This lecture will introduce students to the field of transcultural and postcolonial studies and will lay the basis for classes with topics relating to transcultural and postcolonial phenomena, literatures, films, and media. Through a rather dense reading program and some documentary films and webcasts we will learn about colonial histories, neocolonial relations in the globalized world, and key concepts in Postcolonial Studies, such as alterity, hybridity, transculturality, manicheanism, dichotomy, colonial discourse, colonized mind, creolization, hegemony, exoticism, orientalism, essentialism, and syncretism. We will read the writings of the foremost thinkers of postcolonial and transcultural theories, including Frantz Fanon, Edouard Glissant, Gayatri Chakravorty Spivak, Stuart Hall, Homi Bhabha, Walter Mignolo, Edward Said, Wolfgang Welsh, Bill Ashcroft, Gareth Griffiths, and Helen Tiffin.
The lecture will be held in English. All texts will be provided electronically or through Stud IP. Requirements are regular attendance, participation in discussions, and in-depth knowledge of reading materials. Please note that prior enrollment via Stud.IP is mandatory.

This course focuses on writing beyond the framework of university. Students will develop short presentations to explain text types such as film reviews, literary forms (fairy tale, fable etc.) and academic short forms (abstract, exposé etc.). They will be given the opportunity to write these text types themselves and thus enhance their writing skills.

Für TnL Studierende: 3 CP Praxismodul Film (Teilnahme mit schriftlicher Arbeit)
For E-SC Master Students: 1 CP Supplementary Studies Module (Participation only), 3 CP (Participation and written paper)
For Erasmus students: 1 CP General Studies Module (Participation only), 3 CP (Participation and written paper)

Im 2-tägigen Masterworkshop werden teilnehmende Studierende die Produktionsprozesse von Spielfilmen von der Idee, der Entwicklung und Postproduktion eines Films kennenlernen. Sie bekommen so Einblick in einen Aspekt des Filmemachens, der weitestgehend für FilmwissenschaftlerInnen und Publikum verborgen bleibt. Die breite kulturelle und international Verortung des Produzenten Sven Schnell (mit lateinamerikanischem kulturellem Hintergrund – Peru) eröffnet eine transkulturelle und transnationale Perspektive auf den praktiven Produktionsprozess eines Filmes. Der Workshop wird in einem kombinierten Lehr- und Praxismodus durchgeführt.
Der Workshop wird abhängig von den TeilnehmerInnen auf Deutsch oder Englisch durchgeführt.

In the 2-day master workshop participating students will get to know the production processes of dramatic films, starting from the idea up to development, production and post production of a film. They will thus gain an insight into an aspect of filmmaking that remains mostly hidden from film scholars and audience. The broad cultural and international background of the producer Sven Schnell (with Latin-American cultural background - Peru) opens a transcultural and transnational perspective towards the practical production process of a film. The workshop will be held in a combined teaching and practical modus. The workshop will be conducted in either English or German, depending on the participants.

This course welcomes students who wish to complete the following modules:
MA TnL Vertiefungsmodul 10-M83-3 and Profilmodul III: Film 10-M83-2
MA E-SC Orientierungsmodul LIT (non-graded PASS/FAIL – Studienleistung or grade – Prüfungsleistung)
BA E-SC “Key Topics in Cultural History”- D1b / D1c und WD1b / WD1c

Shakespeare’s plays are as enticing to filmmakers and visual artists as they were in 1899 when the first Shakespeare film was screened. Since then the number of filmic contributions has increased steadily. Divided into three projects depending on the choice of play (Hamlet, Macbeth and Othello) and drawing equally on traditional as well as contemporary ideas, that have emerged in the fields of cultural studies, transnational film, world cinema as well as filmic storytelling, we will explore how three plays by William Shakespeare are re-imagined in different linguistic and cultural contexts in selected late 20th Century and post-2000 productions. Focusing on Vishal Bhardwaj’s Shakespeare trilogy, course participants will be encouraged to investigate these films’ engagement with sexuality and gender, race and ethnicity and questions of power. Since some of the participants are required to submit a research-based term paper, we will use parts of our seminar discussions to the development of topics, the formulation of a thesis statement, as well as considerations about the methodological approaches of writing such a paper.
Additional secondary sources can be accessed in the "Semesterapparat", a reference only section on the third floor of the library building. A number of DVDs will be available in the “Semesterapparat” in the “Mediathek”, located on the fourth floor of the library building: http://www.suub.uni-bremen.de/standorte/zentrale/mediathek/.
Please note that prior enrolment via Stud.IP is mandatory. Deadline: 15 September 2018.
Assessment:
regular attendance, informed participation in class discussion,
in-depth knowledge of the selected reading material,
homework assignments,
presentation of research paper or group project,
research-based term paper.
The requirements as formulated above may vary depending on your module choice and degree program.
Please be familiar with the following materials:
Filmography:
Haider. (Italics) (India, 2014) Dir. Vishal Bhardwaj
Maqbool. (Italics) (India, 2003) Dir. Vishal Bhardwaj
Omkara. (Italics) (India, 2006) Dir. Vishal Bhardwaj

This course focuses on writing beyond the framework of university. Students will develop short presentations to explain text types such as film reviews, literary forms (fairy tale, fable etc.) and academic short forms (abstract, exposé etc.). They will be given the opportunity to write these text types themselves and thus enhance their writing skills.

In this workshop we will explore and experiment with contemporary methods of improvisational theater, which is the art of making up theatrical moments on the spot, without a script. It is one of the liveliest and most current forms of theater of today and ingrained in US popular culture. This workshop will introduce the basic principles of improvisational theater, reflect on its impact on popular culture and explore its practical approaches to comedic as well as dramatic narrative structures.

This course welcomes students who wish to complete the following modules:
MA TnL Vertiefungsmodul 10-M83-3 and Profilmodul III: Film 10-M83-2
MA E-SC Orientierungsmodul LIT (non-graded PASS/FAIL – Studienleistung or grade – Prüfungsleistung)
BA E-SC “Key Topics in Cultural History”- D1b / D1c und WD1b / WD1c

Shakespeare’s plays are as enticing to filmmakers and visual artists as they were in 1899 when the first Shakespeare film was screened. Since then the number of filmic contributions has increased steadily. Divided into three projects depending on the choice of play (Hamlet, Macbeth and Othello) and drawing equally on traditional as well as contemporary ideas, that have emerged in the fields of cultural studies, transnational film, world cinema as well as filmic storytelling, we will explore how three plays by William Shakespeare are re-imagined in different linguistic and cultural contexts in selected late 20th Century and post-2000 productions. Focusing on Vishal Bhardwaj’s Shakespeare trilogy, course participants will be encouraged to investigate these films’ engagement with sexuality and gender, race and ethnicity and questions of power. Since some of the participants are required to submit a research-based term paper, we will use parts of our seminar discussions to the development of topics, the formulation of a thesis statement, as well as considerations about the methodological approaches of writing such a paper.
Additional secondary sources can be accessed in the "Semesterapparat", a reference only section on the third floor of the library building. A number of DVDs will be available in the “Semesterapparat” in the “Mediathek”, located on the fourth floor of the library building: http://www.suub.uni-bremen.de/standorte/zentrale/mediathek/.
Please note that prior enrolment via Stud.IP is mandatory. Deadline: 15 September 2018.
Assessment:
regular attendance, informed participation in class discussion,
in-depth knowledge of the selected reading material,
homework assignments,
presentation of research paper or group project,
research-based term paper.
The requirements as formulated above may vary depending on your module choice and degree program.
Please be familiar with the following materials:
Filmography:
Haider. (Italics) (India, 2014) Dir. Vishal Bhardwaj
Maqbool. (Italics) (India, 2003) Dir. Vishal Bhardwaj
Omkara. (Italics) (India, 2006) Dir. Vishal Bhardwaj

Diese Veranstaltung richtet sich besonders an Studierende, die in diesem Semester Hausarbeiten oder Abschlussarbeiten schreiben wollen. Die Studierenden werden in die Grundlagen des wissenschaftlichen Arbeitens eingeführt. Wir werden eine Bibliotheksschulung für fortgeschrittene Studierende bekommen und selbständig für eigene größere und kleinere Arbeiten bibliographieren, Thesen und Fragestellungen entwickeln, strukturierte Gliederungen entwerfen etc. Gemeinsam werden wir die Projekte diskutieren und voranbringen.

In the course of this seminar, we shall discuss two maths plays and two maths films in terms of their contributions to what is today known as scientific literacy. While Tom Stoppard's outstanding play Arcadia (1993) attempts to maintain a dramatic focus on its thirteen-year-old heroine and maths prodigy, Thomasina, the other play under scrutiny, David Auburn's Proof (2000), presents Catherine, a largely self-taught mathematician, against the backdrop of human attractions, relationships, and conflicts.
In addition to an in-depth analysis of the two plays, we shall discuss the generic make-up of a so-called maths play and compare it to two films. One will be John Madden's adaptation of Proof (2005), starring Gwyneth Paltrow, Anthony Hopkins, and Jake Gyllenhaal. The other example is Matthew Brown's biopic The Man Who Knew Infinity (2015) highlighting the special professional relationship between the Indian mathematician, Srinivasa Ramanujan (Dev Patel), and a prominent Cambridge professor, G. H. Hardy (Jeremy Irons).

requirements:
• regular attendance and active participation
• in-depth knowledge of the reading material
• oral presentation (handout) or
• research in progress and final paper

Please note that prior enrolment via Stud.IP is mandatory. The number of participants is limited to 15 students.


texts:
Auburn, David. Proof. London: Faber & Faber, 2001.
Stoppard, Tom. Arcadia. London: Faber & Faber, 1993.

This class will work through a series of texts from different spatial contexts to address very different aesthetic, political and representational modes and issues of recent Black Diaspora literature.
Required readings will be:
Christina Sharpe, In the Wake,. Duke UP 2016
John Eichler, Verbotenes Land. Ein schwarzer deutscher Roman, Edition 1.70, 2018
Igiaba Scego, Adua (engl. translation) New Vessel Press 2015
Fatou Diome, The Belly of the Atlantic (engl. translation) , Serpent's Tail 2008.
Please check back with Stud-IP regularly for additional secondary material.
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