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.
- R 10:10 a.m.-12:55 p.m.
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Instructor:
Robert King
CULPA: 7
Info
- 3 points
INTRO-FILM & MEDIA STUDIES-DIS
Co-requisite discussion section for FILM UN 1000 INTRO TO FILM & MEDIA STUDIES.
- F 9:10 a.m.-10 a.m.
- F 1:10 p.m.-2 p.m.
- F 2:10 p.m.-3 p.m.
- 0 points
CINEMA HIST I: BEGIN-1930
This course rethinks the ;birth of cinema; from the vantage of ;when old media was new.; Following standard approaches, it moves from actualities to fiction, from the ;cinema of attractions; to narrative, from the cinematographe to cinema, from cottage industry to studio system. Units in silent film music, early genres, film piracy and copyright, word and moving image, and restoration--the film archivists dilemma in the digital era. FILM W2011
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Instructor:
Jane Gaines
CULPA: 4 Info - 3 points
CINEMA HISTORY IV: AFTER 1990
This course brings our survey of the development of the art, technology, and industry of motion images up to the present. During this era, most people no longer watched movies (perhaps the most neutral term) in theaters, and digital technology came to dominate every aspect of production, distribution, and exhibition. Highlighted filmmakers include Michael Haneke, Lars von Trier, Wong Kar-wei, and Steve McQueen. Topics range from contemporary horror to animation. Requirements: short (2-3 pages) papers on each film shown for the class and a final, take-home exam. FILM W2041
- T 10:10 a.m.-1:55 p.m.
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Instructor:
Racquel Gates
Info - 3 points
THE DOCUMENTARY TRADITION
This class offers an introduction to the history of documentary cinema and to the theoretical and philosophical questions opened up by the use of moving images to bear witness, persuade, archive the past, or inspire us to change the future. How are documentaries different than fiction films? What is the role of aesthetics in relation to facts and evidence in different documentary traditions? How do documentaries negotiate appeals to emotions with rational argument? From the origins of cinema to our current “post-truth” digital age, we will look at the history of how cinema has attempted to shape our understanding of reality. FILM W2311
- R 2 p.m.-5:45 p.m.
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Instructor:
Nico Baumbach
Info - 3 points
NARRATIVE STRAT-SCREENWRITING
Prerequisites: FILM W2420. This workshop is primarily a continuation of Senior Seminar in Screenwriting. Students will either continue developing the scripts they began in Senior Seminar in Screenwriting, or create new ones including a step outline and a minimum of 30 pages. Emphasis will be placed on character work, structure, theme, and employing dramatic devices. Weekly outlining and script writing, concurrent with script/story presentation and class critiques, will ensure that each student will be guided toward the completion of his or her narrative script project.
- F 2:10 p.m.-4:40 p.m.
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Instructor:
Loren-Paul Caplin
CULPA: 2 Info - 3 points
Reality Television
This course focuses on the origins, form, and social relevance of reality television. Specifically, the course will examine the industrial, economic, and ideological underpinnings of reality television to gesture toward larger themes about the evolution of television from the 1950s through the present, and the relationship between television and American culture and society. To this end, the class lectures, screenings, and discussions will emphasize (but are not limited to) topic of race, gender, sexuality, and class.
- R 10:10 a.m.-12:40 p.m.
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Instructor:
Racquel Gates
Info - 3 points
Reality Television Discussion
Disucssion section for Film GU4953 Reality Television: This course focuses on the origins, form, and social relevance of reality television. Specifically, the course will examine the industrial, economic, and ideological underpinnings of reality television to gesture toward larger themes about the evolution of television from the 1950s through the present, and the relationship between television and American culture and society. To this end, the class lectures, screenings, and discussions will emphasize (but are not limited to) topic of race, gender, sexuality, and class.
- F 11:10 a.m.-noon
- 0 points
Waves on Different Shores: France, Japan
In the early 1960s, a number of new film movements in national cinemas around the world. Inevitably called “new waves” or “new cinemas,” these movements, usually made up of young filmmakers, would challenge both the cinematic industrial structures in each of their respective nations, as well propose often radically different approaches to filmmaking and to cinematic storytelling. This course will explore three important examples of this development—the French New Wave, the Japanese New Wave and the Brazilian Cinema Novo—and detail both the commonalities among these movements (aesthetic, social, political) as well those factors which made each unique. A special concern will be the relationship of the “new waves” to simultaneous radical experiments in visual arts, theater, literature and music. The course will begin with a consideration of Roberto Rossellini’s VOYAGE TO ITALY, a watershed work between Neorealism and subsequent cinematic modernism, and will conclude with Andrei Tarkovsky’s MIRROR, described by Andras Balint Kóvacs as “the last modernist film.”
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Instructor:
Richard A Pena
CULPA: 16
Info
- 3 points