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This Teaching Note provides general guidelines as well as a specific sample syllabus for a course on Israeli and Palestinian fiction films.

Setting: As Fulbright grants put it, I was a "cultural ambassador" to India twice, 1994-95 and 2009-10, but what exactly does being a "cultural ambassador" mean?

This is the introduction to RT #108, by the editors: Linda Dittmar and Pamela Annas

Though Alain Resnais' documentary film about the French National Library, All the World's Memory (Toute la Memoir du Monde), is meant to celebrate the library's scope and organization, anxiety seeps into its cinematic "language": dim black-and-white footage, a restlessly prowling camera, close-ups that cut off object from context and detail from whole, discontinuous cuts, choppy bullet-like comments, and darkly foreboding orchestral music. It's a beautiful film, but what does it say about Resnais' feelings about the library? Certainly awe, but also high modernism's anxiety about proliferating knowledge. "Man," the authoritative male voice-over proclaims, "fears being engulfed by this mass of words."

Introduction to the Teaching Across Borders Issue

As we enter the second decade of the 21st century, art that aims to actively challenge the social order continues to spark controversy and encounter resistance. In one recent instance, the University of California at San Diego threatened to revoke the tenure of Ricardo Dominguez, a professor of visual art, who developed what he calls "transborder immigrant tools"—recycled cell phones loaded with GPS software that point border-crossers to caches of fresh water in the desert. Dominquez has called the phones, which feature an audio application that plays inspirational poetry to migrants, a "mobile Statue of Liberty."

As we enter the second decade of the 21st century, art that aims to actively challenge the social order continues to spark controversy and encounter resistance. In one recent instance, the University of California at San Diego threatened to revoke the tenure of Ricardo Dominguez, a professor of visual art, who developed what he calls "transborder immigrant tools"—recycled cell phones loaded with GPS software that point border-crossers to caches of fresh water in the desert. Dominquez has called the phones, which feature an audio application that plays inspirational poetry to migrants, a "mobile Statue of Liberty."