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Bachelor of Behavioural Science - Postsecondary Education Quality ...

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Upper Course Title Calendar Course Description<br />

or<br />

Lower<br />

Upper Existentialism If you are looking for clarity and certainty, there are many<br />

philosophies and religions that will tell you what is right and<br />

wrong, and describe for you the best way to live your life.<br />

Existentialism, in contrast, will argue that we can never know<br />

what is true, never know what is right, and that we can‘t even<br />

understand our own nature; any pretense that we have the<br />

answers to these questions is nothing more than a failure to<br />

honestly face up to the uncertainties <strong>of</strong> the human condition.<br />

Real life, the existentialists <strong>of</strong>ten say, is pr<strong>of</strong>oundly absurd,<br />

since we must make important choices every day <strong>of</strong> our lives,<br />

and yet we cannot really justify any <strong>of</strong> these choices; they spring<br />

from our passions, not our reason. And yet, while we cannot<br />

escape from the absurdity <strong>of</strong> life, this does not make our lives<br />

meaningless. On the contrary, the existentialists will argue that<br />

by throwing ourselves fully into a cause, a belief, or an<br />

understanding <strong>of</strong> what is best in life, we can take ownership <strong>of</strong><br />

our own lives, wresting back control from our slavery to the<br />

Lower<br />

Lower<br />

Lower<br />

Film: Styles,<br />

Narratives and<br />

Techniques <strong>of</strong><br />

Moving<br />

Fundamentals <strong>of</strong><br />

Digital Electronics<br />

Gender, Culture<br />

and Power<br />

opinions <strong>of</strong> others.<br />

Cinema is the foremost art <strong>of</strong> the last 100 years and as viewers<br />

we have developed habits <strong>of</strong> watching that sometime obscure<br />

our awareness <strong>of</strong> how the art <strong>of</strong> cinema achieves its effects and<br />

tells its stories. In this class we carefully examine the techniques<br />

<strong>of</strong> the moving image -- mise en scène, cinematography, editing,<br />

sound -- and the early formation <strong>of</strong> the now easily recognizable<br />

styles <strong>of</strong> most cinema. In assembling a technical and analytic<br />

vocabulary to understand and assess style in film art, students<br />

begin to evaluate the formal and narrative properties <strong>of</strong> fictional<br />

film. Form relates to how we experience feeling and meaning as<br />

film audiences; it also relates to the formal properties <strong>of</strong> film<br />

(such as repetition and variation <strong>of</strong> distinct themes or elements,<br />

development, and the overall effects <strong>of</strong> unity and disunity).<br />

Narrative relates to the structure <strong>of</strong> plots and the flow <strong>of</strong> story<br />

information in cinema. Once students understand the stylistic,<br />

formal and narrative properties <strong>of</strong> film they can then fulfill a main<br />

objective <strong>of</strong> this course: the critical analysis and evaluation <strong>of</strong><br />

recent examples <strong>of</strong> the cinematic art.<br />

This is an introductory course in Digital Electronics that will<br />

cover number systems, switches, logic gates, the analysis and<br />

design <strong>of</strong> combinational logic, encoders and decoders,<br />

multiplexexers and demultiplexers, analog-to-digital converters<br />

(ADC), digital-to-analog converters (DAC), and Boolean<br />

Algebra. To reinforce the concepts, common everyday<br />

applications such as digital clocks, digital TV signals, satellite<br />

signals, computers signals, etc., will be introduced.<br />

―Boys will be boys‖, ―you throw like a girl‖, ―Man-up‖, ―she‘s a<br />

‗girly-girl‘‖, ―he‘s a ‗man‘s man‘‖. These phrases are<br />

commonplace in our society, but what value judgments, beliefs<br />

and ideologies do they contain Being accepted as ―a man‖ in<br />

<strong>Bachelor</strong> <strong>of</strong> <strong>Behavioural</strong> <strong>Science</strong> Section D, Page 71

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