|
|
|
|
|
|
|
|
|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
4.00 Credits
A broad introduction to the history and aesthetics of film from a chronological perspective. Part I, "Cinema's Origin to the End of the SilentEra," begins with the early films of Lumière,Méliès, Porter, Sennett, and Feuillade, thenexplores the rapid evolution of the medium as seen in the works of D. W. Griffith and Erich von Stroheim; American silent comedians Chaplin and Keaton; Soviet filmmakers Kuleshov, Eisenstein, Dovzhenko, and Vertov; German expressionists Murnau, Lang, and Pabst; major Japanese figures Kinugasa and Ozu; practitioners of the French avant-garde (Kirsanov, Dulac, Man Ray, Léger, Duchamp, and Clair); and innovative documentarians Ruttmann and Flaherty. Part II begins with crucial films in the transition to the technology and aesthetic of the sound film (Lang, Sternberg, Bu?uel, Vertov, and Vigo), followed by a study of the evolution of the longtake, deep-focus aesthetic in the films of Renoir, Welles, and Mizoguchi; of Hollywood genres in the films of Ford,Hitchcock, Hawks, and Sturges; the rise of neorealism in Rossellini, De Sica, and Visconti; the contribution of the American avant-garde; the French New Wave; the northern tradition in Dreyer and Bergman; Asian cinematic practice in films of Satyajit Ray, Kurosawa, and Ozu; and further European innovations in Antonioni, Varda, the Taviani brothers, and Pasolini.
-
4.00 Credits
See Film 167 for a full description.
-
2.00 Credits
This two-semester course introduces the basic problems (technical and theoretical) related to film and/or electronic motion picture production. It is designed to be taken in the sophomore year and leads to a spring Moderation project. Prerequisite: a 100- or 200-level course in film history.
-
4.00 Credits
This production course examines the major aesthetic elements of the visual and the aural. The primary focus is the artful juxtaposition of sound and image through the production of short film or video projects. The course consists of technical instruction, readings, in-class screenings, and critiques of student projects.
-
4.00 Credits
Students make short video projects using digital animation and compositing programs (Macromedia Flash and Adobe After Effects) in a workshop designed to help them develop a facility with these tools and find personal animating styles that surpass the tools at hand. Techniques and aesthetics associated with digital animation that challenge conventions of storytelling, editing, figure/ground relationship, and portrayal of the human form are discovered. Diverse examples of animating and collage from film, music, writing, photography, and painting are referred to. Prerequisite: familiarity with a nonlinear video editing program.
-
4.00 Credits
This historical overview and critique of the documentary form makes use of ethnographic and propaganda films, the social documentary, cinema verité, and the travelogue. The class investigates the basic documentary issue of truth and/ or objectivity and critiques films using readings from feminist theory, cultural anthropology, general film history/theory, and other areas.
-
4.00 Credits
The scriptwriting process is studied from idea through plot and outline to finished script, including character development and dramatic/ cinematic structure. Students' work is analyzed throughout the course. Limited enrollment, open to students with a demonstrable background in film or writing and a willingness to share their work with others.
-
4.00 Credits
Integrated Arts Seminars offer an in-depth examination of a particular period, style, filmmaker, or national school of filmmaking. Weekly screenings of acknowledged and influential masterpieces and related lectures make up the bulk of the course, with supplementary reading. Enrollment is open, but class size may be limited. Recent seminars in the History of Cinema have included the following.
-
4.00 Credits
An introduction to the major developments in classic and contemporary film theory and criticism. The course covers key texts (Kracauer, Eisenstein, Bazin, Metz, Mulvey, Bordwell) and examines the cultural contexts that gave rise to these debates and arguments. Among the issues under review: the specificity of film form; cinematic realism; the politics and ideology of cinema; the relation between cinema and language; the way meaning is constructed in the process of viewing a film; spectatorship, identification, and subjectivity; the representation of women and racial and sexual minorities; and the formation of film canons and hierarchies. The syllabus pairs writings on a central principle of film analysis with cinematic examples.
-
4.00 Credits
This advanced filmmaking workshop, intended for students who are especially interested in dramatic, documentary, or reportage cinema, teaches hands-on shooting and ways to work out solutions to practical and/or aesthetic problems as they are encountered in the making of a film.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Privacy Statement
|
Terms of Use
|
Institutional Membership Information
|
About AcademyOne
Copyright 2006 - 2025 AcademyOne, Inc.
|
|
|