HIST 300

Spring 2021 Part of Term 1

Part of Term 1
Jan 25-May 5

Topics in Film and History

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Credit: 3 hours.

Examines films as a significant medium of commentary on society and history. Explores the motives and careers of moviemakers, the ways in which films are influenced by their audiences, and how audiences' perception of historical processes are affected by films. Topics will vary.

Same as MACS 300. May be repeated to a maximum of 6 hours if topics vary. Students may register in more than one section per term. May be repeated to a maximum of 6 hours.

Topics will be listed in the department's course guide at http://www.history.illinois.edu.

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HIST 300 class schedule data for spring 2021
	CRN	Type	Section	Time	Day	Location	Instructor	Section Details
	34110	Lecture-Discussion	A	11:00AM -12:50PM	TR	Lincoln Hall	Steinberg, M	Part of Term: 1 Date Range: 01/25/21-05/05/21 Section Info: Topic: Film and Revolution: From "Do the Right Thing" to "Battleship Potemkin" Description: This course explores how filmmakers and actors, across a century of cinema, have portrayed, often in revolutionary ways, revolutions and revolutionaries. Locations range from the streets of Brooklyn to colonial North Africa. Topics include race, gender, sexuality, power, inequality, oppression, violence, resistance, and morality. Unconventionally, the course works backward in time. We will read historical sources that complement the films. We will consider the relationship between cinematic and historical storytelling and what revolution means—as a historical event, as a human experience, and as a form in art. If the Covid situation allows, we will watch films together in person, to share the collective experience of cinema. Synchronous on-line (Zoom) discussions of the films will follow on Thursdays.
	58587	Online	B	12:00PM -2:50PM	M	n.a.	Cha-Jua, S	Part of Term: 1 Date Range: 01/25/21-05/05/21 Section Info: Topic: Representations African Americans in Film Description: Film and the African American Experience explores the conflicting presentation of the Black image, male and female, by white and Black filmmakers and the interpretation of those images by critics and activists. We begin with African Americans’ initial appearance in U.S. Films, explore counter filmic images created during the Harlem Renaissance, and critically assess the “coon” and race films of the 1940s, the “racial liberal films” of the 1950s-60s, Blaxploitation, the Black cinema movement of the 1970s-80s, especially the Los Angeles School, and Spike Lee, including the “hood” films, as well contemporary features.