|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
3.00 Credits
Mekuria (Art) A survey of the history of women making films and an exploration of the issues of representation using films directed by women from around the world. We will review the history and emergence of women/feminist filmmakers and examine the impact of feminism and femin-ist film theory on women filmmakers in particular, and the film industry in general. Required activities include weekly screenings of films, written analytical reports, and classroom presentations. Students may register for either CAMS 328 or ARTH 364 and credit will be granted accordingly. Prerequisite: One of the following courses: ARTH 224, ARTH 225, ARTH 226/CAMS 207; or WGST 120 or 222; or by permission of the instructor. Distribution: Arts, Music, Theatre, Film, Video Semester: Fall Unit: 1.0
-
3.00 Credits
Mekuria (Art) NOT OFFERED IN 2009-10. An intensive course in story development, writing screenplay, directing actors and technical crew, and pro-ducing short, dramatic or mixed-genre videos. Rigorous work on advanced camera operation, lighting, sound recording, and editing tech-niques. We will screen and analyze short films and sample screenplays. Course requires strong organizational and directorial aptitude. The final projects will be short narrative, experimental or mixed-genre videos. Students may register for either CAMS 335 or ARTS 365 and credit will be granted accordingly. Prerequisite: CAMS 135/ARTS 165, CAMS 235/ARTS 265, and permission of the instructor. Distribution: Arts, Music, Theatre, Film, Video Semester: N/O Unit: 1.0
-
3.00 Credits
Black (Art) NOT OFFERED IN 2009-10. Advanced explorations of aesthetic and content issues through the use of both traditional light sensitive and digital methodologies are explored. Advanced photographic techniques and equipment will be presented to solve visual problems arising from each student's work. Continued emphasis is placed on research into the content and context of the photographic image in contempo-rary practice through gallery visits, guest lecturers, and library work. Students may register for either CAMS 338 or ARTS 308 and credit will be granted accordingly. Prerequisite: CAMS 138/ARTS 108, CAMS 238/ARTS 208, and either CAMS 139/ARTS 109, CAMS 239/ARTS 221, or another 200-level studio course, or permission of the instructor required. Distribution: Arts, Music, Theatre, Film, Video Semester: N/O Unit: 1.0
-
3.00 Credits
Berman (Art) NOT OFFERED IN 2009-10. Visual images have always been enlisted to influence individual and collective decision-making, action, and identity. However, the rise of the mass media in the nineteenth century, and the multiplication of visual technologies in the twentieth cen-tury have created unprecedented opportunities for the diffusion of persuasive images. This seminar enlists case studies to examine the uses and functions of visual images in advertising and propaganda and considers, in particular, graphic arts, photography, film, and other reproductive media. It also considers the interplay between elite and popular arts. The goal of the course is to refine our critical under-standing and reception of the visual world. Students may register for either CAMS 341 or ARTH 391 and credit will be granted accordingly. Prerequisite: 200-level courses in Art or Media Arts and Sciences. Distribution: Arts, Music, Theatre, Film, Video Semester: N/O Unit: 1.0
-
3.00 Credits
Carroll (Art) Topic for 2009-10: The Melodramatic Tradition from D.W. Griffith to Wong Kar-Wai. The focus of this course will be a series of films that take as their theme the disruptive tensions-between the sexes and between generations-that emerge with shattering force in see-mingly ordinary domestic settings. After briefly considering the pictorial roots of this tradition in seventeenth- and eighteenth-century paint-ing, the class will turn to films directed by D.W. Griffith, G.W. Pabst, Marcel Ophuls, Douglas Sirk, Todd Haynes, and Wong Kar-Wai. The class will explore the extensive critical and theoretical literature that is devoted to these films; at the same time we will pay scrupulous at-tention to their visual qualities through the close analysis of mise-en-scène, lighting, camera-work, and editin g. Students may register for either CAMS 343 or ARTH 333 and credit will be granted accordingl y. Prerequisite: ARTH 101, or 224 or 226/CAMS 207, or permission of the instructor. Distribution: Arts, Music, Theatre, Film, Video Semester: Spring Unit: 1.0
-
3.00 Credits
Shetley A journey through the dark side of the American imagination. Where classic Hollywood filmmaking trades in uplift and happy endings, film noir inhabits a pessimistic, morally ambiguous universe. This course will explore the development of this alternative vision of the American experience, from its origins around the time of World War II, through the revival of the genre in the early 1970s, to its ongoing influence in contemporary cinema. We'll pay particular attention to noir 's redefinition of American cinematic style, and to its representations of mascu-linity and femininity. Films that may be studied include Howard Hawks ? The Big Slee p, Billy Wilder 's Double Indemni ty, Robert Altma n's The Long Good bye, Roman Polans ki's China town, and David Ly nch's Mulholland Drive. Students may register for ENG 363, AMST 317, or CAMS 345 and credit will be granted accord ingly. Prerequisite: Permission of the instructor. Distribution: Arts, Music, Theatre, Film, Video Semester: Fall Unit:
-
3.00 Credits
Prerequisite: Open by permission to juniors and seniors. Distribution: None Semester: Fall, Spring Unit: 1.0
-
0.00 Credits
NOT OFFERED IN 2009-10. This two-semester sequence offers students the opportunity for intensive work in theory and production, and to reflect on the relation between the two. In advanced screen writing, students will produce an original, film-length screenplay suitable for production; students will explore possible experimental narrative structures prior to developing an appropriate structure of their own. They will simultaneously explore critical conceptualizations of narration through intensive study of several films in the light of theories developed by both film theorists (Bordwell, Chatman, Branigan) and literary theorists. Each semester earns one unit of credit; however, both seme-sters must be completed satisfactorily to receive credit for either course. Prerequisite: Open by permission to seniors. Not open to student enrolled in CAMS 360/370. Distribution: None Semester: N/O Unit: 1.0
-
1.00 Credits
NOT OFFERED IN 2009-10. This two-semester sequence explores the relationship between the history, theory and production of nonfic-tion films and offer students a chance to study intensively the various approaches to documentary filmmaking as well a produce a docu-mentary. As we read and consider the approaches of theorists such as Michael Renov and Bill Nichols, testing them against a range of documentary film forms through all periods of film history, we'll ask: what are the ethics of making films about human subjects What is the difference between first-person narration and an objective viewpoint Is a direct-cinema approach relevant today How does the interven-tion of new media, the internet and especially the emergence of YouTube impact on the nature of non-fiction film and filmmaking What is the relationship between rhetoric and aesthetics in nonfiction film Simultaneously, students will develop and experiment with their own approach to nonfiction film in the advanced production class . Students are required to take both semesters. Each semester earns one unit of credit; however, both semesters must be completed satisfactorily to receive credit for either course . Prerequisite: Open by permission to seniors. Not open to student enrolled in CAMS 360/370. Distribution: None Semester: N/O Unit: 1.0
-
3.00 Credits
NOT OFFERED IN 2009-10. The capstone seminar is designed to bring senior CAMS majors and faculty together in an intensive examina-tion of a single topic in audio visual media: (film, television, the Internet, mobile phones), a set of contrasting media forms, or a single theo-retical approach to media. Examples in film would include theories such as formalist, neorealist, and feminist. Works will be chosen that have major significance to media theory and/or the history, modes of production and development of specific media forms. Prerequisite: Open by permission to seniors. Not open to student enrolled in CAMS 360/370. Distribution: None Semester: N/O Unit: 1.0 CAMS 360 Senior Thesis Research Prerequisite: By permission of director. See Academic Distinctions. Distribution: None Semester: Fall Unit: 1.0
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2025 AcademyOne, Inc.
|
|
|