2012-2013 Undergraduate Catalog

Film Studies

Students may complete a minor in Film Studies.

Faculty

Erica Cho, Visiting Assistant Professor in History of Art and Film Studies
Timothy Harte, Chair and Associate Professor of Russian
Homay King, Associate Professor of History of Art
Steven Levine, Chair and Professor of History of Art on the Leslie Clark Professorship in the Humanities
Imke Meyer, Co-Chair and Professor of German and German Studies Program on the Helen Hermann Chair
Hoang Nguyen, Assistant Professor of English and Film Studies
Roberta Ricci, Chair and Associate Professor of Italian and Director of Film Studies
Azade Seyhan, Fairbank Professor in the Humanities, Professor of German and Comparative Literature, Interim Chair of German, and Director of Comparative Literature
H. Rosi Song, Chair and Associate Professor of Spanish
Michael Tratner, Mary E. Garrett Alumnae Professor of English
Sharon Ullman, Professor of History and Director of Gender and Sexuality Studies

Film Studies is an interdisciplinary program of inquiry bringing a range of analytical methods to bear upon films, film audiences, and the social and industrial contexts of film and media production, distribution and exhibition. The courses that comprise the minor in film studies reflect the diversity of approaches in the academic study of cinema. The minor is anchored by core courses in formal analysis, history and theory. Elective courses in particular film styles, directors, national cinemas, genres, areas of theory and criticism, video production, and issues in film and media culture add both breadth and depth to this program of study.

Film Studies is a Bryn Mawr College minor. Students must take a majority of courses on the Bryn Mawr campus; however, minors are encouraged to consider courses offered in the Tri-College consortium and at the University of Pennsylvania. Students should work with the director of the Film Studies Program to develop a minor work plan when declaring the minor.

Minor Requirements

In consultation with the program director, students design a program of study that includes a range of film genres, styles, national cinemas, eras and disciplinary and methodological approaches. Students are strongly encouraged to take at least one course addressing topics in global or non-western cinema. The minor consists of a total of six courses and must include the following:

  • One introductory course in the formal analysis of film
  • One course in film history or an area of film history
  • One course in film theory or an area of film theory
  • Three electives.

At least one of the six courses must be at the 300 level. Courses that fall into two or more of the above categories may fulfill the requirement of the student’s choosing, but may not fulfill more than one requirement simultaneously. Students should consult with their advisers to determine which courses, if any, may count simultaneously for multiple credentials. Final approval is at the discretion of the program director.

COURSES

ARTW B266 Screenwriting

An introduction to screenwriting. Issues basic to the art of storytelling in film will be addressed and analyzed: character, dramatic structure, theme, setting, image, sound. The course focuses on the film adaptation; readings include novels, screenplays, and short stories. Films adapted from the readings will be screened. In the course of the semester, students will be expected to outline and complete the first act of an adapted screenplay of their own.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI)
Counts toward: Film Studies
Units: 1.0
(Not Offered 2012-13)

COML B238 The History of Cinema 1895 to 1945 Silent Film: From the United States to Soviet Russia and Beyond

This course will explore cinema from its earliest, most primitive beginnings up to the end of the silent era. While the course will focus on a variety of historical and theoretical aspects of cinema, the primary aim is to look at films analytically. Emphasis will be on the various artistic methods that went into the direction and production of a variety of celebrated silent films from around the world. These films will be considered in many contexts: artistic, historical, social, and even philosophical, so that students can develop a deeper understanding of silent cinema’s rapid evolution.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): ENGL-B238; HART-B238; RUSS-B238
Units: 1.0
(Not Offered 2012-13)

COML B306 Film Theory

An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic “author”; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): ENGL-B306; HART-B306
Units: 1.0
Instructor(s):Levine,S.
(Spring 2013)

EDUC B320 Topics in German Literature and Culture

This is a topics course. Course content varies. Previous topics include: Romantic Literary Theory and Literary Modernity; Configurations of Femininity in German Literature; Nietzsche and Modern Cultural Criticism; Contemporary German Fiction; No Child Left Behind: Education in German Literature and Culture.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): GERM-B320
Units: 1.0
(Not Offered 2012-13)

ENGL B205 Introduction to Film

This course is intended to provide students with the tools of critical film analysis. Through readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI)
Counts toward: Film Studies
Crosslisting(s): HART-B205
Units: 1.0
Instructor(s):Nguyen,H.
(Spring 2013)

ENGL B238 The History of Cinema 1895 to 1945 Silent Film: From United States to Soviet Russia and Beyond

This course will explore cinema from its earliest, most primitive beginnings up to the end of the silent era. While the course will focus on a variety of historical and theoretical aspects of cinema, the primary aim is to look at films analytically. Emphasis will be on the various artistic methods that went into the direction and production of a variety of celebrated silent films from around the world. These films will be considered in many contexts: artistic, historical, social, and even philosophical, so that students can develop a deeper understanding of silent cinema’s rapid evolution.
Requirement(s): Division III: Humanities
Approach: Inquiry into the Past (IP)
Counts toward: Film Studies
Crosslisting(s): COML-B238; HART-B238; RUSS-B238
Units: 1.0
(Not Offered 2012-13)

ENGL B257 Gender and Technology

Explores the historical role technology has played in the production of gender; the historical role gender has played in the evolution of various technologies; how the co-construction of gender and technology has been represented in a range of on-line, filmic, fictional, and critical media; and what all of the above suggest for the technological engagement of everyone in today’s world.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI)
Counts toward: Gender and Sexuality Studies; Film Studies
Crosslisting(s): CMSC-B257
Units: 1.0
(Not Offered 2012-13)

ENGL B263 Film and German Literature Imagination

This is a topics course. Topics vary.
Requirement(s): Division III: Humanities
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Counts toward: Gender and Sexuality Studies; Film Studies
Crosslisting(s): GERM-B262
Units: 1.0
Instructor(s):Schlipphacke,H.
(Fall 2012)

ENGL B280 Video Practices: From Analog to Digital

This course explores the history and theory of video art from the late 1960’s to the present. The units include: aesthetics; activisim; access; performance; and institutional critique. We will reflect on early video’s “utopian moment” and its manifestation in the current new media revolution. Feminist, people of color and queer productions will constitute the majority of our corpus. Prerequisite: ENGL/HART B205 Intro to Film or consent of the instructor.
Requirement(s): Division III: Humanities
Counts toward: Gender and Sexuality Studies; Film Studies
Crosslisting(s): HART-B280
Units: 1.0
(Not Offered 2012-13)

ENGL B299 History of Narrative Cinema, 1945 to the Present

This course surveys the history of narrative film from 1945 through the contemporary moment. We will analyze a series of styles and national cinemas in chronological order, including Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI); Inquiry into the Past (IP)
Counts toward: Film Studies
Crosslisting(s): HART-B299
Units: 1.0
(Not Offered 2012-13)

ENGL B306 Film Theory

This course covers a selection of key texts in film theory. Our primary method of inquiry will be close analysis of primary theoretical texts. Topics of discussion may include: the ontology of the photographic image, the ethics of cinema, cinematic space and temporality, and film theory’s relationship to other forms of visual media. Film screenings will serve to illustrate and complicate theoretical concepts. Fulfills the theory requirement for Film Studies minors.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): COML-B306; HART-B306
Units: 1.0
Instructor(s):Levine,S.
(Spring 2013)

ENGL B323 Movies, Fascism, and Communism

Movies and mass politics emerged together, altering entertainment and government in strangely similar ways. Fascism and communism claimed an inherent relation to the masses and hence to movies; Hollywood rejected such claims. We will examine films alluding to fascism or communism, to understand them as commenting on political debates and on the mass experience of movie going.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Units: 1.0
Instructor(s):Tratner,M.
(Spring 2013)

ENGL B324 Topics in Shakespeare: Shakespeare on Film

Films and play texts vary from year to year. The course assumes significant prior experience of Shakespearean drama and/or Renaissance drama.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Units: 1.0
(Not Offered 2012-13)

ENGL B334 Topics in Film Studies

This is a topics course. Content varies. Current topic: Global Queer Cinema. Description: The course examines same-sex eroticisms as depicted in global cinemas; it considers these films through the theories of globalization, transnationalism, and diaspora.
Requirement(s): Division III: Humanities
Counts toward: Gender and Sexuality Studies; Film Studies
Crosslisting(s): HART-B334
Units: 1.0
Instructor(s):Nguyen,H.
(Fall 2012)

ENGL B336 Topics in Film: Found Footage Film

This course examines experimental film and video from the 1930s to present. It will concentrate on the use of found footage: the reworking of existing imagery in order to generate new aesthetic frameworks and cultural meanings. Key issues to be explored include copyright, piracy, archive, activism, affect, aesthetics, interactivity and fandom.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): HART-B336
Units: 1.0
(Spring 2013)

ENGL B353 Queer Diasporas: Empire, Desire, and the Politics of Placement

Looking at fiction and film from the U.S. and abroad through the lenses of sexuality studies and queer theory, we will explore the ways that both current and past configurations of sexual, racial, and cultural personhood have inflected, infringed upon, and opened up spaces of local/global citizenship and belonging. Prerequisites: An introductory course in film, or GNST B290, or ENGL B250.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI)
Counts toward: Gender and Sexuality Studies; Film Studies
Units: 1.0
(Not Offered 2012-13)

ENGL B367 Asian American Film Video and New Media

The course explores the role of pleasure in the production, reception, and performance of Asian American identities in film, video, and the internet, taking as its focus the sexual representation of Asian Americans in works produced by Asian American artists from 1915 to present. In several units of the course, we will study graphic sexual representations, including pornographic images and sex acts some may find objectionable. Students should be prepared to engage analytically with all class material. To maintain an atmosphere of mutual respect and solidarity among the participants in the class, no auditors will be allowed.
Requirement(s): Division III: Humanities
Counts toward: Gender and Sexuality Studies; Film Studies
Crosslisting(s): HART-B367
Units: 1.0
(Not Offered 2012-13)

GERM B262 Film and the German Literary Imagination

This is a topics course. Course content varies.
Requirement(s): Division III: Humanities
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Counts toward: Film Studies; International Studies Minor
Crosslisting(s): ENGL-B263
Units: 1.0
Instructor(s):Schlipphacke,H.
(Fall 2012)

GERM B320 Topics in German Literature and Culture

This is a topics course. Course content varies. Previous topics include: Romantic Literary Theory and Literary Modernity; Configurations of Femininity in German Literature; Nietzsche and Modern Cultural Criticism; Contemporary German Fiction; No Child Left Behind: Education in German Literature and Culture.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): EDUC-B320
Units: 1.0
Instructor(s):Seyhan,A.
(Spring 2013)

GNST B255 Video Production

This course will explore aesthetic strategies utilized by low-budget film and video makers as each student works throughout the semester to complete a 7-15 minute film or video project. Course requirements include weekly screenings, reading assignments, and class screenings of rushes and roughcuts of student projects. Prerequisites: Some prior film course experience necessary, instructor discretion.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Units: 1.0
Instructor(s):Cho,E.
(Fall 2012)

GNST B302 Topics in Video Production

This course is an immersive experience in the art of narrative film, combined with technical instruction in cinematography, sound, and editing. Coursework includes critiques, creative writing exercises, formal analysis of film clips, presentations, group projects, attending local film festival, and the production of a digital short film using narrative tehniques. Pre-requisite: GNST B255, ENGL/HART B205-001 or an equivalent Video Production course, such as Documentary Production or an equivalent critical course in Film or Media Studies. Please contact instructor for pre-requisite questions.
Counts toward: Film Studies
Units: 1.0
Instructor(s):Cho,E.
(Spring 2013)

HART B110 Critical Approaches to Visual Representation: Identification in the Cinema

An introduction to the analysis of film through particular attention to the role of the spectator.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI); Inquiry into the Past (IP)
Counts toward: Film Studies
Units: 1.0
(Not Offered 2012-13)

HART B205 Introduction to Film

This course is intended to provide students with the tools of critical film analysis. Through readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI)
Counts toward: Film Studies
Crosslisting(s): ENGL-B205
Units: 1.0
Instructor(s):Nguyen,H.
(Spring 2013)

HART B215 Russian Avant-Garde Art, Literature and Film

This course focuses on Russian avant-garde painting, literature and cinema at the start of the 20th century. Moving from Imperial Russian art to Stalinist aesthetics, we explore the rise of non-objective painting (Malevich, Kandinsky, etc.), ground-breaking literature (Bely, Mayakovsky), and revolutionary cinema (Vertov, Eisenstein). No knowledge of Russian required.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI)
Counts toward: Film Studies
Crosslisting(s): RUSS-B215
Units: 1.0
(Not Offered 2012-13)

HART B238 The History of Cinema 1895 to 1945 Silent Film: From United States to Soviet Russia and Beyond

This course will explore cinema from its earliest, most primitive beginnings up to the end of the silent era. While the course will focus on a variety of historical and theoretical aspects of cinema, the primary aim is to look at films analytically. Emphasis will be on the various artistic methods that went into the direction and production of a variety of celebrated silent films from around the world. These films will be considered in many contexts: artistic, historical, social, and even philosophical, so that students can develop a deeper understanding of silent cinema’s rapid evolution.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): ENGL-B238; COML-B238; RUSS-B238
Units: 1.0
(Not Offered 2012-13)

HART B280 Video Practices: Analog to Digital

This course explores the history and theory of video art from the late 1960’s to the present. The units include: aesthetics; activisim; access; performance; and institutional critique. We will reflect on early video’s “utopian moment” and its manifestation in the current new media revolution. Feminist, people of color and queer productions will constitute the majority of our corpus. Prerequisite: ENGL/HART B205 Intro to Film or consent of the instructor.
Requirement(s): Division III: Humanities
Counts toward: Gender and Sexuality Studies; Film Studies
Crosslisting(s): ENGL-B280
Units: 1.0
(Not Offered 2012-13)

HART B299 History of Narrative Cinema, 1945 to Present

This course surveys the history of narrative film from 1945 through the contemporary moment. We will analyze a series of styles and national cinemas in chronological order, including Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema. Fulfills the history requirement or the introductory course requirement for the Film Studies minor.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI); Inquiry into the Past (IP)
Counts toward: Film Studies
Crosslisting(s): ENGL-B299
Units: 1.0
(Not Offered 2012-13)

HART B306 Film Theory

An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic “author”; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): ENGL-B306; COML-B306
Units: 1.0
Instructor(s):Levine,S.
(Spring 2013)

HART B334 Topics in Film Studies

This is a topics course. Content varies. Current topic: Global Queer Cinema. Description: The course examines same-sex eroticisms as depicted in global cinemas; it considers these films through the theories of globalization, transnationalism, and diaspora.
Requirement(s): Division III: Humanities
Counts toward: Gender and Sexuality Studies; Film Studies
Crosslisting(s): ENGL-B334
Units: 1.0
Instructor(s):Nguyen,H.
(Fall 2012)

HART B336 Topics in Film: Found Footage Film

This course examines experimental film and video from the 1930s to present. It will concentrate on the use of found footage: the reworking of existing imagery in order to generate new aesthetic frameworks and cultural meanings. Key issues to be explored include copyright, piracy, archive, activism, affect, aesthetics, interactivity and fandom.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): ENGL-B336
Units: 1.0
(Spring 2013)

HART B367 Asian American Film, Video and New Media

The course explores the role of pleasure in the production, reception, and performance of Asian American identities in film, video, and the internet, taking as its focus the sexual representation of Asian Americans in works produced by Asian American artists from 1915 to present. In several units of the course, we will study graphic sexual representations, including pornographic images and sex acts some may find objectionable. Students should be prepared to engage analytically with all class material. To maintain an atmosphere of mutual respect and solidarity among the participants in the class, no auditors will be allowed.
Requirement(s): Division III: Humanities
Counts toward: Gender and Sexuality Studies; Film Studies
Crosslisting(s): ENGL-B367
Units: 1.0
(Not Offered 2012-13)

HEBR B110 Israeli Cinema

The course traces the evolution of the Israeli cinema from ideologically charged visual medium to a universally recognized film art, as well as the emergent Palestinian cinema and the new wave of Israeli documentaries. It will focus on the historical, ideological, political, and cultural changes in Israeli and Palestinian societies and their impact on films’ form and content.
Requirement(s): Division III: Humanities
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Counts toward: Film Studies; Middle East Studies
Units: 1.0
(Not Offered 2012-13)

HIST B284 Movies and America

Movies are one of the most important means by which Americans come to know – or think they know—their own history. This class examines the complex cultural relationship between film and American historical self fashioning.
Requirement(s): Division I or Division III
Approach: Critical Interpretation (CI); Inquiry into the Past (IP)
Counts toward: Gender and Sexuality Studies; Film Studies
Units: 1.0
Instructor(s):Ullman,S.
(Fall 2012)

ITAL B225 Italian Cinema and Literary Adaptation

The course will discuss how cinema conditions literary imagination and how literature leaves its imprint on cinema. We will “read” films as “literary images” and “see” novels as “visual stories.” The reading of Italian literary sources will be followed by evaluation of the corresponding films by well-known directors, including female directors. We will study, through close textual analysis, such issues as Fascism, nationhood, gender, sexuality, politics, regionalism, death, and family in the Italian context.
Approach: Cross-Cultural Analysis (CC)
Counts toward: Film Studies
Units: 1.0
Instructor(s):Ricci,R.
(Spring 2013)

ITAL B255 Uomini d’onore in Sicilia:

This course aims to explore representations of Mafia figures in Italian literature and cinema, with reference also to Italian-American films, starting from the ‘classical’ example of Sicily. The course will introduce students to both Italian Studies from an interdisciplinary prospective and also to narrative fiction, using Italian literature written by 19th, 20th, and 21st Italian Sicilian authors. Prerequisite: ITAL 102 or permission of the instructor.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Units: 1.0
(Not Offered 2012-13)

ITAL B299 Grief, Sexuality, Identity: Emerging Adulthood

Adolescence is an important time of personality development as a result of changes in the self-concept and the formation of a new moral system of values. Emphasis will be placed on issues confronting the role of the family and peer relationships, prostitution, drugs, youth criminality/gangsters/violence, cultural diversity, pregnancy, gender identity, mental/moral/religious development, emotional growth, alcoholism, homosexuality, sexual behavior. Prerequisite: ITAL 102.
Requirement(s): Division III: Humanities
Counts toward: Film Studies, Gender and Sexuality Studies
Units: 1.0
(Not Offered 2012-13)

RUSS B215 Russian Avant-Garde Art, Literature and Film

This course focuses on Russian avant-garde painting, literature and cinema at the start of the 20th century. Moving from Imperial Russian art to Stalinist aesthetics, we explore the rise of non-objective painting (Malevich, Kandinsky, etc.), ground-breaking literature (Bely, Mayakovsky), and revolutionary cinema (Vertov, Eisenstein). No knowledge of Russian required.
Requirement(s): Division III: Humanities
Approach: Critical Interpretation (CI)
Counts toward: Film Studies
Crosslisting(s): HART-B215
Units: 1.0
(Not Offered 2012-13)

RUSS B238 The History of Cinema 1895 to 1945 Silent Film: From the United States to Soviet Russia and Beyond

This course will explore cinema from its earliest, most primitive beginnings up to the end of the silent era. While the course will focus on a variety of historical and theoretical aspects of cinema, the primary aim is to look at films analytically. Emphasis will be on the various artistic methods that went into the direction and production of a variety of celebrated silent films from around the world. These films will be considered in many contexts: artistic, historical, social, and even philosophical, so that students can develop a deeper understanding of silent cinema’s rapid evolution.
Requirement(s): Division III: Humanities
Counts toward: Film Studies
Crosslisting(s): ENGL-B238; COML-B238; HART-B238
Units: 1.0
(Not Offered 2012-13)

RUSS B258 Soviet and Eastern European Cinema of the 1960s

This course examines 1960s Soviet and Eastern European “New Wave” cinema, which won worldwide acclaim through its treatment of war, gender, and aesthetics. Films from Czechoslovakia, Hungary, Poland, Russia, and Yugoslavia will be viewed and analyzed, accompanied by readings on film history and theory. All films shown with subtitles; no knowledge of Russian or previous study of film required.
Requirement(s): Division I or Division III
Approach: Cross-Cultural Analysis (CC); Critical Interpretation (CI)
Counts toward: Film Studies
Units: 1.0
Instructor(s):Harte,T.
(Spring 2013)

SPAN B318 Adaptaciones literarias en el cine español

Film adaptations of literary works have been popular since the early years of cinema in Spain. This course examines the relationship between films and literature, focusing on the theory and practice of film adaptation. Attention will be paid to the political and cultural context in which these texts are being published and made into films. Prerequisite: A 200-level course in Spanish, SPAN 208.
Requirement(s): Division III: Humanities
Counts toward: Film Studies; Latin Amer/Latino/Iberian Peoples and Cultures
Units: 1.0
(Not Offered 2012-13)