Structure, bonding, and reactions of organometallic compounds, with emphasis on basic mechanisms, and industrial processes. Addition, metalation, elimination, important catalytic cycles, electrophilic, and nucleophilic reactions are considered on a mechanistic basis. Topics on modern organometallic chemistry and catalysis are covered.

This course examines the use of metals in biology. Topics include naturally occurring and medicinal ligands; transport, uptake and control of concentration of metal ions; and physical methods of characterization of metal binding sites. The roles of metal ions in nature are discussed, including as structural and signaling elements in proteins, nucleic acids and DNA-binding complexes and proteins; as Lewis-acid centres in enzymes; as carriers of electrons, atoms and groups in redox proteins and enzymes; and as sources of biominerals; as radiopharmaceuticals.

This course provides an overview of reactions and synthetic strategies that are being used at different stages of the drug development process. Using representative examples from the literature, we will concentrate on synthesis of complex heterocyclic compounds.

Structure and stereochemistry determination using modern spectroscopic techniques. Several techniques are discussed but particular emphasis is given to NMR (1H and 13C NMR) and mass spectrometry. The approach taken emphasizes applications of these spectroscopic methods to organic problems. Students are trained to run their own spectra (IR, UV, NMR, GC-MS). (Lab Materials Fee: $26).

Noncovalent binding forces, solutions, and molecular recognition. Electronic structure theory and computational techniques. Reaction mechanisms: experimental probes and reactive intermediates, including carbenes and radicals. Photophysics and photochemistry of organic compounds.

Mechanisms in biochemical systems: Examples of biological catalysis are considered in terms of chemical mechanisms and their extensions, overcoming barriers catalytic groups in active sites, stereochemical applications, energy transfer, kinetic patterns, inhibitors, drug design, cofactors, ribozymes, and proteosomes. Related current issues are noted and discussed. The format includes class material integrated with student discussions.

A comprehensive investigation of synthetic methods for preparing diverse classes of inorganic materials with properties intentionally tailored for a particular use. Begins with a primer on solid-state materials and electronic band description of solids followed by a survey of archetypical solids that have had a dramatic influence on the materials world, some new developments in materials chemistry and a look at perceived future developments in materials research and technology. Strategies for synthesizing many different classes of materials with intentionally designed structures and compositions, textures and morphologies are then explored in detail emphasizing how to control the relations between structure and property of materials and ultimately function and utility. A number of contemporary issues in materials research are critically evaluated to appreciate recent highlights in the field of materials chemistry - an emerging sub-discipline of chemistry.

This course covers design, synthesis, characterization and application of organic materials. Emphasis is placed on classic examples of organic materials including semiconducting polymers, molecular devices, self-assembled systems, and bioconjugates, as well as recent advances from the literature.

Scope of polymer chemistry. Classification of polymers. Synthesis and characterization. Polymers in solution. Thermodynamics of polymer solutions and blends, Flory-Huggins theory. Polymers in the solid state. Crystalline and amorphous polymers. Glass transition and melting temperature. Mechanical properties. Polymers as advanced materials.

In the framework of a dry lab, students will analyze and interpret characterization data, extending their existing knowledge of chemical fundamentals and experimental techniques to polymeric systems. Through a combination of classes, dynamic group collaborations, and self-paced assignments, students will actively engage with peers to understand course materials (including published literature), explore how polymer innovations are commercialized, and develop a toolkit for leveraging instrumentation to investigate hypotheses in research.

An in depth examination of biological systems at the molecular level. Several complex, multi-component molecular machines with a central role in life will be examined. For each system studied, the focus will be on understanding the chemical mechanisms that underlie the biological activities, and how these processes fit into a cellular context.

An experimental or theoretical research problem under the supervision of a teaching faculty or research faculty member in the Department of Chemistry. Five mandatory 90-minute professional development workshops cover aspects of academic writing, poster presentations, reading scientific literature, and job applications/interviews. Each student is required to attend a total of six one-hour research colloquia during the Fall and Winter Sessions. Applications for enrolment should be made to the Department in the preceding Winter Session: the application form is available on the Department of Chemistry website. Only students being admitted are required to contact chemistry faculty to discuss available research projects. Projects are in the areas of environmental, analytical, physical, inorganic, materials, polymer, organic and biological chemistry. Not eligible for CR/NCR option.

Introduction to film form (including style and narration), different types of films, and popular approaches to the study of cinema. Topics include: narrative cinema, documentary, avant-garde, genre, authorship, ideology, and representation.

Films create story worlds, imaginary environments in which characters live and act, and where events, large and small, transpire. Some story worlds are elaborate, fanciful constructs (think of Disney’s animated films). Others stay close to reality (think of “docudramas”). But across the spectrum, all of them are framed by and provided with rules of time and space, of believable or impossible. This course offers an examination of selected story worlds from several periods of film history. Emphasis falls on the expansive story worlds of contemporary corporately-run media-franchise “universes,” like the cross-media “DC Universe.” Restricted to first-year students. Not eligible for CR/NCR option.

This first-year foundation course is a survey of sound film (with a brief selection of silent shorts) on the topic of how popular cinemas have represented going to school. Looking at one film and one scholarly text a week, the course will offer an introduction to the close reading of film texts, reading and writing film criticism, and the fundamentals of film history. By engaging with only one film/reading per week, the course emphasizes depth over breadth. Texts for the course may include excerpts from Corrigan’s A Short Guide to Writing About Film, Sturken and Cartwright’s Practices of Looking, Staiger’s Interpreting Films, and Prince’s Movies and Meaning, along with selected criticism on the movies screened. Those films may include Zero for Conduct, Aparajito, Tom Brown’s School Days, Tea and Sympathy, If, Rock and Roll High School, Mean Girls, School Daze, Blackboard Jungle, or Lady Bird. Restricted to first-year students. Not eligible for CR/NCR option.

Examines the practices, theories, and debates surrounding the emergence of cinema through to the development of studio system filmmaking in the first half of the 20th Century. Topics include: film's relation to the other arts, formalist and realist traditions, technological innovations, audiences and reception, and cultural industries.

Horror film as a genre, focusing on three types of international horror: the un-dead, body horror, and the supernatural. The genre's popular appeal, affective power, unique means of producing pleasure, and current global resurgence will be emphasized. Topics include: the aesthetics of gore and violence, technologies of fear, J-Horror, new French extremity, cult fandom and paracinema, and media convergence.

This course is the study of science fiction films in their cultural and political contexts and the genre's narrative and conceptual components. The goal of the course is to familiarize students with science fiction films as popular genre texts, emphasizing the period between 1950 and the present.

Action movies cement the dominance of commercial cinema, and they largely define the contemporary era of the blockbuster and CGI effects. This course examines the narrative modes and the extremes that action scenes reach, and it explores the commercial and social function of the genre. The course also traces Action's historic reach and global diversity to include its significant precursors and transnational forms that Action cinema takes on.

Erotic images and sounds have long featured in filmic pleasure and, for just as long, excited controversy. This course examines how sex is articulated on screen and how its regulation suggests broader themes and ideas. Topics include: obscenity laws and the history of film censorship, the eroticized aspects of conventional movies, art cinema, and "adult" erotic films.

Introduction to the study of new and contemporary media forms, with a focus on aesthetic and moving-image media. Students will learn key concepts in digital media studies through close examination of historical and contemporary examples from art, cinema, video, and games. Course readings draw on interdisciplinary critical models from cinema studies, cultural studies, art history, and digital media studies.

This course examines the development of the Fantasy imagination in cinema from the start of film production (i.e., Georges Méliès) through the classical era (i.e., Wizard of Oz) to the contemporary proliferation of Fantasy cinema (i.e., Lord of the Rings, Snow White and the Huntsman). Course includes study of Asian, European, and South American Fantasy films.

Originating in the mid-19th century from journalistic accounts and detective stories, crime fiction has emerged as one of the dominant popular genres in the 20th century across a variety of media and platforms, from true crime dime novels to radio dramas, from hard-boiled literature to prestige television series. Rejuvenated in the 21st century by the consolidation of gaming culture and the rise of podcasting, crime narratives have expanded to transmediality, stretching the boundaries between fiction and documentary practices. In this context, the culturally porous and generically elastic crime film had remained one of the most enduring cinematic expressions of sociopolitical anxieties related to class, gender, race, and ethnicity. This course examines a selection of crime film traditions across various geographical areas and historical periods, investigating the resilience of this form from the silent period to the present day.

Examines cinema as a commercial enterprise, emphasizing production, distribution, and exhibition and the political economy of North American film culture.

This is a Breadth Category 3 course but has been specially-designed to fulfill the Quantitative Reasoning requirement for Cinema Studies Specialists and Majors.

Course on special topics in Cinema Studies. Topics vary each year.

This course takes four selected directors' films and examines them analytically and interpretively. The purpose of the course is to apply and test the auteur theory in the context of concepts of film style and film conventions.

Course on selected topics in Cinema Studies. Past topics include: "New Media."

The examination of popular American cinema through its social, political, and commercial practices, and through the study of selected popular films from the 1970s to the present.

Examines film theory and practice from the 1950s onward, and the impact of media change on earlier film cultures and aesthetics. Topics include: New Wave cinemas, the politicization of theory, spectatorship, counter-cinemas, transnational film and “Global Hollywood”, and media theory from the analog to the digital.

Avant-garde films, both canonical and marginal, are examined mainly in the context of modern art and poetry from the 1920s through the 1990s. Films include works from Europe, North America, and Japan. Art contexts range from Cubism, Dada, and Surrealism in the 1920s to Neo-Dada, Abstract Expressionism, Pop, and Postmodernism.