FNRT 100 - Introduction to Visual Arts (Does not count towards Visual Culture Minor or Immersion)

This course will develop students' ability in perceiving worth in objects of art through consideration of fundamental concepts in painting, sculpture and architecture, involving analysis, interpretation and principles of aesthetics. Class 3, Credit 3 (F, S)

FNRT 120 - Introduction to Film

This course provides the student with an introduction to film as an art form.  The course presents a vocabulary for film analysis as well as the critical and analytical skills for interpreting films.  The course examines the major aesthetic, structural, historical, and technical components of film.  It considers how a film works, by looking internally at the multiple aspects that comprise the construction of a film, and externally at how a film affects the viewers.  Students will watch a variety of feature films, primarily American, ranging in date from the 1940's through the 2000's.  Clips from alternative films and foreign films will also be screened and discussed.  Any artistic background in film, music, theatre, painting, sculpture, etc., is helpful, but no specific technical knowledge of film, video, or photography is required or expected. Class 3, Credit 3 (F)

FNRT 200 - Anime

This introductory survey course examines the history, aesthetics and style of Japanese animation or "anime." The course provides a vocabulary for the analysis of anime as well as the critical and analytical skills for interpreting anime as an art form. This course will develop students' skills in viewing, analyzing, interpreting and evaluating the art of anime. Students will learn to analyze important series and films, and connect anime with contemporary and historical trends in Japan. Emphasis will be placed on the analysis of works by major directors and studios including: Tezuka, Sugii, Miyazaki, Oshii, Kon, Takahata, Shinkai, Watanabe, Studio Ghibli, Studio 4C and Madhouse. Background knowledge of animation, film or anime is helpful but no specific knowledge is required or expected. Class 3, Credit 3 (F)

FNRT 206 - Queer Looks

In this course we examine representations of queer sexuality in art, film and popular culture beginning in the repressive 1950s, followed by the Stonewall Riots of 1969. We situate the birth of gay liberation in the U.S. in the context of the civil rights struggles, feminism and the anti-war movement. We turn to the work of Andy Warhol that looms over the post-war period, challenged subsequently by the onset of AIDS and the work of General Idea and Act-Up, on the one hand, and the more graphically provocative work of Robert Mapplethorpe, on the other. We examine the diversification of the queer community as transgendered identity asserts itself and the opening of popular culture to issues of diverse sexual identities. We explore expressions of queer sensibility outside of North America and Europe. We turn finally to the issue of gay marriage, both in the U.S. and abroad. Class 3, Credit 3 (F)

FNRT 370 - American Painting

A survey of the style and meaning in American paintings from the colonial limners, through the nineteenth and twentieth centuries, to contemporary artists. It centers on what distinguishes painting of the colonies and of the United States from the European counterpart. Class 3, Credit 3 (F)

FNRT 371 - African- American Art

This course provides an overview of African-American art, presented in three periods: from slavery through Reconstruction, from the Harlem Renaissance to the end of the 1930's, and modern and postmodern movements following World War II. There will be comparisons with representations of African-Americans in film, music and literature as we move through these periods. We will be sensitive to the development of artists' aesthetic language and the evolution of social and political points of view expressed in artists' work.  We will examine the role of institutions in promoting African-American art.  Class 3, Credit 3 (F)

FNRT 372 - American Film of the Studio Era

This course examines the history and aesthetics of the motion picture in the United States between the 1890s and the early 1960s; emphasis will be placed on the analysis of both the work of major American filmmakers and the development of major American film genres during the Classical Hollywood Studio period.  Among the filmmakers to be studied are Griffith, Chaplin, Hawks, Ford, Capra, Welles, Curtiz, Wilder, Donen, Sirk, Ray, Hitchcock, and Kubrick. Genres to be covered include the melodrama, silent comedy, screwball comedy, western, thriller, film noir, newspaper film, and the gangster film. The films will be studied within the context of contemporary cultural and political events, and will be discussed from several viewpoints, including aesthetic, technical, social, and economic.  The ways in which gender and class are constructed through the movies will also be a major focus of study.  Class 3, Credit 3 (F)

FNRT 373 - American Film Since the Sixties

This course examines the history and aesthetics of the motion picture in the United States since the late 1960s, when the classical studio era ended.  Emphasis will be placed on the analysis of both the work of major American filmmakers and the evolution of major American film genres between 1967 and 2001.  Among the filmmakers to be studied are Kazan, Cassavetes, Penn, Coppola, Scorsese, Spielberg, Allen, Seidelman, Lee, Burton, Altman, Tarantino, Coen, and Lynch.  The course will consider the evolution of such traditional Hollywood genres as the gangster film, the romantic comedy, and the Hollywood movie, study the development of new, blended genres, investigate the rise of the blockbuster, explore the rise of the Independents, and follow the aesthetic changes that occurred since the 1967.  The films will be studied within the context of contemporary cultural and political events, and will be discussed from several viewpoints, including aesthetic, technical, social, and economic.  The ways in which gender, race, and class are constructed through the movies will also be a major focus of study. Class 3, Credit 3 (S)

FNRT 374 - Art In the Age of the New Deal

In this course we examine art in the age of the New Deal; that is, the art of the 1920's and the 1930's, with a particular emphasis on the artwork produced through the programs of the Roosevelt Administration's New Deal. These programs sponsored the visual arts, as well as film, theater, literature, music and dance. We study the art produced through this sponsorship in the context of the evolution of twentieth century modernism, mostly European, that had begun to influence American art. We will look at the stylistic and ideological affinities of the figurative style, known as the American scene, with the Mexican muralists of the 1920's and examine other government-sponsored social realist art of the 1930's, notably German and Russian.  Class 3, Credit 3 (S)

FNRT 375 - Women/Gender/Art

This course examines the role of women in the visual arts as both images makers and subject matter in order to see how gender plays a role in the conceptualization of creativity and art.  Among the topics to be discussed are: the construction of femininity and gender in the patriarchy; art as an ideological practice; women, art, and society; art history, art education, and art evaluation; women artists and their contemporaries.  Class 3, Credit 3 (S)

FNRT 376 - Visual Culture Theory

Visual culture studies recognize the predominance of visual forms of media, communication, and information in the contemporary world, investigating both high" cultural forms such as fine art, design, and architecture and popular "low" cultural forms associated with mass media and communications. Visual culture studies represents a turn in the discourse of the visual, which had focused on content-based, critical readings of images, and has since broadened its approach to additionally question the ways in which our consumption and production of images and image based technologies are structured. Analyzing images from a social-historical perspective, visual culture asks: what are the effects of images? Can the visual be properly investigated with traditional methodologies, which have been based on language, not imagery? How do images visualize social difference? How are images viewed by varied audiences? How are images embedded in a wider culture and how do they circulate? Class 3, Credit 3 (S)

FNRT 377 - Imag(in)ing Rochester

This course examines the ways in which culture, ethnicity, languages, traditions, governance, policies and histories interact in the production of the visual experience. We will approach the campus of RIT and the city of Rochester and their various urban spatial forms as image experiences, subject to interpretative strategies and the influence of other discourses. We will wander the well-traveled and the unbeaten paths, participating in and interrogating a wide range of our campus' and city's treasures and embarrassments, secrets and norms.  In addition to these field trips, we will be reading from literature and cultural studies, as well as viewing films, advertisements and websites, and possibly attending theatrical and music performances or sporting events. Class 3, Credit 3 (S)

FNRT 378 - Memory, Memorials, Monuments

In this course we examine the public remembering and memorialization of historic events that leads to memorials and monuments in the fields of architecture, sculpture and film. We begin by examining the nature of memory, and specifically of collective memory, and its relationship to historical events and its subsequent transformation in the process of memorialization. We then look at examples of the sculptural monument, a traditional form of memorial, and the evolution of its vocabulary in the second half of the 20th century. We also examine the memorial work undertaken by those museums whose primary function is to engage in remembering historical events, a recent phenomenon in the field of museum building. We screen films and examine how documentaries and dramatizations engage the spectator by remembering history differently, The course culminates by examining the debates surrounding the remembering of 9/11 and of more recent traumatic events. Class 3, Credit 3 (F)

FNRT 383 - Traumatic Images

This course investigates visual culture and its imagistic response to life's crises. Problems of identity and identification will be explored and confronted through works of photography, painting, mixed media, new media and film of the 19th, 20th and 21st centuries. Beginning with the late 19th Century vogue for images of "hysterical" women, crippled "black-sheep" family members and dead loved ones (as corpses and as ghosts), we then move on to consider the last century's fascination with pain and suffering, disease and violence, struggle and survival and then the 21st century's emphasis on terrorism. Specifically, we will focus on the gendering of images and imaging as disturbing pictures work to defy the formal and theoretical distinction between private and public, personal and collective experience and manage the often conflicting responsibilities to self, family, religion, race, nation and society.  Class 3, Credit 3 (S)

FNRT 384 - Art of Dying

This course explores the experience of dying a profoundly human and universal experience as it is represented by artists who are themselves facing immanent death. The unique and deeply personal process of each dying artist is crucially informed by social, cultural and historical as well as artistic contexts. The course will focus primarily on visual artists and writers living with and dying of disease - such as AIDS, cancer and cystic fibrosis as well as mortality and age. Topics such as aesthetics, artistic media, representation, grief, bereavement, illness, care-giving, aging, and the dying process will be considered within the context of issues of race, class, ethnicity, sexuality, gender and community values.  Some of the artists covered will be Jo Spence, Hannah Wilke, Elias Canetti, Bob Flanagan, Herve Guibert, Tom Joslin, Laurie Lynd, Audre Lorde, Charlotte Salomon, Keith Haring, Frida Kahlo, Bas Jan Ader, Ted Rosenthal, Felix Gonzalez Torres, Keith Haring, Eric Steel, Derek Jarman, Eric Michaels, and David Wojnarowicz. We will also explore some of the critical theory of Roland Barthes, Michel Foucault, Elaine Scarry, Susan Sontag, and Ross Chambers.  Class 3, Credit 3 (S)

FNRT 440 - Deaf Art & Cinema

Students will examine the context in which specific cultural groups have chosen to create works about their experiences. They will go on to explore a wide range of artistic works representing the Deaf experience in visual arts and cinema.  Students will be expected to analyze works in terms of cultural symbols and themes.  Attention will be given to historical context (personal and collective) that has helped to shape many of these works, motifs, and messages.  Students will write and present in-depth papers examining specific works and artists / filmmakers.  In addition, students will be expected to create an original artwork and a collaborative short film.  Class 3, Credit 3 (F, S)

FNRT 776 - Visual Culture Theory

FNRT 776 is a graduate-level counterpart to FNRT 476.  As such, students enrolled under the 776 number will be required to read the otherwise “recommended” reading; meet with the professor outside of class for an additional weekly discussion; and produce a final project that connects with their thesis work.  Following current debate in the Journal of Visual Culture and calls for upcoming conferences on Visual Culture, graduate students will approach images as sites of gesture and as agents of intellectual productivity.  Visual Culture studies recognize the predominance of visual forms of media, communication, and information in the contemporary world, investigating both “high" cultural forms such as fine art, design, and architecture and popular "low" cultural forms associated with mass media and communications. Visual Culture studies represents a turn in the discourse of the visual, which had focused on content-based, critical readings of images, and has since broadened its approach to additionally question the ways in which our consumption and production of images and image based technologies are structured. Analyzing images from a social-historical perspective, visual culture asks: what are the effects of images? Can the visual be properly investigated with traditional methodologies, which have been based on language, not imagery? How do images visualize social difference? How are images viewed by varied audiences? How are images embedded in a wider culture and how do they circulate? Class 3, Credit 3 (S)

FNRT 777 - Imag(In)ing Rochester

FNRT 777 is a graduate-level counterpart to FNRT 377.  Students enrolled under the 777 number will be required to read the City and Culture Reader in addition to regular course readings; meet with the professor outside of class for an additional weekly discussion; and produce a final project that connects with their thesis work.  Examining the ways in which culture, ethnicity, languages, traditions, governance, policies and histories interact in the production of the visual experience, graduate level students will approach the campus of RIT and the city of Rochester and their various urban spatial forms as image experiences, subject to interpretative strategies and the influence of other discourses. We will wander the well-traveled and the unbeaten paths, participating in and interrogating a wide range of our campus’ and city’s treasures and embarrassments, secrets and norms.  In addition to these field trips, we will be reading from literature and cultural studies, as well as viewing films, advertisements and websites, and possibly attending theatrical and music performances or sporting events. Class 3, Credit 3 (F)

FNRT 783 - Traumatic Images

FNRT 783 is a graduate-level counterpart to FNRT 383.  Students enrolled under the 783 number will be required to read extensively in trauma theory, especially Cathy Caruth, Ruth Leys, Lisa Saltzman and Eric Rosenberg. This theoretical discourse will contextualize course readings and material. Students will also meet with the professor outside of class for an additional weekly discussion; and produce a final project that connects with their thesis work. 

Traumatic Images investigates visual culture and its imagistic response to life's crises. Problems of identity and identification will be explored and confronted through works of photography, painting, mixed media, new media and film of the 19th, 20th and 21st Centuries. Beginning with the late 19th Century vogue for images of "hysterical" women, crippled "black-sheep" family members and dead loved ones (as corpses and as ghosts), we then move on to consider the last century's fascination with pain and suffering, disease and violence, struggle and survival and then the 21st Century’s emphasis on terrorism. Specifically, we will focus on the gendering of images and imaging as disturbing pictures work to defy the formal and theoretical distinction between private and public, personal and collective experience and manage the often conflicting responsibilities to self, family, religion, race, nation and society. Class 3, Credit 3 (S)

FNRT 784 - Art of Dying

FNRT 784 is a graduate-level counterpart to FNRT 384.  Under the 784 number, graduate students will explore various disciplinary critiques of mourning practices and attitudes toward death. This interdisplinary discourse will contextualize concepts of pathorgraphy and autopathorgraphy. Students will also meet with the professor outside of class for an additional weekly discussion; and produce a final project that connects with their thesis work.  This course explores the experience of dying—a profoundly human and universal experience—as it is represented by artists who are themselves facing immanent death. The unique and deeply personal process of each dying artist is crucially informed by social, cultural and historical as well as artistic contexts. The course will focus primarily on visual artists and writers living with and dying of disease—such as AIDS, cancer and cystic fibrosis—as well as mortality and age.  Topics such as aesthetics, artistic media, representation, grief, bereavement, illness, care-giving, aging, and the dying process will be considered within the context of issues of race, class, ethnicity, sexuality, gender and community values.  Some of the artists covered will be Jo Spence, Hannah Wilke, Elias Canetti, Bob Flanagan, Herve Guibert, Tom Joslin, Laurie Lynd, Audre Lorde, Charlotte Salomon, Keith Haring, Frida Kahlo, Bas Jan Ader, Ted Rosenthal, Felix Gonzalez Torres, Keith Haring, Eric Steel, Derek Jarman, Eric Michaels, and David Wojnarowicz. We will also explore some of the critical theory of Roland Barthes, Michel Foucault, Elaine Scarry, Susan Sontag, and Ross Chambers. Class 3, Credit 3 (S)

FNRT 799 - Independent Study - Graduate