Course Catalog

INTERNSHIP (CM3098)

Students may undertake an internship in an advertising agency, film company, or television company. Internships may be taken for 1 or 4 credits. Students may do more than one internship, but internship credit cannot cumulatively total more than 4 credits. The internship must be registered for 4-CR if the student decides to do an internship instead of the senior seminar. Students have taken internships at CNN, Harpers, Societe Francaise de Production, Le Courrier International, Sixty Minutes, European Broadcasting Union, amongst many others.

EDITORSHIP (CM3850)

This course is designed for students working in the journalism workshops – magazine, online news, video production. The student will work in one of the journalism workshops under the guidance of a faculty member. The student will be actively engaged in the newsroom activities for the workshop selected. The faculty member will mentor, monitor and evaluate participation and work produced.

INTERNSHIP (CM3980)

Internships may be taken for 0 credits. Students may do more than one internship, but internship credit cannot cumulatively total more than 4 credits.

INTERNSHIP (CM3980)

Internships may be taken for 0 credits. Students may do more than one internship, but internship credit cannot cumulatively total more than 4 credits.

FASHION MEDIA PRODUCTION (CM4013)

This course aims for a critical practice of fashion communication. It relies on the principle of “learning by doing”: learning how to communicate fashion through writing, photography, film, digital and new media, exhibition curation, styling and performances. Training multi-skilled, innovative and critical fashion communicators of the twenty-first century but also professionals interested in questions of global fashion communication is the objective in response to the heterogenous and transitory professional field of fashion. Together, we will investigate the new conventions and challenges, processes and practices of twenty-first century media through lectures and workshops, presentations and projects, and the direct involvement with AUP ASM. The class will experientially explore different ways of communication fashion through writing (journalistic, academic, commercial, advertorial, informational), visual (photography, drawing, film, video, and television), material (styling and curating fashion- performative: fashion performance, dance), digital (digital media such as blogs and Instagram accounts, video, virtual reality, online fashion resources, virtual and 3D fashion shows).

At the end of the class, each student will have achieved a multimedia project on a specific topic of their choice made of a text, a film, a podcast, a photo... Each class will be part of the overall project.

Fashion Studies minors can must write to registraroffice@aup.edu to be enrolled in this course.

MEDIA, PANIC & SCANDAL (CM4015)

This course will investigate the cultural and ideological functions of panic and the social and political uses of scandal as they circulate through contemporary media and communications. By analyzing the form and institutional contexts of selected news media, film, television and digital media, we will engage critically with debates around media effects, distribution, representation and regulation.

GLOBAL ADVOCACY (CM4016)

This course focuses on how transnational actors - governments, citizens, social movements, corporations, NGOs, issue groups, and so forth - communicate to achieve their goals. The course also helps students develop skills in global advocacy, learning the genre of the press release, the organization and transmission of information (or, more accurately, persuasion) on websites, list-servs, grassroots work, and in visual rhetoric (posters, culture-jamming).

MEDIA & WAR (CM4017)

Surveys major areas of research about Media and War. Students are introduced to the following topics: aesthetics of war in film, news, TV, and print media and resulting construction of national and historical memory; close relationship of media entertainment technologies to practices of war; and mediation of war in relation to trends in globalization, empire, and international politics.

PARIS FASHION HISTORIES & GEOGRAPHIES (CM4021)

The notion of Paris as “the global fashion capital “is so popular that it became a self-perpetuating myth alongside its mythical figure of La Parisienne. According to this idea, Paris is the birthplace and the capital of fashion and is still today the capital of haute couture, of elegance, of chic and of luxury. In part one of the course, through readings, case studies and visits of certain key sites in Paris (or online visits), students will understand how the fashion industry has shaped –and continues to shape –the city of Paris, from textile factories during the 17th century within Paris, to the emergence of luxury good shops (18th century), of department stores (19th century), of couture houses (19th-20th centuries), of ready-to-wear and fast fashion shops and of luxury flagships during the 21st century). While giving students tools to understand the development of Paris as a “fashion capital” this course also aims to unpack the discursive construction of Paris as the center of the fashion world. Going beyond this general idea of “Paris, capital of fashion”, this course will have a critical approach of the sociological and construction of Paris as the center of the fashion world and question how the story has been told, what was included and what left out. It will address the different levels of the industry, the high and low, the everyday and haute couture, the grand couturier and the migrant garment workers, the Chanel workshop on Avenue Montaigne and the fast fashion workshops in Aubervilliers, the luxury department stores and the flea markets. Discussions in class will thus question the hierarchy in the Paris fashion industry and show that behind the catchy idea of “Parisian fashion”, a more complex eco-system is at stake, involving discussions about class, race and gender in the fashion industry. In taking this class, students come to understand that Paris is not the place of a unique kind of fashion, namely the place of high fashion for wealthy clients, as it is widely advertised in the media and forged in the collective imaginary, but that Paris is constituted by different kind of fashion spaces which correspond to different kind of systems of clothes production and consumption: haute couture and ready-to-wear in the center of Paris, fast fashion, retail and wholesale in the suburbs of Paris. This heterogeneous geography corresponds further to different type of labor force, consumers, and representations, allowing to de-hierarchized, de-centralized the geographies of Parisian fashion.