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Course Criteria
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4.00 Credits
The study, from an historical perspective, of major theorists of film.
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4.00 Credits
The study of films as categorized either by industry-identified genres (westerns, horror films, musicals, film noir, etc.) or broader interpretive modes (melodrama, realism, fantasy, etc.).
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4.00 Credits
This course is a survey of the rich history and aesthetics of the international film Avant-Garde from the 1920s to the present. The course explores the development of a range of experimental film forms and practices, situating them in relation to the larger artistic, social, and intellectual contexts in which they arise. We look at the ways artists have not only created new film languages in order to epress their unique ideas and vision, but also how they inverted alternative modes of production, distribution, and exhibition for their work. We examine the major formal modes of Avant-Garde cinema, moving between historical and current developments. These include abstract, surrealist/Dada, psychodrama, the lyric film-poem, autobiographical, materialist and structural forms, political and activst, new narrative, recycled cinema, the film essay, feminist and queer cinemas, as well as expanded forms such as installation and web based cinema.
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4.00 Credits
Selected topics in the study of film.
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4.00 Credits
The study of films from the perspective of directorial style, theme, or filmmaking career.
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4.00 Credits
The course explores the art and craft of writing a feature-length, narrative screenplay. Participants present three story ideas to the class, develop one concept into a detailed treatment, and write the first act of the script in professional screenplay form. The focus is on rewriting, with regular presentations of outlines and scripts to fellow writers. The emphasis is on story structure, character development, and screenplay form.
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4.00 Credits
The course explores the art and craft of writing a feature-length narrative screenplay. Participants begin with a detailed outline of a narrative script and a portion of the script in proper form and develop it into a completed screenplay. The focus is on rewriting, with regular presentations of scenes to fellow writers. Participants also write short scripts and explore alternative story structure. The emphasis is on characterization, scene structure, visual story telling, dialogue, and creating a unified script. The class culminates with reading of completed scripts.
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2.00 Credits
Students will learn about film bibliography and research materials. Interns will get a thorough orientation to the Pacific Film Archive library through introductory lectures and training sessions. Then, for three hours per week, they will help organize materials for inclusion in the clippings files. Interns will gain experience in library organization and film bibliography, as well as a broad knowledge of the kinds of film reviews and criticism found in a variety of sources.
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3.00 Credits
The supervised field program may include experience in a broad range of pre- and post-production film and video production related activities. The student will develop the field experience and its relationship to academic training with a member of the faculty on the Film Advisory Committee. Faculty sponsor and student will establish individual meeting times and academic requirements for acceptable completion of the course. Commitment to at least nine hours of field work per week.
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2.00 Credits
Experience "behind-the-scenes" at the Pacific Film Archive! Interns will learn about film curating through creating a program of works by UC Berkeley students to present at PFA the following spring semester. Students will solicit films and videos, preview them, and make a final selection as a group. Students will write short analyses of local film exhibition programs and will do projects related to PFA's ongoing exhibition program.
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