Enrollment and waitlist data for current and upcoming courses refresh every 10 minutes; all other information as of 6:00 AM.
01/02 - 01/30 | ||||||
M | T | W | Th | F | Sa | Su |
9:00 am |
9:00 am |
9:00 am |
9:00 am |
Subject: Entrepreneurship (ENTR)
CRN: 10228
In Person | Lecture
St Paul: McNeely Hall 115
Requirements Met:
Writing in the Discipline
This course builds on the learning begun in ENTR 100, 200 or ENTR 260, by providing additional tools and skills necessary for entrepreneurs and innovators to bring new business concepts successfully to market. Drawing upon a range of applied methodologies, including Design Thinking and Lean Startup, the course provides students with the tools to uncover new market needs, develop novel solutions, craft innovative and effective business models, and determine viable go-to-market strategies. The course is experiential, emphasizing case study analysis and discussion, in- class exercises and an exploratory field study. (Students who have completed ENTR 350 cannot take this this course for credit.) Prerequisite: ENTR 100, 200 or 260, and Sophomore standing.
4 Credits
01/02 - 01/30 | ||||||
M | T | W | Th | F | Sa | Su |
+ asynchronous coursework |
Subject: Film Studies (FILM)
CRN: 10283
Online: Asynchronous | Online: Asynchronous
Online
Core Requirements Met:
Global Perspective AND Integ/Humanities
Other Requirements Met:
Writing in the Discipline
Old Core (Pre-2020) Requirements Met:
UG Core Human Diversity
In this course, students will view, discuss, and read and write about feature-length films from Africa, Asia, the Americas, Europe, and possibly India and/or the Middle East. Following critical viewing of films both in and outside of class, students will engage in critical reflection, discussion, and analytical writing as a way of practicing the art of film analysis. This course asks students to think critically about the ways in which cinema engages the world as a form of entertainment, as art, as historical document, and as an instrument of social change. The course fulfills the Human Diversity requirement of the core curriculum at UST by addressing issues of race, ethnicity, gender, and geopolitical status. It scrutinizes the ways in which institutionalized and structural power and privilege are reflected in the subject matter, creation, and audience reception of film.
4 Credits