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Course Criteria
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1.00 Credits
This course introduces students to the analysis of film form and aesthetics using sample films from throughout the history of world cinema. Students will learn how to identify and describe the key formal elements of a film including cinematography, sound, mise-en-scene, editing, narrative structure, and narration. Emphasis will be placed on discerning the function of formal elements and their effects on the viewing experience.
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1.00 Credits
This course explores the development of cinema before 1928. We will consider international trends in film production with special emphasis on the formation of the American industry. Silent film presents us with the opportunity to consider alternative uses of the medium; it can broaden the way we think about cinema and its possibilities. Our goals will be to understand how cinema was conceived of during its first years and to examine the forces that led to the development of the narrative feature. Films will include works by the Lumiere and Edison companies, Porter, Melies, Sjostrom, Griffith, DeMille, and Hollywood studios during the 1920s.
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1.00 Credits
This course presents an in-depth examination of the work of a major formalist from the beginning of his career to the end. Emphasis will be on detailed analysis of the relationship between form and content. Students will examine various films in detail and do their own analyses of the individual films shot by shot. Comparisons to other major figures such as Otto Preminger and Fritz Lang will be included.
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1.00 Credits
This is an advanced seminar on comparative narrative and stylistic analysis that focuses on contemporary films from Hong Kong, Taiwan, South Korea, China, and Japan, regions that have produced some of the most exciting commercial and art cinema of the last 20 years. We will begin by examining the basic narrative and stylistic principles at work in the films, then broaden the scope of our inquiry to compare the aesthetics of individual directors. The films of Wong Kar-wai, Tsai Ming-liang, Hou Hsiao-hsien, Kitano Takeshi, Kore-eda Hirokazu, Edward Yang, Tian Zhuangzhuang, Johnnie To, Stephen Chiau, Hong Sang-soo, Tsui Hark, Fruit Chan, and others will be featured.
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1.00 Credits
This course explores the history, theory, and aesthetics of nonfiction filmmaking from the origins of cinema to the present day. We will trace the emergence and development of documentary conventions and genres, paying particular attention to how structural and stylistic choices represent reality and shape viewer response. In class discussion, we will explore topics central to nonfiction filmmaking, including how documentary has been defined and redefined; how filmmakers and theorists have perceived the relationship between documentaries and the realities they represent; what conceptions of truth have guided the work of documentary filmmakers and theorists; the role of the documentary filmmaker as witness, mediator, instigator, promoter, and/or participant; documentary as social advocacy; the autobiographical impulse; the use of reflexivity; and the ethics of documentary filmmaking. Screenings will include films directed by Robert Flaherty, Pare Lorentz, Basil Wright, John Grierson, Luis Buñuel, Leni Riefenstahl, Jean Rouch, Alain Resnais, Frederick Wiseman, the Maysles brothers, Ross McElwee, Marlon Riggs, Trinh T. Minh-ha, Errol Morris, James Longley, Laura Poitras, and Michael Moore, among others.
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1.00 Credits
This workshop course is designed to provide a basic understanding of how films are made, including lessons on lighting, composition, continuity, sound, and editing. Through a series of exercises and in-class critique sessions, students will refine their critical and aesthetic sensibilities and develop a basic understanding of story structure and directing. Time demands are heavy and irregularly distributed.
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1.00 Credits
This course is designed to provide a basic understanding of how films are made, providing technical training and practical experience in the DV digital video format. Through a series of exercises and in-class critique sessions, students will refine their critical and aesthetic sensibilities and develop a basic understanding of how to use composition, lighting, sound, and editing to tell a story. Time demands are heavy and irregularly distributed.
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1.00 Credits
In this course students will practice writing about movies for various modes of new journalism: newsprint, books, anthologies, magazines, journals, and all forms of electronic media. Suitable topics will include examining movies for purposes of film criticism, history, cultural issues, and nonfiction modes, with the goal of publishing. Regular writing assignments on specific films (as well as films of students' choice) will be accompanied by readings and screenings.
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1.00 Credits
This workshop is designed for senior film majors who, having successfully completed FILM450 or FILM451, are prepared to undertake a thesis film project. Because of space and equipment, the number of projects that can be approved is limited. Students must petition for enrollment by proposal at the end of their junior year. Production costs are borne largely by the student.
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1.00 Credits
This multimedia course combines video, audio, and print to teach French language and culture as complementary facets of a single reality. It puts you in the presence of authentic, unsimplified French and trains you to use it in the dynamic context of actual communication. A complete, carefully sequenced course, it involves you actively in your own learning and emphasizes communicative proficiency--not the study of rules and regulations, but the development of skills, self-expression, and cultural insight. FREN101 is the first semester of the four-semester introductory and intermediate French language sequence.
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