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Course Criteria
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4.00 Credits
This course considers horror films across a broad historical and geographical range, including the work of Bava, Boyle, Browning, Cronenberg, Denis, de Palma, Feuillade, Franju, Haneke, Hooper, Jodorowsky, Kobayashi, Kiyoshi Kurosawa, Miike, Murnau, Nakata, Polanski, Romero, Tourneur, Ulmer, and Whale. The class begins with generic definitions and transformations before moving into such topics as gender and sexuality, abjection, the uncanny, apocalypse, serial killing, and the ideology of horror.
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4.00 Credits
Since the beginning of video, artists have experimented with installation. Wolf Vostell and Nam June Paik used multiple monitors in the 1960s, Joan Jonas incorporated video with live performance, Juan Downey and Steina Vasulka experimented with interactive laser discs, and so on. The use of live feeds and large and small video projections on walls and objects imply complex shifts of narrative composition as well as temporal and spatial relationships. Through readings and screenings, the class examines these diffuse practices. Students are encouraged to explore high- and low-tech solutions to their audiovisual desires and to imagine the campus as their canvas. Prerequisite: Film 201-202.
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4.00 Credits
Africana Studies, American Studies An examination of African American cinema from 1970 to 2000 that also traces the movement of black cultural producers within the independent and commercial spheres as they confront the social, political, and aesthetic dimensions of contemporary black representation. Topics include post-'60s representational politics, blaxploitation, the black star, the crime drama, cross-racial buddy films, and black women's films. Directors studied include Charles Burnett, Julie Dash, Spike Lee, John Singleton, and Melvin Van Peebles.
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4.00 Credits
Asian Studies This course concentrates on the feature film production of three regions: Japan, China (including mainland China, Taiwan, and Hong Kong), and India (Bollywood, in particular). The historical development of the relatively orthodox national cinema of Japan is reviewed before the class investigates how the ethnic, linguistic, and geopolitical complexity of the other regions puts into question the apparently stable category of national cinema. In addition to the fundamental goal of teaching students to appreciate a range of unfamiliar film texts, the course seeks to develop an understanding of the changing place of cinema in a wider cultural landscape. Limited enrollment.
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4.00 Credits
What constitutes a genre in commercial narrative cinema? Three case studies are examined: horror, science fiction, and the gangster film. Topics of investigation include genres as literary and cross-cultural categories, repetition versus difference, reflexivity and revisionism, and generic hybrids. Priority is given to students who have completed film studies courses.
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4.00 Credits
An advanced production course centered on the basic aesthetic, theoretical, and technical issues of electronic media production. The course consists of technical instruction, readings, in-class screenings, and critiques of student projects.
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4.00 Credits
Integrated Arts This production course investigates the work of film and video artists who have produced work critical of a specific social or political situation. Whether didactic, subversive, agitprop, rant, provocation, or documentation, these works employ inventive solutions to visual aesthetics and narrative structure. Works by Guy Debord, Carolee Schneemann, Jonas Mekas, Martha Rosler, Antonio Muntadas, and Yvonne Rainer, among others, are examined. Readings augment the screenings and class discussions. Students are also expected to apply these investigations to the production of three video projects. Prerequisite: Film 201-202.
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4.00 Credits
Integrated Arts Class members function as a rotating production team, combining their talent, imagination, and industry in the creation of an original 16mm film. Each student has an opportunity to write, direct, and edit one scene, and to act as crew or cast in other scenes. Issues of art direction, narrative continuity, and collaboration are addressed as they arise. The primary goal is for students to develop technical and storytelling proficiency through working in a variety of roles in a film production.
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4.00 Credits
This class explores the process of story or script development through spontaneous written response to assigned problems, situations, complications, and possibilities. The purpose: to unhinge caution and access story by putting aside logic and judgment in the initial stages of creating an idea, character, and plot. Later in the semester, elements of structure, balance, collaboration, and evaluation are added to the mix. All assignments are handwritten in class and read aloud. Think of it as a scavenger hunt for the imagination. Open to all students interested in writing for literature, theater, or film.
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4.00 Credits
The Major Conference provides a forum for the exchange of ideas prior to Senior Project work and makes useful technical information available for individual projects through combined theory-practice sessions. Students are required to complete a short film and to share their work with others. In addition, films are screened and readings assigned to establish a common ground for discussion and argument. Recent examples of Major Conferences include the following.
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