Thomas Yaron Levin

  • Studies in German Film: Fritz Lang - The Weimar Films

    This seminar subjects the surviving German films by Fritz Lang to a variety of critical interrogations --narratological, techno-historical, cultural-theoretical-- within the context of Weimar cinema. A combination of close film analyses and readings in film history, theory and aesthetics serve to both reassess and complicate the retrospective teleology of Siegfried Kracauer's canonical account of this formative and deeply heterodox period in German media history.
  • German Media Theory: Rhetorics of Surveillance

    Taking up the master trope of dystopian futurity articulated in Orwell's 1984, this seminar in media theory will track the paranoid logic of surveillance across a wide range of literary, philosophical, technological (photographic, cinematic, digital) and architectural manifestations. Using a comparative, historical and interdisciplinary approach we will consider surveillance as a political tactic, a narrative strategy, a theory of the subject, a spatial configuration, a mode of spectatorship, and as a key dynamic of both old and new media.
  • German Media Theory: Rhetorics of Surveillance

    Taking up the master trope of dystopian futurity articulated in Orwell's 1984, this seminar in media theory will track the paranoid logic of surveillance across a wide range of literary, philosophical, technological (photographic, cinematic, digital) and architectural manifestations. Using a comparative, historical and interdisciplinary approach we will consider surveillance as a political tactic, a narrative strategy, a theory of the subject, a spatial configuration, a mode of spectatorship, and as a key dynamic of both old and new media.
  • Modernism and Modernity: Aesthetics of Surveillance

    Taking up Orwell's master trope of distopic futurity, this seminar in comparative media aesthetics and theory explores the paranoid logic of surveillance in its literary, architectural, artistic and, above all, technological (photographic, cinematic, digital) manifestations in order to unpack a category that is at once a political tactic, a narrative strategy, a theory of the subject, an architectural model, a mode of spectatorship and, quite possibly, the paradigmatic epistemology of the cinematic medium.

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