INTRO TO FILM & MEDIA STUDIES
This course serves as an introduction to the study of film and related visual media, examining fundamental issues of aesthetics (mise-en-scene, editing, sound), history (interaction of industrial, economic, and technological factors), theory (spectatorship, realism, and indexicality), and criticism (auteurist, feminist, and genre-based approaches). The course also investigates how digital media change has been productive of new frameworks for moving image culture in the present. Discussion section FILM UN1001 is a required corequisite.
- W 2:10 p.m.-3:25 p.m.
-
Instructor:
Jane Gaines
CULPA: 4 Info - 3 points
INTRO-FILM & MEDIA STUDIES-DIS
Co-requisite discussion section for FILM UN 1000 INTRO TO FILM & MEDIA STUDIES.
- F 1:10 p.m.-2 p.m.
- F 2:10 p.m.-3 p.m.
- F 9:10 a.m.-10 a.m.
- 0 points
CINEMA HIST III:1960-1990
By closely watching representative classics from countries including Italy, Poland, Russia and Argentina, we will study the distinctive trends and masters of this vibrant era. Special attention will be paid to the French New Wave (60s); the New German Cinema (70s); the reformulation of Hollywood studio filmmaking in the 70s (Altman, Cassavetes, Coppola), and the rise of the independent American cinema (80s). Discussion section FILM UN 2031 is a required co-requisite.
- M 2:10 p.m.-6 p.m.
-
Instructor:
Annette Insdorf
CULPA: 10 Wikipedia Info - 3 points
CINEMA HIST III:1960-1990-DISC
Co-requisite discussion section for FILM UN 2030 Cinema History III: 1960-90.
- T 10:10 a.m.-11 a.m.
- T 1:10 p.m.-2 p.m.
- T 5:10 p.m.-6 p.m.
- 0 points
American Film: Cult & Exploitation
Amer Film: Cult & Exploit
Once associated with images of fishnet-costumed fans of
The Rocky Horror Picture Show
, the concept of the “cult film” has gone increasingly mainstream in recent years. This course seeks to assess the popularization of the phenomenon, asking: what exactly
is
a cult film? And what does the mainstreaming of the concept suggest about our changing relation to today’s media environment?
Whereas most types of film can be defined through widely recognized elements of story and setting (tumbleweed, deserts, gunfights: it’s a western), this is far from being the case with cult. Some have defined the cult film as “created” by audiences (again,
Rocky Horror
); others in terms of nonclassical or aberrant modes of textuality (e.g., various forms of “bad taste” cinema). This course, however, seeks to go beyond audience- and text-based definitions, instead placing cult within a series of historical contexts:
as an outgrowth of film industry practices that sustained the
low cultural status
of certain movie types during the classical Hollywood cinema (e.g., B movies, exploitation, etc.);
as the product of
audience reception
practices, shaped by the politics of cultural taste and “camp” viewing practices that first coalesced during the “midnight movie” phenomenon of the late 1960s/1970s;
as sustained by the
transnational flow
of media content, offering new frameworks for understanding “national” cinemas.
In offering such an approach, this course seeks to isolate the different uses to which “cult” has been put, in order to indicate how pervasive and adaptable the idea has recently become. As we will see, the cult phenomenon implies both a perspective on the past, hence inseparable from the experience of nostalgia, as well as an engagement with our media-driven present.
- R 10:10 a.m.-12:55 p.m.
-
Instructor:
Robert King
CULPA: 7
Info
- 3 points
American Film: Cult & Exploitation DISC
Per syllabus- required discussion section for Film UN2132 American Film: Cult & Exploitation
- F 9:10 a.m.-10 a.m.
- F 12:10 p.m.-1 p.m.
- 0 points
American Film: Film Noir
This course surveys the American film genre known as
film noir
, focusing primarily on the genre’s heyday in the 1940s and early 1950s, taking into account some of its antecedents in the hard-boiled detective novel, German Expressionism, and the gangster film, among other sources. We will consider a wide variety of critical and theoretical approaches to the genre, and will also study a number of film noir adaptations and their literary sources.
- M 10:10 a.m.-1:55 p.m.
-
Instructor:
James A Schamus
CULPA: 8
Wikipedia
Info
- 3 points
SENIOR SEMINAR IN FILM STUDIES
A seminar for senior film majors planning to write a research paper in film history/theory/culture. Course content changes yearly.
- R 10:10 a.m.-1:40 p.m.
-
Instructor:
Racquel Gates
Info - 3 points
SENIOR SEM IN SCREENWRITING
A seminar for senior film majors. Students will complete a step outline and minimum of 30 pages of their project, including revisions. Through reading/viewing and analyzing selected scripts/films, as well as lectures, exercises and weekly critiques, students will expand their understanding of dramatic writing and narrative-making for film and TV, including adaptations. They will learn appropriate structure for each specific screen-writing form, and endeavor to apply their understanding of drama, character, theme, and structure to their chosen narrative project.
- F 2:10 p.m.-4:40 p.m.
-
Instructor:
Loren-Paul Caplin
CULPA: 2 Info - 3 points