the interests of the graduate program.

Graduate students must remain in residence at Stanford for the duration of the program.

Master of Fine Arts in Design

University requirements for the M.F.A. are described in the "Graduate Degrees" section of this bulletin.

Admission

  1. The applicant must have a B.A., B.F.A., or B.S. from an accredited school. It is expected that the applicant will have a strong background in studio art, either an undergraduate degree or at least three years of independent studio practice.
  2. Students accepted to the program are admitted for the beginning of the following Autumn Quarter. No applicants for mid-year entrance are considered.
  3. Portfolio Specifications—See the department's Graduate Admission web site for portfolio requirements.

Fields of Study or Degree Options

Fields of study for the M.F.A. degree are offered in Design.

Degree Requirements

Residency

  1. The student must complete a minimum of two years (six quarters) of graduate work in residence at Stanford.
  2. Units

    The student must complete a minimum of 57 units of course work chosen in consultation withthe Director of Graduate Studies in Design. Typically, students working for the M.F.A. degree are encouraged to take full advantage of both sides of the Joint Program in Design, as well as courses that tap the broader resources of the University.
  3. Required Courses

    Required Courses
    ARTSTUDI 350AArt & Design I: History and Theory3
    ARTSTUDI 350B3
    ARTSTUDI 361MFA First Year Seminar: Context ( ARTSTUDI 361 must be taken for 3 units, not 1-3 as listed in Explore Courses)3
    ME 2034
    ME 2773-4
    ME 312Advanced Product Design: Formgiving3
    ME 313Human Values and Innovation in Design3
    Total Units22-23
  4. Thesis Requirements (18 units)

    ME 316A2-6
    ME 316B2-4
    ME 316C2-4
    ARTSTUDI 360A
    ARTSTUDI 360BDesign Masters Project II4
    *students must take ME316 A-C for 3-4 credits, not 2-6 as listed in explore courses
    Total Units (minimum 18 units required)17-20
  5. Elective Course Distributions

    Students are required to take six elective courses, which meet the following distributions and approvals:

    • All electives must be approved by the student’s adviser prior to enrollment and are expected to form a coherent trajectory with a focus on Design.
    • All elective courses must be taken for a letter grade unless a letter grade is not offered.
    • At least two electives must be ARTSTUDI courses (200 level or higher) and are taken in addition to the required ARTSTUDI courses.
    • The remaining four electives may be chosen from any the schools at the University (200 level or higher).
    • ARTSTUDI 260 is a recommended elective, and may be designated as a required course by your adviser on a case by case basis. ARTSTUDI 260 is required if your portfolio and prior experience do not illustrate significantly proficient conceptual and aesthetic problem solving. This requirement is determined during your second quarter in consultation with your adviser. Whether taken voluntarily or as a requirement ARTSTUDI 260 counts towards the two course Art Studio elective distribution requirement.
  6. Other Requirements:

    1. Design MFA candidates must participate in the faculty curated Design Show held during the second year of their studies.
    2. Students are expected to pass two faculty reviews. The purpose of these reviews is to evaluate and assess student participation and progress. These reviews are held in the spring quarter of the first year, and in the winter quarter of the second year. Anyone judged to be making inadequate progress will be placed on probation and require an additional review at the end of the next quarter, or any time during that quarter the faculty deems necessary. Failure to pass the probationary review will result in dismissal from the program.
    3. All students are expected to earn a grad of ‘B’ or better in each course and are required to maintain a GPA of 3.0 in all courses required for the degree. Failure to do so may result in probation or dismissal from the program.

Master of Fine Arts in Documentary Film and Video

University requirements for the M.F.A. are described in the "Graduate Degrees" section of this bulletin.

Admission

The program requires residency for two consecutive years. The admissions committee seeks applicants who have some work experience beyond their undergraduate years and can articulate why they want to learn documentary film and video production. The committee looks for evidence of the likelihood of success in a rigorous academic program that emphasizes creative work. The conceptual and technical skills required for documentary work are sufficiently different from fictional narrative to make the Stanford program inappropriate for students interested in narrative filmmaking. The program does not allow for deferred admission or a mid-year enrollment.

Portfolio

The department requires a film or video work for which the applicant has had creative control. The sample work must be well labeled and accompanied by a brief synopsis, running time of the clips, the circumstances of production, and the applicant's role. Total running time for the work sample should not exceed 15 minutes and may consist of more than one project. Work on which the applicant had only a production assistant role is not appropriate for submission. Student work, however, is appropriate for consideration. Applicants who have had only minimal film or video production experience should submit an example of their best creative work in any medium.

Portfolio Specifications—See the department's Graduate Admission web site for portfolio requirements.

Fields of Study or Degree Options

Fields of study for the M.F.A. degree are offered in Documentary Film.

Degree Requirements

Residency

Completing two years (six quarters) of graduate work in residence at Stanford.

Units

A minimum of 80 units is required for the M.F.A. degree. In the production core, students are required to conceptualize and visualize their ideas in a series of writing and producing courses that focus on documentary story structure. These courses are taken in tandem with project-based production courses that provide training in the technical and conceptual aspects of cinematography, sound recording, and editing. Discussion of form and content is a signature component of the writing and production courses. The production core is complemented by a series of required film studies courses in documentary plus elective courses in the history, aesthetics, ideology, and theory of all genres of moving image media. All courses must be taken for a letter grade.

M.F.A. Thesis Project

In the second year of the program, each student produces a 15-20 minute documentary that constitutes the thesis project. In FILMPROD 405 , students choose a topic, research and develop their project, and write a proposal for submission. A project may not begin production until the final proposal has been approved. Most of the production and post-production occurs (in Winter and Spring quarters) in:

  1. FILMPROD 406ADocumentary M.F.A. Thesis Seminar I4
    FILMPROD 406B
  2. Required Courses
    1. Core Production courses (32 units)

      Core courses must be taken in sequence.

      FILMPROD 4004
      FILMPROD 401Nonfiction Film Production4
      FILMPROD 4024
      FILMPROD 403Advanced Documentary Directing4
      FILMPROD 4044
      FILMPROD 4054
      FILMPROD 406ADocumentary M.F.A. Thesis Seminar I4
      FILMPROD 406B4
    2. Core Film Studies courses (25 units)
      FILMSTUD 302Theories of the Moving Image4
      FILMSTUD 315
      FILMSTUD 3164
      FILMSTUD 410A4
      FILMSTUD 410BDocumentary Perspectives II4
    3. Electives
      To be chosen in consultation with the student's adviser.
    4. Art History—one course4
      Studio Art and/or Communications—two courses8
      Film Studies—three courses12
      Choice Elective—one course4

Doctor of Philosophy in Art History

University requirements for the Ph.D. are described in the "Graduate Degrees" section of this bulletin. An expanded explanation of department requirements is given in the Art History Graduate Student Handbook.

Admission

In addition to University requirements, the department requires a research paper of approximately 15-20 pages demonstrating the student's capacity to pursue independent investigation of an art historical problem as part of the application. All applicants must have been awarded a B.A., B.F.A., or B.S. from an accredited university.

Degree Requirements

To be eligible for the doctoral degree, the student must complete a minimum of three years of full-time graduate work in Art History, at least two years of which must be in residence at Stanford. Doctoral students must complete a minimum of 135 units. Of these 135, the student must complete at least 100 units of graduate course work at the 200 level or above, including all required courses, with a minimum of 62 units in Art History lecture courses and seminars.

  1. Collateral Studies

    The student is required to take at least three courses in supporting fields of study (such as anthropology, classics, history, literature, or philosophy), determined in consultation with the department advisers. These courses are intended to strengthen the student's interdisciplinary study of art history.
  2. Distribution Requirements

    There are seven areas of distribution:  1) Pre-Modern (Ancient & Medieval),  2) Early Modern (Renaissance/Baroque), 3) 18th Century & 19th Century, 4) Modern/Contemporary, 5) Film, 6) Non-Western:  Asia, Africa & Oceana, 7) Architectural History.  Students must take at least one course in five different areas. The five courses must be taken outside of the student’s area of concentration. Students are encouraged to fulfill the distribution requirement in graduate seminars. If students have entered the Stanford program with an M.A., they may transfer courses taken at the graduate level to fulfill up to two areas of the distribution requirement.
  3. Language Requirement

    Students in Western Art must demonstrate reading knowledge of two foreign languages.  Students in Asian Art are required to demonstrate competence in one Asian language (equivalent to three years of study) and at least one year of study in a second (which may be a classical version of Chinese or Japanese).  One of the language requirements should be satisfied by the end of the first year while the second should be fulfilled by the end of the second year.  Students entering with a M.A. should already have satisfied one language requirement prior to admission.  Foreign language requirements for the Ph.D. are fulfilled by taking the reading examination given each quarter by the various language departments.
  4. Graduate Student Teaching

    As a required part of their training, graduate students in Art History, regardless of their source of funding, must participate in the department's teaching program.

    1. Students are required to take ARTHIST 405A: Graduate Pedagogy.

    2. Students are required to serve as a teaching assistant for a minimum of four quarters. Further opportunities for teaching may be available.
    3. At least one, one-quarter  assignment in a course from the following list:
      1. ARTHIST 1AIntroduction to the Visual Arts: Prehistoric through Medieval5
        ARTHIST 1B5
        ARTHIST 25
        ARTHIST 3Introduction to World Architecture5
        FILMSTUD 4Introduction to Film Study5
  5. Admission to Candidacy

    A graduate student's progress is formally reviewed at the end of Spring Quarter of the second year. The applicant for candidacy must assemble a candidacy file showing that he/she has completed the requirements governing the M.A. program in the History of Art (see above), and an additional 18-24 units by the end of Winter Quarter of the second year. The graduate student does not become a formal candidate for the Ph.D. degree until he/she has fully satisfied these requirements and has been accepted as a candidate by the department faculty.
  6. Area Core Examination (ACE)

    All graduate students conceptualize an area core and bibliography in consultation with their primary adviser and two other Stanford faculty members, one of whom is drawn from a field other than Art History, or, if in Art History, has expertise outside of the student's main area of interdisciplinary concentration. Students are required to pass an area core examination, in either written or oral form, during (or before) Winter Quarter of the third year of study. To prepare for the exam, students may enroll in the 5-unit reading course:
    ARTHIST 6205
  7. Dissertation Colloquium

    The dissertation colloquium provides an opportunity for the PhD student to share an aspect of her/his dissertation project with the departmental community at large. Colloquium talks should be presented during the early stages of researching and writing, allowing students to incorporate useful feedback from professors and colleagues into their completed dissertation. The colloquium consists of a 30-minute presentation followed by 30 minutes devoted to questions and answers. The presentation should give some attention to the broader issues of the dissertation topic along with a substantial treatment of one part of the project. At least two members of the student's Reading Committee must attend.
  8. Dissertation and Oral Defense Requirements

    1. Reading Committee: After passing the Area Core Examination (ACE), each student is responsible for the formation of a dissertation reading committee consisting of a principal adviser, who chairs the reading committee, and three readers. Normally, at least two of the three readers are drawn from the department and one may come from outside the department.
    2. Dissertation Proposal: By the beginning of Autumn Quarter in the fourth year, students should have identified a dissertation subject and written a proposal in consultation with their principal adviser. To prepare the proposal, students may take:
      1. one 5-unit independent study course:
      2. ARTHIST 640Dissertation Proposal Preparation5
      3. and apply for a funded Summer Quarter to research and write the proposal. The proposal is submitted for approval by the Art History faculty at the beginning of the fourth year for comments. In the event that a proposal is not approved, the faculty establishes conditions for its resubmission and reconsideration at a later date.
    3. Dissertation: The final draft of the dissertation must be in all the readers' hands at least four weeks before the date of the oral defense. The dissertation must be completed within five years from the date of the student's admission to candidacy for the Ph.D. degree. A candidate taking more than five years must apply for an extension of candidacy.
    4. .Oral Defense Examinations: The student arranges an oral examination with the four members of the reading committee and a chair of the oral defense chosen from outside the department. The oral examination consists mainly of a defense of the dissertation but may range, at the committee's discretion, over a wider field. The student is expected to discuss research methods and findings at some length and to answer all questions and criticisms put by members of the examining committee. At the end of the defense, the committee votes to pass or fail the student on the defense. The committee may make recommendations for changes in the dissertation manuscript before it is submitted to the University as the final requirement for the granting of the Ph.D. degree in the History of Art. After these changes have been incorporated, the manuscript is given a final review and approval by the student's principal adviser.

Emeriti: (Professors) Keith Boyle, Kristina Branch, Wanda M. Corn, David Hannah, Joel Leivick, Suzanne Lewis, Dwight C. Miller, Kristine Samuelson, Michael Sullivan, Paul V. Turner, Bryan Wolf

Chair: Nancy J. Troy

Area Director for Art History: Nancy J. Troy

Area Director for Film and Media Studies: Pavle Levi

Area Director for Art Practice: Gail Wight

Director of Undergraduate Studies in Art History: Jody Maxmin

Director of Undergraduate Studies in Art Practice: Terry Berlier

Director of Undergraduate Studies in Film and Media Studies: Scott Bukatman

Director of Graduate Studies in Art History: Jean Ma

Director of Graduate Studies in Art Practice: Paul DeMarinis

Director of Graduate Studies in Documentary Film: Jamie Meltzer

Academic Director for Stanford Graduate Design Program: Camille Utterback

Director of Honors Program: Adam Tobin

Writing Specialist: Gabrielle Ann Moyer (Lecturer, Program in Writing and Rhetoric)

Professors: Scott Bukatman (Film Studies), Enrique Chagoya (Painting/Drawing/Printmaking), Paul DeMarinis (Electronic Media), Jan Krawitz (Documentary Film), Pamela M. Lee (Contemporary Art), Michael Marrinan (18th- and 19th-century European Art), Richard Meyer (American Art), Alexander Nemerov (American Art), Nancy J. Troy (Modern Art),  Richard Vinograd (Chinese Art), Xiaoze Xie (Painting/Drawing)

Associate Professors: Terry Berlier (Sculpture), Pavle Levi (Film Studies), Jean Ma (Film Studies), Jody Maxmin (Ancient Art), Jamie Meltzer (Documentary Film), Bissera Pentcheva (Medieval Art), Gail Wight (Electronic Media)

Assistant Professors: Fabio Barry (Architectural History), Morten Steen Hansen (Renaissance Art), Camille Utterback (Design)

Senior Lecturer: Adam Tobin (Screenwriting)

Lecturers: Elizabeth L. Bennett (Art History), Robert Dawson (Photography),  John Edmark (Design), Lukas Felzmann (Photography), Elizabeth Kessler (Art History), Beatrice Kitzinger (Art History).

Affiliated Professor: John H. Merryman (Law, emeritus)


 


 

Overseas Studies Courses in Art History

The Bing Overseas Studies Program manages Stanford study abroad programs for Stanford undergraduates. Students should consult their department or program's student services office for applicability of Overseas Studies courses to a major or minor program.

The Bing Overseas Studies course search site displays courses, locations, and quarters relevant to specific majors.

For course descriptions and additional offerings, see the listings in the Stanford Bulletin's ExploreCourses or Bing Overseas Studies.


OSPBER 17Split Images: A Century of Cinema3-4
OSPFLOR 58Space as History: Social Vision and Urban Change4
OSPFLOR 111YFrom Giotto to Michelangelo: The Birth and Flowering of Renaissance Art in Florence4
OSPPARIS 72The Ceilings of Paris4

Overseas Studies Courses in Art Practice

The Bing Overseas Studies Program manages Stanford study abroad programs for Stanford undergraduates. Students should consult their department or program's student services office for applicability of Overseas Studies courses to a major or minor program.

The Bing Overseas Studies course search site displays courses, locations, and quarters relevant to specific majors.

For course descriptions and additional offerings, see the listings in the Stanford Bulletin's ExploreCourses or Bing Overseas Studies.


OSPFLOR 55Academy of Fine Arts: Studio Art1-5
OSPPARIS 42EAP: Drawing with Live Models2
OSPPARIS 43EAP: Painting and Use of Color2

Overseas Studies Courses in Film

The Bing Overseas Studies Program manages Stanford study abroad programs for Stanford undergraduates. Students should consult their department or program's student services office for applicability of Overseas Studies courses to a major or minor program.

The Bing Overseas Studies course search site displays courses, locations, and quarters relevant to specific majors.

For course descriptions and additional offerings, see the listings in the Stanford Bulletin's ExploreCourses or Bing Overseas Studies.


OSPBEIJ 17Chinese Film Studies4
OSPBER 17Split Images: A Century of Cinema3-4
OSPFLOR 11Film, Food and the Italian Identity5

Art History Courses

ARTHIST 1A. Introduction to the Visual Arts: Prehistoric through Medieval. 5 Units.

A survey of the art and architecture from the cave paintings of Lascaux to the Gothic Cathedrals of France; the material is organized both chronologically and thematically and covers a multiplicity of religions: pagan, Christian, and Islamic.
Same as: CLASSICS 56

ARTHIST 3. Introduction to World Architecture. 5 Units.

This lecture course surveys the history of architecture and urbanism, from the first societies to the present, in Europe, West and East Asia, the Americas, and Africa. The course progresses by case studies of exemplary monuments and cities, and examines the built environment as both cultural artifact and architectural event. It considers the social and political circumstances of architectural invention as well as plumbing the depth of artistic context by which particular formal choices resonate with an established representational culture.
Same as: CLASSICS 54

ARTHIST 80N. The Portrait: Identities in Question. 3 Units.

Most of us hold libraries of hundreds or thousands of ¿portraits¿ ¿ more or less instantly available posed images of ourselves and others. For most of human history, before the development of portable and digital cameras, portraiture was a much rarer and more deliberate social act and cultural practice, involving special materials and techniques, encounters with expert portraitists or photographers, and established settings for display. What almost all portraits, of whatever time or cultural place, have in common are presentations of social identities, roles, or persona, as well as a potential fascination and power that may be based in our neurological capacities for facial recognition and ¿mind-reading¿ through facial expressions. n This introductory seminar will explore many aspects of this basically simple category of thing ¿ images of particular persons. Our point of departure will be from the history of art, focusing on portrait sculptures, paintings, and photographs from many eras and cultures, some of which are among the most studied and discussed of all artistic monuments. We will consider techniques and approaches of portrait making, including the conventions that underlie seemingly realistic portraits, posing, the portrait situation, and portrait genres. Our primary focus will be on the multiple purposes of portraiture, from commemoration, political glorification, and self-fashioning to making claims of social status, cultural role, and personal identity. We will also discuss the changing status of portraiture under modern states of social dislocation, technological change, and psychoanalytic interrogation, and in postmodern conditions of multi-mediated realities and distributed subjectivities. Along the way, we will see that our understandings of portraiture benefits from the approaches and insights of many fields ¿ political and social history, anthropology, neuroscience, and literary studies among others.

ARTHIST 99A. Student Guides at the Cantor Center for the Visual Arts. 2 Units.

Open to all Stanford students. Public speaking, inquiry methods, group dynamics, theme development, and art-related vocabulary. Introduction to museum administration; art registration, preparation and installation; rights and reproduction of images; exhibition planning; and art storage, conservation, and security. Students research, prepare, and present discussions on art works of their choice.

ARTHIST 105. Art & Architecture in the Medieval Mediterranean. 4 Units.

Chronological survey of Byzantine, Islamic, and Western Medieval art and architecture from the early Christian period to the Gothic age. Broad art-historical developments and more detailed examinations of individual monuments and works of art. Topics include devotional art, court and monastic culture, relics and the cult of saints, pilgrimage and crusades, and the rise of cities and cathedrals.
Same as: ARTHIST 305, CLASSICS 172

ARTHIST 106. Byzantine Art and Architecture, 300-1453 C.E.. 4 Units.

(Formerly CLASSART 106/206.) This course and its study trip to the Getty (Los Angeles) to view the new Byzantine exhibition explores the art and architecture of the Eastern Mediterranean: Constantinople, Jerusalem, Alexandria, Antioch, Damascus, Thessaloniki, and Palermo, 4th-15th centuries. Applying an innovative approach, we will probe questions of phenomenology and aesthetics, focusing our discussion on the performance and appearance of spaces and objects in the changing diurnal light, in the glitter of mosaics and in the mirror reflection and translucency of marble.
Same as: ARTHIST 306, CLASSICS 171

ARTHIST 106B. What Do Medieval Images Want? Theories of the Image in Byzantium, Islam, and the Latin West. 4 Units.

What is an image? The medieval response was tied to religious identity. At the core of the debate was whether the image was just a mimetic representation or a living entity: matter imbued with divine spirit. Byzantium, Islam, and the Latin West each developed their own positions and used it as a platform for political legitimacy. We will study the development of the medieval image theories by focusing on specific monuments and objects and by reading both primary sources in translation and current scholarly interpretations.
Same as: ARTHIST 306B

ARTHIST 108. Virginity and Power: Mary in the Middle Ages. 4 Units.

The most influential female figure in Christianity whose state cult was connected with the idea of empire. The production and control of images and relics of the Virgin and the development of urban processions and court ceremonies though which political power was legitimized in papal Rome, Byzantium, Carolingian and Ottonian Germany, Tuscany, Gothic France, and Russia.
Same as: ARTHIST 308

ARTHIST 109D. Means, Media and Mode: An Introduction to Western Medieval Art. 4 Units.

The course is an introduction to western medieval art approached primarily through distinctions of materials and media. We work with a combination of medieval and later sources, often engaging with the modern objects and spaces available for study on campus in order to create new perspectives on the historical material. Medieval case studies are chosen that raise particularly complex issues of materiality, mixed-media form, and cross-media citation.
Same as: ARTHIST 309D

ARTHIST 111. Introduction to Italian Renaissance, 1420-1580. 4 Units.

New techniques of pictorial illusionism and the influence of the humanist revival of antiquity in the reformulation of the pictorial arts in 15th-century Italy. How different Italian regions developed characteristic artistic cultures through mutual interaction and competition.
Same as: ARTHIST 311

ARTHIST 114. Mystical Naturalism: Van Eyck, Dürer, and the Northern Renaissance. 4 Units.

A survey of the major innovations in Northern European painting ca. 1400-1600, in light of the social status of the artist between city and court. In the early fifteenth century painters began to render an idealized world down to its smallest details in ways that engaged new devotional practices. Later Hieronymus Bosch would identify the painter¿s imagination with the bizarre and grotesque. In response to Renaissance humanism, some painters introduced classical mythology and allegorical subjects in their works, and many traveled south to absorb Italianate pictorial styles. We will be visiting art museums in San Francisco and Stanford. May be repeat for credit.
Same as: ARTHIST 314

ARTHIST 117. Picturing the Papacy, 1300-1850. 4 Units.

Popes deployed art and architecture to glorify their dual spiritual and temporal authority, being both Christ's vicars on earth and rulers of state. After the return of the papacy from Avignon, Rome underwent numerous campaigns of renovation that staged a continuity between the pontiffs and the ancient Roman emperors. Patronage of art and architecture became important tools in the fight against Protestantism. Artists include Botticelli, Michelangelo, Caravaggio, and Bernini.
Same as: ARTHIST 317

ARTHIST 127A. African Art and Politics, c. 1900 - Present. 4 Units.

This course explores the relationship between art and politics in twentieth century Africa. Artistic production and consumption is considered in the context of various major political shifts, from the experience of colonialism to the struggle against Apartheid. Each week we will look closely at different works of art and examine how artists and designers responded to such challenges as independence, modernization and globalization. We will look at painting, sculpture, religious art, public and performance art, photography and film. How western perceptions and understanding of African art have shifted, and how museums have framed African art throughout the twentieth century will remain important points of discussion throughout the course.
Same as: AFRICAST 127

ARTHIST 132. American Art and Culture, 1528-1910. 4 Units.

The visual arts and literature of the U.S. from the beginnings of European exploration to the Civil War. Focus is on questions of power and its relation to culture from early Spanish exploration to the rise of the middle classes. Cabeza de Vaca, Benjamin Franklin, John Singleton Copley, Phillis Wheatley, Charles Willson Peale, Emerson, Hudson River School, American Genre painters, Melville, Hawthorne and others.
Same as: AMSTUD 132, ARTHIST 332

ARTHIST 140N. Couture Culture: Fashion, Art & Modernism from Manet to Mondrian. 3-4 Units.

This course examines the ways in which fashion has figured in the construction of modern experience and how it has been represented in the visual arts, primarily in Europe and the United States between about 1850 and 1965. Alongside the emergence of haute couture, the rise of the ready-to-wear industry during this period coincided with the consolidation of the department store; these institutions contributed to the development of a culture of consumption and display that continues to shape our lives today. Manet, Degas and other Impressionist painters were sensitive the nuances of fashion, which they, like Baudelaire, saw as an aspect of modernity indispensable to their art. Clothing was no less significant in the context of the Russian revolution, when Alexander Rodchenko, for example, outfitted himself in a home-made version of workers' overalls in order to reinforce his identification with factory laborers and thereby to suggest the breaking down of class distinctions. The course also explores the significance of fashion for an abstract painter like Piet Mondrian, but, more to the point, we look at how Mondrian's work was appropriated to the world of fashion by Yves Saint-Laurent, who assured that Mondrian's signature geometric style would become instantly recognizable and eventually function as a hugely popular brand. The circuits through which we can trace the historical trajectory of fashion will illuminate its importance for understanding many facets of modern culture.

ARTHIST 143A. American Architecture. 4 Units.

A historically based understanding of what defines American architecture. What makes American architecture American, beginning with indigenous structures of pre-Columbian America. Materials, structure, and form in the changing American context. How these ideas are being transformed in today's globalized world.
Same as: ARTHIST 343A

ARTHIST 145. Culture Wars: Art and Social Conflict in the USA, 1890-1950. 4 Units.

This course examines social conflicts and political controversies in American culture through the lens of visual art and photography. We consider how visual images both reflect and participate in the social and political life of the nation and how the terms of citizenship have been represented¿and, at times, contested¿by artists throughout the first half of the 20th century. The class explores the relation between American art and the body politic by focusing on issues of poverty, war, censorship, consumerism, class identity, and racial division.
Same as: AMSTUD 145M, ARTHIST 345, FEMGEN 145

ARTHIST 146X. What is Contemporary Art, and Where Did it Come From?. 3 Units.

"Contemporary art challenges us to question our assumptions," wrote philanthropist and collector Eli Broad. "It asks us to think beyond the limits of conventional wisdom." This course aims to introduce both the difficulties and the great rewards presented by Contemporary Art (1970 to the present). Examining the historical foundations of Contemporary Art in the 18th, 19th, and 20th centuries, we will learn about the century's most game-changing art practices and movements such as cubism, abstract expressionism, conceptual art, and performance art. Working from the assumption that art in its moment of production was always contemporary, the course will organize content through various thematic lenses such as "portraiture and vision", "the photographic", and "the hand and the mind." Lectures occur both as traditional classroom sessions as well as on-site sessions at Stanford University's public sculpture collection, the Cantor Art Center, and the Anderson Collection, emphasizing close and direct engagement with artworks. Drawing on these experiences and on close readings of key texts, assignments will range from short essays to online curation to gallery talks. Students will develop and enhance their critical visual literacy and ability to grapple with the unknown through skills of creative synthesis, identifying patterns across time and space, and exercising conceptual and visual analysis. Broadly, the goals of the class are to understand the present through the past, to demystify the often confusing nature of contemporary art, and to question why art matters and how.

ARTHIST 147. MODERNISM AND MODERNITY. 4 Units.

The development of modern art and visual culture in Europe and the US, beginning with Paris in the 1860s, the period of Haussmann, Baudelaire and Manet, and ending with the Bauhaus and Surrealism in the 1920s and 30s. Modernism in art, architecture and design (e.g., Gauguin, Picasso, Duchamp, Mondrian, Le Corbusier, Breuer, Dali) will be explored as a compelling dream of utopian possibilities involving multifaceted and often ambivalent, even contradictory responses to the changes brought about by industrialization, urbanization, and the rise of mass culture.
Same as: ARTHIST 347

ARTHIST 155C. Abstract Expressionism: Painting/Modern/America. 4 Units.

The course will focus on American abstract painting from the 1930s to the 1960s, emphasizing the works of art at the Anderson Collection at Stanford. We will focus on looking closely at pictures by Jackson Pollock, Mark Rothko, Willem de Kooning, and other renowned abstract painters, developing skills of speaking and writing about these works of art. We will also place these pictures in their mid-20th century context: World War II and the Cold War; Hollywood and popular culture generally; Beat literature; and locations such as New York and San Francisco.

ARTHIST 164A. Technology and the Visual Imagination. 4 Units.

An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Same as: ARTHIST 364A, FILMSTUD 164A, FILMSTUD 364A

ARTHIST 166. Representing Fashion. 4 Units.

Course on the representation of fashion in the 20th and 21st century, with focus on fashion photography. Topics include: history of fashion illustration, fashion photography, and fashion films; intersection of art and commerce; role of designers, photographers, editors, and models; studio v. street photography; the place of mass media, alternative magazines, and online publications; and use of media, photography, and design theory for interpretation of fashion representations. Illustrators and artists include Lepape, Erte, Avedon, Penn, Klein, Newton, Sherman, and Leibovitz.

ARTHIST 167. Beyond the Fuzzy-Techie Divide: Art, Science, Technology. 4 Units.

Although art and science are often characterized as "two cultures" with limited common interests or language, they share an endeavor: gaining insight into our world. They even rely on common tools to make discoveries and visually represent their conclusions. To clarify and interrogate points of similarity and difference, each week¿s theme (time, earth, cosmos, body) explores the efforts of artists and scientists to understand and represent it and the role of technology in these efforts. Focus on contemporary examples.
Same as: ARTHIST 367, FILMSTUD 167B, FILMSTUD 367B

ARTHIST 178. Ethnicity and Dissent in United States Art and Literature. 4 Units.

The role of the visual arts of the U.S. in the construction and contesting of racial, class, and gender hierarchies. Focus is on artists and writers from the 18th century to 1990s. How power, domination, and resistance work historically. Topics include: minstrelsy and the invention of race; mass culture and postmodernity; hegemony and language; memory and desire; and the borderlands.
Same as: AMSTUD 178, ARTHIST 378

ARTHIST 184. Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting. 4 Units.

Changes marking the transition from medieval to early modern Japanese society that generated a revolution in visual culture, as exemplified in subjects deemed fit for representation; how commoners joined elites in pictorializing their world, catalyzed by interactions with the Dutch.
Same as: ARTHIST 384, JAPANGEN 184, JAPANGEN 384

ARTHIST 188A. The History of Modern and Contemporary Japanese and Chinese Architecture and Urbanism. 4 Units.

The recent rapid urbanization and architectural transformation of Asia; focus is on the architecture of Japan and China since the mid-19th century. History of forms, theories, and styles that serve as the foundation for today's buildings and cityscapes. How Eastern and Western ideas of modernism have merged or diverged and how these forces continue to shape the future of Japanese and Chinese architecture and urban form.
Same as: ARTHIST 388A

ARTHIST 189C. Global Currents: Early Modern Art Enterprises, Economies, and Imaginaries. 4 Units.

Episodes of global artistic exchange from the 16th to 19th centuries involving commodities (porcelains and textiles), technologies (printmaking, perspective, and cartography), and imaginaries (Chinoiserie, East Asian Occidenteries, Orientalism, Japonisme). The role of enterprises, institutions, and power relations in artistic economies, from the Portuguese Empire, Jesuit mission networks and East India Companies to imperialist systems.
Same as: ARTHIST 389C

ARTHIST 192B. Art of the African Diaspora. 4 Units.

This introduction to the art of the African Diaspora uses art and visual culture as means to explore the history and impact of the global spread of African peoples from slavery until the present day. Lectures and discussions will examine a range of artistic practices from street festivals and Afro-Caribbean religious traditions to the work of studio-trained artists of international repute.

ARTHIST 203. Greek Art In and Out of Context. 4-5 Units.

The seminar considers Greek artifacts in the context of Greek life (including the life of the workshop), and the endless ways in which craftsmen served the needs of Greek society. Their foundries, factories and ceramic studios produced the material goods that defined Greek life: temples, statues and other offerings for the gods; arms and armor for warriors; sporting equipment and prizes for athletes; houses, clothing and crockery for the family; ships and sailcloth, wagons and ploughs, wine and oil-presses for a thriving domestic and overseas economy; gravestones and funeral vases for the dead. (Formerly CLASSART 109.) nMost of the antiquities exhibited in museums, or purchased by private collectors from galleries and auction houses, survive because they were buried with people who used and cherished them. The Greeks¿ belief that the artifacts they valued in life would serve them in the afterlife informs the second part of the seminar, which is devoted to the recent history of tomb looting and the illicit trafficking in antiquities.
Same as: CLASSICS 163

ARTHIST 205A. Islamic Painting: Landscape, Body, Power. 5 Units.

This seminar focuses on the production of paintings, mostly but not exclusively miniatures in books, in the Islamic world. A particular focus lies on the Muslim Empires of the sixteenth to eighteenth centuries, namely the Ottoman, Safavid, and Mughal realms, together stretching from the Balkans to India. During this period, illustrated books were popular objects of high-level patronage, and numerous examples have survived that allow a detailed study of the implications of these images. Themes discussed include: figural representation in Islam, patronage and court culture; gender and the body; illustrations of literature and history; images of Sufis ceremonies; portraiture; images of animals and nature; the impact of European prints and paintings; space and landscape. A field-trip to the Museum of Asian Art in San Francisco to view Mughal paintings from India is planned.

ARTHIST 208. Hagia Sophia. 5 Units.

By employing a methodology based in psychoacoustics, semiotics, and phenomenology, this course explores the relationship among sound, water, marble, meaning, and religious experience in the sixth-century church of HagianSophia built by emperor Justinian in Constantinople. We will read medieval sources describing the interior and ritual, make short movies exploring the shimmer of marble in buildings on campus, and study the acoustics of domed buildings through computer auralization done at Stanford's CCRMA (Center for Computer Research in Music and Acoustics).
Same as: CLASSICS 173

ARTHIST 208C. Architecture, Acoustics and Ritual in Byzantium. 1-3 Unit.

Onassis Seminar "Icons of Sound: Architecture, Acoustics and Ritual in Byzantium". This year-long seminar explores the creation and operations of sacred space in Byzantium by focusing on the intersection of architecture, acoustics, music, and ritual. Through the support of the Onassis Foundation (USA), nine leading scholars in the field share their research and conduct the discussion of their pre-circulated papers. The goal is to develop a new interpretive framework for the study of religious experience and assemble the research tools needed for work in this interdisciplinary field.
Same as: ARTHIST 408C, CLASSICS 175, MUSIC 208C, MUSIC 408C, REES 208C, REES 408C, RELIGST 208C, RELIGST 308C

ARTHIST 209. Art and Religious Experience in Byzantium and Islam. 5 Units.

This course presents a comparative study of Christian and Islamic paradigms (sixth to the thirteenth centuries) in the construction of religious experience through the material fabric of the building, the interior decor, objects, and rituals. We will read medieval ekphrastic texts and poetry, which stirred the viewer/participant to experience the building/object as animate. Among the sites we will study are: Hagia Sophia, the Ka'ba, the Dome of teh Rock, the Mosque at Damascus and at Cordoba. We will read Byzantine and Arabic writers such as Paul the Silentiary, Patriarch Germanos, Maximus Confessor, Shahrawardi, and Ibn Arabi.
Same as: ARTHIST 309, CLASSICS 174

ARTHIST 213. Renaissance Print Culture: Art in the Cantor Arts Center. 5 Units.

The seminar takes place in the Cantor Arts Center and provides a unique opportunity to study original works of art from the museum's storage. Beginning in the fifteenth century new techniques of reproduction changed the pictorial culture of Europe. Some engravings called attention to the engraver's virtuosity, and the private nature of the medium was explored for erotic imagery. By the sixteenth century printed images were used for political and religious propaganda during the societal upheavals.

ARTHIST 229D. Topophilia: Place in Japanese Visual Culture through 19th Century. 5 Units.

Attachments to "place" and "home" are hard-wired into the biology of humans and animals alike, although such attachments vary according to specific times, cultures, and states of mind. Can we speak of a "Japanese sense of place" and if so, what is distinctive about it? Seminar explores religious visions and ritual fields; narratives of itinerancy; cityscapes; topographic taxonomies. Knowledge of Japanese culture is beneficial but not mandatory.
Same as: JAPANGEN 229

ARTHIST 244. The Visual Culture of the American Home Front, 1941-1945. 5 Units.

How does home front of WWII look now? What sort of meanings appear with the vantage of more than sixty years' distance? Examining Hollywood films from those years -films made during the war but mostly not directly about the war - the seminar focuses on developing students' abilities to write emotion-based criticism and history. Weekly short papers, each one in response to a film screening, are required. Among the films screened: Shadow of a Doubt, Gaslight, I Walked with a Zombie, The Best Years of Our Lives.
Same as: AMSTUD 244

ARTHIST 246A. California Dreaming: West Coast Art and Visual Culture, 1848 - present. 5 Units.

This seminar examines art, photography, and other forms of cultural production (e.g. film, advertisements, postcards) in and about California from the middle of the 19th century to the present. It approaches California as a contested political, historical and geographical site and as a series of images and alternative "lifestyles." How have artists pictured the state's diverse landscapes, both natural and commercial, as well as its complex history of labor, immigration, ethnicity, tourism, and social division?.

ARTHIST 246B. Pop Art. 5 Units.

TBD.

ARTHIST 255. Hidden Histories: Art and Misrepresentation. 5 Units.

What happens when art functions as a decoy, taking us away from stories that it refuses to tell? We will explore three modern artists who grapple, in unpredictable ways, with the historical events that have shaped them: Philip Guston and the Holocaust; Martin Puryear and the Civil Rights movement; and South African artist William Kentridge and apartheid. When appropriate, we will look at objects at the Cantor Art Center (Stanford) as well as museums in the Bay Area. The course will provide the foundation for an exhibition at the Cantor Arts Center and the Yale University Art Gallery in 2016.

ARTHIST 288B. The Enduring Passion for Ink: Contemporary Chinese Ink Painting. 5 Units.

Contemporary Chinese ink painters are exploring new ground. They push the limits of the medium, creating installations and performances, mixing ink with other media, and advancing age-tested brushstrokes and compositions. The recent flurry of exhibitions attests to contemporary ink painting¿s increasing importance. nnThis seminar introduces major figures (Xu Bing, Liu Dan, Zheng Chongbin, Li Huasheng, etc.) and movements in contemporary Chinese ink art. Emphasis is placed on improving writing abilities and on in-class reports and discussion. Topics for discussion include readings, individual works of art, and broad issues in contemporary art. Prerequisite: courses in Art History and/or Studio Art OR permission of instructor. open to undergraduates and graduates.

ARTHIST 289A. Making the Masterpiece in Song Dynasty China. 5 Units.

Studies of canon formation involving Song Dynasty (10-13th c.) Chinese works of painting, calligraphy, ceramics, and architecture. The roles of early art writing and criticism; collecting histories; art historical theory; / copying, imitation, and reproductive practices; period and regional taste; and modern museological and art historical discourses in identifying and constructing a canon of Song masterworks.
Same as: ARTHIST 489A

ARTHIST 296. Junior Seminar: Methods & Historiography of Art History. 5 Units.

Historiography and methodology. Through a series of case studies, this course introduces a range of influential critical perspectives in art history as a discipline and a practice. The goal is to stimulate thinking about what it means to explore the history of art today, to expose and examine our assumptions, expectations and predilections as we undertake to learn and write about works of art, their meanings and their status in the world.

ARTHIST 306. Byzantine Art and Architecture, 300-1453 C.E.. 4 Units.

(Formerly CLASSART 106/206.) This course and its study trip to the Getty (Los Angeles) to view the new Byzantine exhibition explores the art and architecture of the Eastern Mediterranean: Constantinople, Jerusalem, Alexandria, Antioch, Damascus, Thessaloniki, and Palermo, 4th-15th centuries. Applying an innovative approach, we will probe questions of phenomenology and aesthetics, focusing our discussion on the performance and appearance of spaces and objects in the changing diurnal light, in the glitter of mosaics and in the mirror reflection and translucency of marble.
Same as: ARTHIST 106, CLASSICS 171

ARTHIST 309D. Means, Media and Mode: An Introduction to Western Medieval Art. 4 Units.

The course is an introduction to western medieval art approached primarily through distinctions of materials and media. We work with a combination of medieval and later sources, often engaging with the modern objects and spaces available for study on campus in order to create new perspectives on the historical material. Medieval case studies are chosen that raise particularly complex issues of materiality, mixed-media form, and cross-media citation.
Same as: ARTHIST 109D

ARTHIST 311. Introduction to Italian Renaissance, 1420-1580. 4 Units.

New techniques of pictorial illusionism and the influence of the humanist revival of antiquity in the reformulation of the pictorial arts in 15th-century Italy. How different Italian regions developed characteristic artistic cultures through mutual interaction and competition.
Same as: ARTHIST 111

ARTHIST 314. Mystical Naturalism: Van Eyck, Dürer, and the Northern Renaissance. 4 Units.

A survey of the major innovations in Northern European painting ca. 1400-1600, in light of the social status of the artist between city and court. In the early fifteenth century painters began to render an idealized world down to its smallest details in ways that engaged new devotional practices. Later Hieronymus Bosch would identify the painter¿s imagination with the bizarre and grotesque. In response to Renaissance humanism, some painters introduced classical mythology and allegorical subjects in their works, and many traveled south to absorb Italianate pictorial styles. We will be visiting art museums in San Francisco and Stanford. May be repeat for credit.
Same as: ARTHIST 114

ARTHIST 332. American Art and Culture, 1528-1910. 4 Units.

The visual arts and literature of the U.S. from the beginnings of European exploration to the Civil War. Focus is on questions of power and its relation to culture from early Spanish exploration to the rise of the middle classes. Cabeza de Vaca, Benjamin Franklin, John Singleton Copley, Phillis Wheatley, Charles Willson Peale, Emerson, Hudson River School, American Genre painters, Melville, Hawthorne and others.
Same as: AMSTUD 132, ARTHIST 132

ARTHIST 347. MODERNISM AND MODERNITY. 4 Units.

The development of modern art and visual culture in Europe and the US, beginning with Paris in the 1860s, the period of Haussmann, Baudelaire and Manet, and ending with the Bauhaus and Surrealism in the 1920s and 30s. Modernism in art, architecture and design (e.g., Gauguin, Picasso, Duchamp, Mondrian, Le Corbusier, Breuer, Dali) will be explored as a compelling dream of utopian possibilities involving multifaceted and often ambivalent, even contradictory responses to the changes brought about by industrialization, urbanization, and the rise of mass culture.
Same as: ARTHIST 147

ARTHIST 354. The American Civil War: A Visual History. 4 Units.

A painting of men charging across a field, a photograph of dead bodies in a ditch, a fragment of metal, a sliver of bone, and a brass button: how do we make sense of the visual record of the American Civil War (1861-65)? From the Capitol Dome to a skeleton dug up in a highway project a hundred years after the last battle, the course will consider the strange and scattered remnants of a famous era. Drawing on the poetry of Walt Whitman, Emily Dickinson, and Herman Melville, the paintings of Winslow Homer, the photographs of Alexander Gardner, and the oratory of Abraham Lincoln, the course will examine what cannot be portrayed: the trauma of war.
Same as: AMSTUD 154X, ARTHIST 154

ARTHIST 364A. Technology and the Visual Imagination. 4 Units.

An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Same as: ARTHIST 164A, FILMSTUD 164A, FILMSTUD 364A

ARTHIST 365A. Fashion Shows: From Lady Godiva to Lady Gaga. 4 Units.

The complex and interdependent relationship between fashion and art. Topics include: the ways in which artists have used fashion in different art forms as a means to convey social status, identity, and other attributes of the wearer; the interplay between fashion designers and various art movements, especially in the 20th century; the place of prints, photography, and the Internet in fashion, in particular how different media shape how clothes are seen and perceived. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Same as: ARTHIST 165A, FILMSTUD 165A, FILMSTUD 365A

ARTHIST 384. Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting. 4 Units.

Changes marking the transition from medieval to early modern Japanese society that generated a revolution in visual culture, as exemplified in subjects deemed fit for representation; how commoners joined elites in pictorializing their world, catalyzed by interactions with the Dutch.
Same as: ARTHIST 184, JAPANGEN 184, JAPANGEN 384

ARTHIST 388A. The History of Modern and Contemporary Japanese and Chinese Architecture and Urbanism. 4 Units.

The recent rapid urbanization and architectural transformation of Asia; focus is on the architecture of Japan and China since the mid-19th century. History of forms, theories, and styles that serve as the foundation for today's buildings and cityscapes. How Eastern and Western ideas of modernism have merged or diverged and how these forces continue to shape the future of Japanese and Chinese architecture and urban form.
Same as: ARTHIST 188A

ARTHIST 389C. Global Currents: Early Modern Art Enterprises, Economies, and Imaginaries. 4 Units.

Episodes of global artistic exchange from the 16th to 19th centuries involving commodities (porcelains and textiles), technologies (printmaking, perspective, and cartography), and imaginaries (Chinoiserie, East Asian Occidenteries, Orientalism, Japonisme). The role of enterprises, institutions, and power relations in artistic economies, from the Portuguese Empire, Jesuit mission networks and East India Companies to imperialist systems.
Same as: ARTHIST 189C

ARTHIST 400M. The Artist in Ancient Greek Society. 4-5 Units.

An exploration of the low status of artists in a culture that valued their work but not the men themselves. Potters were especially scorned but even sculptors of gold and ivory statues were seen as "mechanics" (Herodotus), with soft bodies and soft minds (Xenophon), "indifferent to higher things" (Plutarch). Topics include case studies of individual artists, their importance to the polis, their workshops, wages and occupational hazards and the impact of social isolation on the quality of their work.
Same as: ARTHIST 200M

ARTHIST 405. Art, Ekphrasis, and Music in Byzantium and Islam. 5 Units.

Focus is on the interrelation of art, architecture, verbal description, poetry, and music, including the singing of psalms and recitation of the Qur'an. How ekphrasis, the style of writing vividly intended to transform the listeners into spectators, structures the perception of and response to artistic production be it an art object, building, or a musical performance. The role of ekphrasis in animating the inanimate and the importance of breath and spirit, which become manifest in visual, acoustic, olfactory, and gustatory terms. Religious and courtly settings: Hagia Sophia, the Great Palace of Constantinople, the Dome of the Rock, the palaces of Baghdad and Samarra, the mosque at Cordoba, Medinat al-Zahra and the Alhambra. Greek and Arabic writers on ekphrasis in translation, juxtaposing the medieval material to the ancient theories of ekphrasis and modern scholarship.
Same as: CLASSICS 376

ARTHIST 405A. Graduate Pedagogy Course. 2 Units.

This course is designed for graduate students in Art History and Film Studies preparing to work as teaching assistants in the Department of Art and Art History. The seminar will focus on a range of theoretical and practical concerns pertaining to the successful conceptualization, organization, and execution of class lectures and discussion sections. Students will be exposed to a variety of perspectives and strategies related to quality teaching at the college level.

ARTHIST 413. Michelangelo. 5 Units.

Michelangelo's long career in light of recent scholarship. Topics include the status of the cult image, the paragon between poetry and the pictorial arts, painting and questions of literary genre, and Counter Reformation reactions to his art.

ARTHIST 415. Baroque: 1900-2000. 5 Units.

The seminar, which is largely methodological and historiographic, problematizes issues of periodization. The course examines different approaches to the question of "what is baroque," from Alois Riegl and Erwin Panofsky to Michel Foucault, Svetlana Alpers and Giovanni Careri.

ARTHIST 417B. Architectural Theory from Antiquity to Le Corbusier. 5 Units.

This seminar focuses on themes and theories in architectural design from antiquity until the early twentieth century. Modern and contemporary architecture has often claimed its modernity through the incorporation of theory, but this seminar examines selections from key texts that have also moulded architectural and urbanistic thought in the ancient, medieval, and early modern eras in combination with analytical comparisons of built architecture.
Same as: ARTHIST 217B

ARTHIST 432. Rethinking American Art. 5 Units.

A re-examination of American art of the 18th and 19th centuries, focusing on works in the collection of the de Young Museum, San Francisco. The class will meet weekly at the de Young, where we will be joined by Professor Margaretta Lovell and students from the University of California, Berkeley. Each student will pursue an in-depth study of a single work in the Museum's superb American collections, using documents of social and cultural history. We will pay particular attention to recent scholarship, questions of genre (landscape, portrait, still life and images of everyday life), and the "biography of objects" (the way works of art shift in context and interpretation over time).nGraduate seminar open to advanced undergraduates with the instructor¿s approval.

ARTHIST 440A. The Art Market. 5 Units.

This seminar is designed to examine aspects of the art market in the current moment and since the mid 19th century. Participants will have an opportunity to engage with problems and perspectives that, until recently, have generally been overlooked or marginalized in narratives of the history of art. Each week, students will write a response to the readings to be shared in advance of the class meeting, and each week, discussion will be initiated by a different student. In individual research projects culminating in a seminar paper, students will be encouraged to focus on how the art market may have impacted the production, reception, and/or circulation of a work or works by a particular artist. .

ARTHIST 442. Looking at Violence. 5 Units.

Violence in the media and its effects upon viewers, especially thennyoung, is an issue of national concern that has produced legislationnnfor the ratings of movies, television shows, and computer/video games. Parental control software makes it possible to program cable boxes andnncomputers to censor what broadcasts or websites are accessible tonnchildren. These are political and technical fixes to a perceivednnsocial problem. They do not ask why one is drawn to watch violence innnthe first place, nor why certain kinds of violent imagery is compelling. Debates about how such measures should be implemented usually proceed from the given that images of violence are subjectspecific, with little or no consideration of their formal qualities or visual protocols. This seminar assumes that the tools and categories of visual analysis specific to the History of Art might enrich our thinking about the attraction and impact of violence across media andnnacross time. The seminar proposes to situate its topic at the intersection of social, philosophic, and visual traditions so as to allow productive points of view to emerge. Readings will include texts from the history of aesthetics, psychology, and moral philosophy. Research projects will encourage analysis of all forms of visual media: painting, sculpture, prints, photographs, film, video, and computer graphics.

ARTHIST 447. Piet Mondrian: Art, History and Historiography. 5 Units.

Taking Mondrian as a case study, this seminar will examine some of the salient factors that shape how a modern artist emerges into history. Participants will explore Mondrian's work and ideas, attending not only to his own self-fashioning but also to the myriad forces that have shaped his reception since his death in New York in 1944, including scholarship, museum exhibitions, the art market, the responses of innumerable subsequent artists, and the wide circulation of his work in popular culture.

ARTHIST 461. The American Civil War: An Experiential History. 5 Units.

Can one write a history of lived experience, of ephemeral states that never were represented? Can one look at representations of paintings, photographs, and literature to see where these ephemeral states might be trapped, or might otherwise be pictured? Feeling that the real war did not get in the books (for the most part), the course examines those books and other representations and so many things that never attained so exalted a form to look at the war anew. Methodological readings as well as readings about the Civil War.

ARTHIST 462. The Sense of Place in American Art. 5 Units.

The course will focus on places in American art, literature, and material culture--how places are imagined; how they are conceived in opposition to the pure flow of forgettable experience; how what happens in a place somehow remains.

ARTHIST 465. Media Technology Theory. 3-5 Units.

This course surveys major theoretical approaches to the study of media technologies, including Frankfurt School critical theory, media archaeology, actor network theory, science and technology studies, platform studies and theories of critical making. By the end of the course, students should have a rich familiarity with the literature in this area, as well as with exemplary empirical studies conducted within each tradition. Preference to Ph.D. students in Communication and Art and Art History. Consent of instructor required for non-PhD students.
Same as: COMM 384

ARTHIST 470. Globalization and the Visual Arts. 5 Units.

Enrollment restricted to graduate students. Globalization as the most important paradigm for the production, circulation, and reception of contemporary art since the 1990s. The expanding terrain of the art world; biennial culture; new economies of scale and the art market along with its critique in the discourses of empire and multitudes. Debates on the thematics of hybridity; post-Fordism; the flat world and capital flows; exteriority and site specificity; and new models of collectivism in recent art.

ARTHIST 478. Problems in the History of Collecting, Circulation and Display. 5 Units.

This graduate seminar involves intensive study of art collecting, circulation and display through the lens of one of the principal institutions of art history: the museum. It will include a site visit to the Solomon R. Guggenheim Museum to gain a comprehensive view of this complex institution as a basis for seminar-related research and writing. Limited to PhD students in Art History and Film Studies, or by permission of the instructor.

ARTHIST 489A. Making the Masterpiece in Song Dynasty China. 5 Units.

Studies of canon formation involving Song Dynasty (10-13th c.) Chinese works of painting, calligraphy, ceramics, and architecture. The roles of early art writing and criticism; collecting histories; art historical theory; / copying, imitation, and reproductive practices; period and regional taste; and modern museological and art historical discourses in identifying and constructing a canon of Song masterworks.
Same as: ARTHIST 289A

ARTHIST 600. Art History Bibliography and Library Methods. 1 Unit.

.

ARTHIST 640. Dissertation Proposal Preparation. 5 Units.

(Staff).

ARTHIST 660. Independent Study. 1-15 Unit.

For graduate students only. Approved independent research projects with individual faculty members.

ARTHIST 660E. Extended Seminar. 4 Units.

May be repeated for credit. (Staff).

ARTHIST 680. Curricular Practical Training. 1-3 Unit.

CPT course required for international students completing degree. Prerequisite: Art History Ph.D. candidate.

Art Studio Courses

ARTSTUDI 12AX. Drawing Intensive: Revisiting Nature. 2 Units.

As increasing technological advances can further separate us from direct impressions of nature, this class is designed to reconnect and enhance our relationship to the natural world and our surrounding environment. To do this we will develop visual skills and critical thinking through careful observation and classical drawing techniques.nInspired by Stanford's natural and manicured landscapes, students will enjoy the great outdoors while learning elements of perspective, composition, light, and form. Students will learn about master landscape artists, investigate the built and natural environment of the campus, and experiment with various drawing techniques, mediums, and styles.

ARTSTUDI 15AX. Introduction to Sculpture. 2 Units.

This course offers a unique and interdisciplinary perspective on contemporary sculpture and art practice with the purpose of enabling artistic creation and discovery. The class will become familiar with traditional and non-traditional techniques through hands on workshops and instruction as well as lectures, visiting artists, and studio visits with working sculptors. There will be three major projects resulting in three complete works of art including a self-guided final project building on techniques and concepts covered in this course.

ARTSTUDI 16AX. Drawing Marathon. 2 Units.

Hosted by the New York Studio School of Drawing, Painting, and Sculpture and based entirely in New York, Drawing Marathon helps students learn the importance of drawing as the basis of understanding one's experience of the world. Drawing is seen here as the most direct route to the examination of our perceptions. Unorthodox tools and exercises will be introduced to broaden the students' drawing vocabulary.nThis course will investigate many implications of drawing as a physical and cerebral activity as well as drawing as a philosophy. It will discuss key issues, including those of scale, tiny to huge; the use of different formats; the use of the rectangle; the vertical axis and its significance; the nature of distortions; the compression of space and depth; the search for "form" and its consequences; space and its meaning; functions and the different kinds of space; and the nature of relational drawing.nStudents can expect to be in the studio 9 a.m. to 9 p.m. most days. The average day is spent mostly drawing from perspection and includes several group critiques; most nights accumulate in a lengthy final critique at the end of the physical drawing session. This practice intensifies for the last critique at the end of the course. Students learn to engage in clear and succinct dialogue and discussions within the group. Instruction encourages students to participate in and understand the visual language of drawing.nThe Marathons are intensive all-day programs that run for two weeks at the beginning of each semester at the acclaimed NY Studio School. Students reside in New York City during the program period. Daily drawing sessions at the Studio School, field trips, and creative exploration of the city are all included in the program. Drawing marathon is led both by full-time NYSS faculty and distinguished visiting artists. nThe Drawing Marathon is open to beginning and advanced artists, regardless of their major.

ARTSTUDI 31X. New Art-Cinema for Non Majors. 2 Units.

This is a studio course in contemporary cinema art, focusing on actionable, ultra-low budget methods for creating sprawling, proprietary cinematic expressions. Students will build familiarity with the myriad tools of and approaches to digital cinema creation and their practical use in works of art. Students will also be encouraged to conceive of cinema art expansively--as an opportunity to enclose, express and explore other forms of art: the written word, sound, sculpture, image-making and performance. We will think, talk, and work through the question of the role of art in cinema, and vice versa. We will create as a class no less than two short films. For each film, students will have the opportunity to reinvent their role (thinker-actor, writer-dancer, sound recordist, location scout, human sculpture, etc.). Together, we will smash the myth of the auteur as we hone ourselves into a finely ground machine for breakneck film-making.

ARTSTUDI 130. Interactive Art: Making it with Arduino. 4 Units.

Students use electronics and software to create kinetic and interactive elements in artwork. No prior knowledge of electronics or software is required. Students learn to program the Arduino, a small easy-to-use microprocessor control unit ( see http://www.arduino.cc/ ). Learn to connect various sensors such as light, motion, sound and touch and use them to control software. Learn to interface actuators like motors, lights and solenoids to create movement. Learn to connect the Arduino to theMAX/MSP/Jitter programming environment to create media-intensive video and audio environments. Explore the social dimensions of electronic art. (lower level).

ARTSTUDI 130N. Introduction to Art Practice. 3 Units.

This hands-on introduction course will introduce students to formal and conceptual visual strategies in expression through a diversity of artistic mediums which may include drawing, digital media, printmaking, photography, performance and sculpture. This course is meant to give students an overview of many of the mediums and facilities that are available in the Art Practice program. Field trips, guest artists.

ARTSTUDI 140. Drawing I. 4 Units.

Functional anatomy and perspective as they apply to problems of drawing the form in space. Individual and group instruction as students work from still life set-ups, nature, and the model. Emphasis is on the development of critical skills and perceptual drawing techniques for those with little or no previous experience with pastels, inks, charcoal, conte, and pencil. Lectures alternate with studio work. (lower level).

ARTSTUDI 145. Painting I. 4 Units.

Introduction to techniques, materials, and vocabulary in oil painting. Still life, landscape, and figure used as subject matter. Emphasis is on painting and drawing from life. (lower level).

ARTSTUDI 147S. DRAWING AND PAINTING INTENSIVE. 3 Units.

This introductory course teaches the basic tools of drawing and painting with acrylics, along with an introduction to a range of artists for inspiration. From the beginning, we take advantage of Stanford¿s beautiful campus, drawing and painting outside, along with studio work and slide lectures. We begin with our unique gestures and mark-making, moving through linear perspective, light logic, photo-realism, and the figure, using a range of media from graphite and charcoal to bamboo brush and ink. The introduction to acrylic painting explores the many ways we may use acrylic paint, looking at different art historical approaches along the way. A flexible medium, acrylic can be used to mimic watercolor, oil paint, or even cement, and works on a variety of surfaces. We begin by learning color theory and different paint applications through abstract painting, taking as our inspiration Piet Mondrian, Hans Hofmann, and J.W. Turner. Using thick, impasto paint, we move outdoors for plein air painting, stealing strategies from the Impressionists, and adapting them in our personal projects with today¿s technologies. Moving back indoors, we switch it up again, exploring the expressive gesture, and figurative distortion, using acrylic now more thinly, a la watercolor or gouache, along with charcoal, creating dramatic effects, and working on different surfaces. Each student will finish the quarter with a wide range of techniques and materials at the ready. No previous painting or drawing experience is necessary.

ARTSTUDI 148. Monotype. 4 Units.

Introduction to printmaking using monotype, a graphic art medium used by such artists as Blake, Degas, Gauguin, and Pendergast. May be repeated for credit. Prerequisite: 140. (lower level). May be repeated 2 times for total of 8 units.

ARTSTUDI 148P. DIGITAL PRINTMAKING. 4 Units.

TBD.

ARTSTUDI 149C. Etching. 4 Units.

In this class students will explore various techniques of etching (or intaglio) on zinc plates such as, hard ground, soft ground, aquatint, marbling aquatint and sugar lift, through an electrolytic process that uses no acid but sulfates and very low electrical power (1.5 V or the same as a AA battery). This process is much less toxic that the traditional etching with nitric (which produces toxic fumes) or ferric acid (difficult to clean). These techniques will be complemented by other ones that can be mixed with etching such as photocopy transfers, Chine collé (attaching a different color paper between plate and main paper), and mono-printing. nnEtching/Intaglio (making a mark under the surface of the plate) is one of the most tactile and elegant forms of printmaking. The plate leaves a 3-D line mark and embossed marks in the deep etched areas as well as at the edges of the plate. Many major artists have left memorable images by working in this medium (Rembrandt, Goya, Kathe Kollwitz, Eduard Munch, and many others) influencing many contemporary artists.

ARTSTUDI 151. Sculpture I. 4 Units.

Traditional and non-traditional approaches to sculpture production through working with materials including wood, metal, and plaster. Conceptual and technical skills, and safe and appropriate use of tools and materials. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for studio work. Field trips; guest lecturers.

ARTSTUDI 153N. Ecology of Materials. 3 Units.

This hands on studio based sculpture course takes a critical look at the materials used in sculpture and addresses the environmental concerns surrounding them. We will look at artists concerned with environmental impact and the interconnection of art to other fields. This class also addresses the impact of material and technique upon form and content; therefore understanding the physical and expressive possibilities of diverse materials. Conceptual and technical considerations will be addressed. Students will learn traditional building techniques as needed (wood shop, metal shop, mold making, found object) as well as anti-object techniques. Existing at the intersection of art, science, technology and ecology, environmental art often functions to inform and/or interpret natural conditions and the processes associated with both "non-human" and "human-made" constructions. It will also educate us about environmental issues and concerns. This course introduces and provides a context for this area of interdisciplinary exchange and artist production by examining areas commonly known as cradle to cradle design, land art, eco art, environmental art, and art and technology. What role does sculpture play in a fragile world with depleting natural resources, global economies and media dominance? What is the life cycle of object making and creating? What is our relationship to objects in a growing technological age? Students will make 3-4 projects based on these questions. Group discussions, critiques, readings, video presentations, a field trip to a local artist-in-residence program Recology at the San Francisco Dump, visiting artists and visiting faculty from Stanford doing environmental research will augment this class.

ARTSTUDI 167. Introduction to Animation. 3-4 Units.

Projects in animation techniques including flipbook, cutout/collage, stop-motion such as claymation, pixilation, and puppet animation, rotoscoping, and time-lapse. Films. Computers used as post-production tools, but course does not cover computer-generated animation. (lower level).

ARTSTUDI 170. Introduction to Photography. 4 Units.

Critical, theoretical, and practical aspects of creative photography through camera and lab techniques. Field work. Cantor Art Center and Art Gallery exhibitions. Course requires the use of a 35mm camera. The Department will supply if necessary. (lower level).

ARTSTUDI 173E. Cell Phone Photography. 4 Units.

The ubiquity of cell phone photography has had a widespread impact on the tradition, practice, and purposes of photography, as well as concepts of art and what art should be for. In this class, we discuss the documentarian bent of much cell phone photography, its potential as a component of citizen journalism, the ways in which the environments of these photographs (Instagram, Tumblr) are changing ideas of the image and of authorship, and effects that cell phone photography may be having on us as subjects. Alongside these discussions, students will create works of art utilizing the experimental, documentary, and social potentials of cell phone photography.

ARTSTUDI 176. Time Shifts. 4 Units.

In this course, we examine how both individual perceptions and artistic representations of time have historically shifted with changes in technology. What are the current possibilities to extend/re-imagine how we represent time using digital tools? How do these possibilities, in turn, re-inform traditional media? This is a conceptual and experimental class with a studio focus. Examples are mainly from an art context, but include interaction design, information visualization, and scientific illustration of time-based events and processes. Students should have previous experience with a set of digital tools - Photoshop, FinalCutPro, AfterEffects, or a programming language that will allow you to digitally manipulate images. Assignments include exercises using traditional media, and digitally based projects. Occasional writing assignments also required.

ARTSTUDI 177. Video Art I. 4 Units.

Students create experimental video works. Conceptual, formal, and performance-based approaches to the medium. The history of video art since the 70s and its influences including experimental film, television, minimalism, conceptual art, and performance and electronic art. Topics: camera technique, lighting, sound design, found footage, cinematic conventions, and nonlinear digital editing. (lower level).

ARTSTUDI 178. Art and Electronics. 4 Units.

Analog electronics and their use in art. Basic circuits for creating mobile, illuminated, and responsive works of art. Topics: soldering; construction of basic circuits; elementary electronics theory; and contemporary electronic art. (lower level).

ARTSTUDI 179. Digital Art I. 4 Units.

Contemporary electronic art focusing on digital media. Students create works exploring two- and three-dimensional, and time-based uses of the computer in fine art. History and theoretical underpinnings. Common discourse and informative resources for material and inspiration. Topics: imaging and sound software, web art, and rethinking the comptuer as interface and object. (lower level).

ARTSTUDI 230. Interdisciplinary Art Survey. 4 Units.

This course is designed to develop diversity of concepts and strategies within the student's artistic practice. The course includes a survey of artists using different media taught in the department's studio program such as painting, drawing, video and digital art, printmaking, photography, and sculpture. This seminar-style class seeks to expand the artistic practice outside of traditional media boundaries and focuses on the translation of concepts across various media. Priority to Art Practice majors and minors. (upper level).

ARTSTUDI 239. Intermedia Workshop. 3-4 Units.

Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit.
Same as: MUSIC 155, MUSIC 255

ARTSTUDI 246. Individual Work: Drawing and Painting. 1-15 Unit.

Prerequisites: two quarters of painting or drawing and consent of instructor.

ARTSTUDI 250. Individual Work: Sculpture. 1-15 Unit.

May be repeated for credit.

ARTSTUDI 254. Kinetic Sculpture. 3-4 Units.

This course is focused on developing a practical, hands on understanding of kinetic mechanisms applied to objects and materials in sculpture and installation. Class time will take the form of lectures and technical demos, and hands-on labs where you will be exposed to different strategies for making movement in the physical world. Topics investigated include Rube Goldberg machines, devices of wonder, interactivity, audience experience and participation. This course will not be co-taught this year.

ARTSTUDI 261. Individual Work: Design. 1-15 Unit.

May be repeated for credit.

ARTSTUDI 265. Design for Exploration. 3-4 Units.

A collaboration with the Exploratorium in San Francisco. Students investigate and experiment with all aspects of the creation of interactive museum exhibits. On-site exhibit floor sessions and prototyping workshops. Lectures from museum staff on exhibit design. Students design and construct exhibits for temporary placement on the floor of the Exploratorium. To be considered for admission to the course, student must fill out an application form at http://stanford.edu/~edmark/application.htm no later than Nov 30th, 2013.
Same as: ME 213

ARTSTUDI 271. The View Camera: Its Uses and Techniques. 4 Units.

For students of photography who wish to gain greater control and refine skills in image making. 4x5 view cameras provided. Enrollment limited to 8. (upper level).

ARTSTUDI 277. Project class: Digital and Analogue Projects in Photography. 4 Units.

Students pursue a topic of their own definition. Further exploration of darkroom and other printing techniques; contemporary theory and criticism. (lower level). May be repeated for credit 2 times for a maximum of 8 units.

ARTSTUDI 285. Topics in Media Studies: Street Media. 4 Units.

Literal and figurative meanings of street and how they provide potential to media technologies and invite innovative forms of artistic practice. Contemporary art as the juncture where street movements and new media collide. Small projects. May be repeated for credit.

ARTSTUDI 310B. Directed Reading: Studio. 1-15 Unit.

.

ARTSTUDI 342B. MFA: Concept Seminar. 1-15 Unit.

Weekly seminars, studio practice, and individual tutorials. Modes of conceptualization to broaden the base of cognitive and generative processes. May be repeated for credit. Restricted to M.F.A. studio students only.

ARTSTUDI 342C. M.F.A Seminar. 1-15 Unit.

Professional practices; preparation of documentation; exhibition and presentation. Restricted to M.F.A. studio students only. May be repeat for credit total units allowed 45 and total completion 6.

ARTSTUDI 350A. Art & Design I: History and Theory. 3 Units.

This two part graduate level course is required for all first year JPD students (both MFA and ME students), and open to all MFA Art Practice students. The first quarter of the course is a seminar, which focuses on the history of design practices and theories in a broad range of fields including design, art, and architecture. We will examine how well known concepts such as "The Bauhaus", "the designer", "Design Thinking", and metaphors such as "workshop", "school", "laboratory", "studio", or "post-studio" arise, and how they shape the artist or designer's work in a particular cultural context. Through reading, writing, and discussion, students will attempt to define their current position within a historical context and chart their future vision. The course may involve guest lectures and visits to various collections and archives.

ARTSTUDI 360B. Design Masters Project II. 4 Units.

This two part graduate level seminar and studio course is required for second year JPD MFA students, and open to second year JPD ME students and all MFA art practice students. In this second quarter of the course, students will refine and expand one of their assignments from Sites/Situations I to create a completed site-specific installation, intervention, or product/object, which provokes discussion or change in our community. Works will be realized at various sites around campus, or in the community at large. Issues such as budget, public safety and code will be addressed. Time will be allotted for documentation, critique, and assessment of these projects.

ARTSTUDI 361. MFA First Year Seminar: Context. 1-15 Unit.

tbd.

ARTSTUDI 801. TGR Project. 0 Units.

.

Film Production Courses

FILMPROD 11AX. Intro to Visual Writing. 2 Units.

Intro to Visual Writing is a screenwriting workshop that takes students from basic visual literacy to scene writing and longer sequences, culminating in a completed short screenplay or beginning of a feature film. Students will engage in exercises in basic visual literacy (composition, shot selection, camera movement) and more advanced visual thinking (storyboarding); learn the fundamentals of writing in screenplay form (both format and content); and complete a number of scene writing exercises which build toward longer sequential storytelling. Throughout the course students will learn to give and take constructive criticism in a writing workshop, a crucial skill for the collaborative world of film.

FILMPROD 101. Screenwriting. 5 Units.

Priority to Film and Media Studies majors. Craft, form, and approaches to writing for the screen. Prerequisites: 1) ENGLISH 90, 2) ENGLISH 190F or FILMPROD 104, and 3) consent of instructor.
Same as: FILMPROD 301

FILMPROD 105. Script Analysis. 4 Units.

Analysis of screenplay and film from the writer's perspective, with focus on ideation, structure, and dramatic tension in narrative features. Sources include screenplays and screenings.
Same as: FILMPROD 305

FILMPROD 106. Image and Sound: Filmmaking for the Digital Age. 3 Units.

Do two-minute YouTube videos with millions of hits, six second vines, or interactive storytelling modules alter our understanding of film structure? Even while these emerging forms stretch the boundaries of what it means to be a filmmaker, many of the core principles of visual storytelling remain unchanged. In this hands-on film production class, students will learn filmmaking fundamentals, and explore how to apply those principles when creating film projects using tools such as iPhones, consumer cameras, and FCP X. Within the course, we will also explore how new tools and technologies offer opportunities for innovation in aesthetic and narrative forms.

FILMPROD 117. ADVANCED VIDEO PRODUCTION. 5 Units.

This course introduces the fundamentals of digital video production. Special emphasis is placed on the development of interview and observational sync-sound filming techniques. Students acquire hands-on experience in shooting, sound recording, lighting, and editing. Critiques of creative work emphasizes the conceptual, aesthetic, and technical aspects of digital video production. Prerequisite: Filmprod 114 or Filmprod 10AX.

FILMPROD 305. Script Analysis. 4 Units.

Analysis of screenplay and film from the writer's perspective, with focus on ideation, structure, and dramatic tension in narrative features. Sources include screenplays and screenings.
Same as: FILMPROD 105

FILMPROD 401. Nonfiction Film Production. 4 Units.

Restricted to M.F.A documentary students. 16mm production techniques and concepts. Final project is a short black-and-white film with multitrack sound design. Prerequisite: consent of instructor.

FILMPROD 403. Advanced Documentary Directing. 4 Units.

Restricted to M.F.A. documentary students. Further examination of structure, empasizing writing and directing nonfiction film. Prerequisite: consent of instructor.

FILMPROD 406A. Documentary M.F.A. Thesis Seminar I. 4 Units.

Restricted to M.F.A. documentary students. Production of film or video project. Focus is on shooting strategies, ethical challenges, and practical production issues. Prerequisite: consent of instructor.

FILMPROD 408. CULTURE/CINEMA/SENSATION. 5 Units.

This course brings together a critical introduction to works of ethnographic film (i.e. films concerned primarily with the representation of culture) and a selective exploration of works of avant-garde film (i.e. films concerned with, among other dimensions, the possibilities of cinema) in order to consider the conceptual and aesthetic foundations/provocations of sensory ethnography, a neologism for an approach to cinema that seeks the new, the open-ended, the corporeal, the sensorial, and the affective.

Film Studies Courses

FILMSTUD 4. Introduction to Film Study. 5 Units.

Formal, historical, and cultural issues in the study of film. Classical narrative cinema compared with alternative narrative structures, documentary films, and experimental cinematic forms. Issues of cinematic language and visual perception, and representations of gender, ethnicity, and sexuality. Aesthetic and conceptual analytic skills with relevance to cinema.

FILMSTUD 4S. Language of Film. 3 Units.

This course familiarizes students with various elements of film language (cinematography, editing, sound, etc.) and introduces them to a range of approaches to cinematic analysis (authorship, genre, close formal reading, socio-historical considerations). Different types of films (narrative, documentary, and experimental) will be surveyed. Classical narrative cinema will be compared with alternative modes of story-telling.

FILMSTUD 7. Introduction to Television Studies. 5 Units.

Television is arguably the most influential and ubiquitous mass medium of the last half century. Because of its familiarity and popularity, it is also often the medium most overlooked, dismissed, and maligned. Drawing from the history of television and of television scholarship, this course builds a theoretical framework for understanding this pivotal cultural form. Course covers interdisciplinary approaches to studying TV texts, TV audiences, and TV industries, including questions of the boundaries of television (from independent and avant-garde video to convergence). In the process students develop methodological tools as critical television viewers.

FILMSTUD 100A. History of World Cinema I, 1895-1929. 4 Units.

From cinema's precursors to the advent of synchronized sound.
Same as: FILMSTUD 300A

FILMSTUD 101. Fundamentals of Cinematic Analysis. 4 Units.

The close analysis of film. Emphasis is on formal and narrative techniques in structure and style, and detailed readings of brief sequences. Elements such as cinematography, mise-en-scène, composition, sound, and performance. Films from various historical periods, national cinemas, directors, and genres. Prerequisite: FILMSTUD 4 or equivalent. Recommended: ARTHIST 1 or FILMSTUD 102. Course can be repeated twice for a max of 8 units.
Same as: FILMSTUD 301

FILMSTUD 102. Theories of the Moving Image. 4 Units.

Major theoretical arguments and debates about cinema: realism,formalism, poststructuralism, feminism, postmodernism, and phenomenology. Prerequisites: FILMSTUD 4.
Same as: FILMSTUD 302

FILMSTUD 104. Introduction to the Movies- How Movies Are Developed, Produced, Marketed and Exhibited. 4 Units.

How are movies created? How are scripts developed and selected for production? How are films actually made and marketed? How are they shown in various media? Who decides what in all of these processes and what information do the decision-makers rely on?nnThis course will follow the life cycle of a movie, from its inception as an idea, article, book, etc., to its release in theaters and other media as a finished product. Guest speakers will discuss the evolution of the film industry, creative development of scripts, how deals are structured to acquire intellectual property, film finance, and how movies are physically produced and then marketed, distributed and exhibited in theaters and in other media. We will use two films as case studies ¿ The Chronicles of Narnia ¿ Voyage of the Dawn Treader and Chasing Mavericks.
Same as: FILMSTUD 304

FILMSTUD 116. International Documentary. 4 Units.

Historical, aesthetic, and formal developments of documentary through nonfiction films in Europe, Asia, Latin America, and Africa.
Same as: FILMSTUD 316

FILMSTUD 136. Gender and Sexuality in Chinese Cinema. 4 Units.

Representations of gender and sexuality in the cinemas of China, Taiwan, and Hong Kong, covering key periods and genres such as the golden age of Shanghai film, Hong Kong action pictures, opera films, post-socialist art films, and new queer cinema. Historical and contemporary perspectives on cinematic constructions of femininity, masculinity, and sexuality as they relate to issues of nationalism, modernity, globalization, and feminist and queer politics. Weekly screening required.
Same as: FILMSTUD 336

FILMSTUD 140. Film Aesthetics: Editing. 4 Units.

Practical and theoretical approaches to editing and montage. The role of editing in film meaning, and cognitive and emotional impact on the viewer. Developments in the history and theory of cinema including continuity system, Soviet montage, French new wave, postwar and American avant garde. Aesthetic functions, spectatorial effects, and ideological implications of montage. Film makers include Eisenstein, Godard, and Conner.
Same as: FILMSTUD 340

FILMSTUD 141. Music Across Media: Music Video to Postclassical Cinema. 4 Units.

What makes music videos, YouTube clips and musical numbers in today's films engaging? What makes them tick? Emphasis is on aesthetics and close reading. How music videos and its related forms work. Uses of the body, how visual iconography operates, what lyrics and dialogue can do, how and what music can say, and how it can work with other media. Questions of representation such as how class, ethnicity, gender, race, and nationality function. Viewership and industry practices.
Same as: FILMSTUD 341, MUSIC 185, MUSIC 385

FILMSTUD 145. Politics and Aesthetics in East European Cinema. 4 Units.

From 1945 to the mid-80s, emphasizing Polish, Hungarian, Czech, Slovak, and Yugoslav contexts. The relationship between art and politics; postwar establishment of film industries; and emergence of national film movements such as the Polish school, Czech new wave, and new Yugoslav film. Thematic and aesthetic preoccupations of filmmakers such as Wajda, Jancso, Forman, and Kusturica.
Same as: FILMSTUD 345

FILMSTUD 164A. Technology and the Visual Imagination. 4 Units.

An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Same as: ARTHIST 164A, ARTHIST 364A, FILMSTUD 364A

FILMSTUD 165A. Fashion Shows: From Lady Godiva to Lady Gaga. 4 Units.

The complex and interdependent relationship between fashion and art. Topics include: the ways in which artists have used fashion in different art forms as a means to convey social status, identity, and other attributes of the wearer; the interplay between fashion designers and various art movements, especially in the 20th century; the place of prints, photography, and the Internet in fashion, in particular how different media shape how clothes are seen and perceived. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Same as: ARTHIST 165A, ARTHIST 365A, FILMSTUD 365A

FILMSTUD 250B. Bollywood and Beyond: An Introduction to Indian Film. 3 Units.

A broad engagement with Indian cinema: its relationship with Indian politics, history, and economics; its key thematic concerns and forms; and its adaptation of and response to global cinematic themes, genres, and audiences. Locating the films within key critical and theoretical debates and scholarship on Indian and world cinemas. Goal is to open up what is often seen as a dauntingly complex region, especially for those who are interested in but unfamiliar with its histories and cultural forms.
Same as: COMPLIT 247, GLOBAL 250

FILMSTUD 251. Media in Transition. 5 Units.

In a culture obsessed with new media, we are bombarded with hype about the present as a revolutionary phase of convergence. But everything old was once new, and pioneering media of the past also had to negotiate existing technologies, ideologies, and fantasies. This seminar is organized around case studies of transitional media moments from the long 20th century, including proto-cinema, ham radio, early television, hypertext, and digital film. In exploring the material and discursive aspects of remediation through theoretical, historical, and media archaeological readings, we will ask: what is a medium and how do they emerge and evolve.

FILMSTUD 297. Honors Thesis Writing. 1-5 Unit.

May be repeated for credit.

FILMSTUD 300A. History of World Cinema I, 1895-1929. 4 Units.

From cinema's precursors to the advent of synchronized sound.
Same as: FILMSTUD 100A

FILMSTUD 300C. History of World Cinema III, 1960-Present. 4 Units.

From the rise of the French New Wave to the present.
Same as: FILMSTUD 100C

FILMSTUD 302. Theories of the Moving Image. 4 Units.

Major theoretical arguments and debates about cinema: realism,formalism, poststructuralism, feminism, postmodernism, and phenomenology. Prerequisites: FILMSTUD 4.
Same as: FILMSTUD 102

FILMSTUD 314. Introduction to Comics. 4 Units.

The modern medium of comics, a history that spans 150 years. The flexibility of the medium encountered through the genres of humorous and dramatic comic strips, superheroes, undergrounds, independents, journalism, and autobiography. Innovative creators including McCay, Kirby, Barry, Ware, and critical writings including McCloud, Eisner, Groenstee. Topics include text/image relations, panel-to-panel relations, the page, caricature, sequence, seriality, comics in the context of the fine arts, and relations to other media.
Same as: FILMSTUD 114

FILMSTUD 332. East Asian Cinema. 4 Units.

Social, historical, and aesthetic dimensions of the cinemas of Japan, Hong Kong, Taiwan, mainland China, and Korea. Topics such as nation and gender, form and genre, and local and transnational conditions of practice and reception. Screenings include popular and art films from the silent to contemporary eras, including, Zhang Yimou, Wong Kar-wai, Hou Hsiao-hsien, Ozu Yasujiro, Kurosawa Akira, and Im Kwon-taek.

FILMSTUD 336. Gender and Sexuality in Chinese Cinema. 4 Units.

Representations of gender and sexuality in the cinemas of China, Taiwan, and Hong Kong, covering key periods and genres such as the golden age of Shanghai film, Hong Kong action pictures, opera films, post-socialist art films, and new queer cinema. Historical and contemporary perspectives on cinematic constructions of femininity, masculinity, and sexuality as they relate to issues of nationalism, modernity, globalization, and feminist and queer politics. Weekly screening required.
Same as: FILMSTUD 136

FILMSTUD 340. Film Aesthetics: Editing. 4 Units.

Practical and theoretical approaches to editing and montage. The role of editing in film meaning, and cognitive and emotional impact on the viewer. Developments in the history and theory of cinema including continuity system, Soviet montage, French new wave, postwar and American avant garde. Aesthetic functions, spectatorial effects, and ideological implications of montage. Film makers include Eisenstein, Godard, and Conner.
Same as: FILMSTUD 140

FILMSTUD 341. Music Across Media: Music Video to Postclassical Cinema. 4 Units.

What makes music videos, YouTube clips and musical numbers in today's films engaging? What makes them tick? Emphasis is on aesthetics and close reading. How music videos and its related forms work. Uses of the body, how visual iconography operates, what lyrics and dialogue can do, how and what music can say, and how it can work with other media. Questions of representation such as how class, ethnicity, gender, race, and nationality function. Viewership and industry practices.
Same as: FILMSTUD 141, MUSIC 185, MUSIC 385

FILMSTUD 345. Politics and Aesthetics in East European Cinema. 4 Units.

From 1945 to the mid-80s, emphasizing Polish, Hungarian, Czech, Slovak, and Yugoslav contexts. The relationship between art and politics; postwar establishment of film industries; and emergence of national film movements such as the Polish school, Czech new wave, and new Yugoslav film. Thematic and aesthetic preoccupations of filmmakers such as Wajda, Jancso, Forman, and Kusturica.
Same as: FILMSTUD 145

FILMSTUD 355. Comics and the City. 4 Units.

Urban history and life informs the history, stories, structures and aesthetics of the comics, coinciding with the emergence of the modern metropolis in America and Europe and is rooted in the same industrial, commercial, and social transformations. Comics and cartoons were fixtures of urbane humor publications of the 19th century and became a valued fixture of the American newspaper in the very earliest part of the 20th. The characters in early comic strips were often denizens of the urban world, whether immigrants fresh off the boat or the nouveau riche. Many strips were grounded in quotidian urban experience. Later comics use the city as setting, aesthetic, and metaphor. The mean streets of Jacques Tardi's noirish cities abut the rather sunnier and shinier example of Superman's Metropolis. Science fiction comics and manga give us the impacted and often destructed cities of the future. The graphic novel adaptation of Paul Auster's City of Glass maps the grid pattern of the comics page onto the gridded streets of Manhattan. Chris Ware's Building Stories series uses one apartment building to follow the myriad and sometimes intersecting lines found therein. Assigned readings include many comics alongside urban and comics scholarship. Artists to be considered include Outcault, Swinnerton, McCay, Eisner, Katchor, Tatsumi, Doucet, Tardi, Otomo. Hergé, Mazzuchelli, Chaykin, Miller, Ware, Pekar, Crumb, Gloeckner.

FILMSTUD 365A. Fashion Shows: From Lady Godiva to Lady Gaga. 4 Units.

The complex and interdependent relationship between fashion and art. Topics include: the ways in which artists have used fashion in different art forms as a means to convey social status, identity, and other attributes of the wearer; the interplay between fashion designers and various art movements, especially in the 20th century; the place of prints, photography, and the Internet in fashion, in particular how different media shape how clothes are seen and perceived. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Same as: ARTHIST 165A, ARTHIST 365A, FILMSTUD 165A

FILMSTUD 402. Frankfurt School & Film Theory. 5 Units.

Formal, historical, and cultural issues in the study of film. Classical narrative cinema compared with alternative narrative structures, documentary films, and experimental cinematic forms. Issues of cinematic language and visual perception, and representations of gender, ethnicity, and sexuality. Aesthetic and conceptual analytic skills with relevance to cinema.

FILMSTUD 410B. Documentary Perspectives II. 4 Units.

Restricted to M.F.A. documentary film students. Continuation of 410A. Topics in nonfiction media. Presentations and screenings by guest filmmakers. Prerequisite: consent of instructor.

FILMSTUD 490. Movies and Methods: Films of Stanley Kubrick. 5 Units.

Open to graduate students and advanced undergraduates with permission of the instructor; capstone course for majors (senior seminar). Topics vary year to year. Focus is on historiography and theory. Limited enrollment. Permission code needed in order to enroll.
Same as: FILMSTUD 290

FILMSTUD 620. Area Core Examination Preparation. 5 Units.

For Art History Ph.D. candidates. Prerequisite: consent of instructor.

FILMSTUD 660. Independent Study. 1-15 Unit.

For graduate students only. Approved independent research projects with individual faculty members.