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  • 4.00 Credits

    This course teaches the basic concepts and critical skills involved in interpreting film. Through lecture, reading, discussion, and screening of films both in and outside of class, the student will become a more informed and sophisticated observer of the cinema. During the first half of the semester, the class will study form and style in narrative film as well as in nonnarrative practices such as avant-garde and documentary filmmaking. For the remainder of the course, the class will examine some of the major critical approaches in the field. Meets Humanities I-A requirement R. Blaetz 2 meetings (75 minutes), 1 screening (2 1/2 hours); 4 credits
  • 1.00 - 2.00 Credits

    (Same as Art History 202) Some of the best feature-length films of the past century have commanded our attention because of their compelling artistry and the imaginative ways they tell stories visually and verbally. This course closely studies narrative films from around the world, from the silent era to the present, and in the process it introduces students to the basic elements of film form, style, and narration. Some of the films to be considered are: Broken Blossoms, Battleship Potemkin, Citizen Kane, Contempt, The Bicycle ?ef, Ugetsu, RearWindow,Woman in the Dunes, The Marriage of Maria Braun, Days of Heaven, and Moulin Rouge. Meets Humanities I-A requirement P. Staiti 2 meetings, (1 75 minute and 1 2-hour screening); 4 credits
  • 4.00 Credits

    (Speaking- and writing-intensive course; Same as Spanish 221(Core)) This course offers a broad introduction to the history, politics, and aesthetics of Latin American and Spanish cinema in the context of, and in contrast with, cinemas from other regions, especially hegemonic Hollywood aesthetics. This course will also focus specifically on introducing students to the basic terminology and methodologies of film analysis, thus preparing them for the department's film seminar (Spanish 320) and other advanced courses in film studies. Meets multicultural requirement; meets Humanities I-A requirement C. Gundermann 4 credits
  • 3.00 Credits

    Fall 2008 210f(01) Eye and Ear Control: Beginning Video Production In this class we plunge into the multiple, overlapping, and contradictory histories and practices of experimental film and video.We will investigate the structures of experimental media and its makers' deep understanding of cra? and material.We will unpack the term "experimental" and create our own videosthat engage, embrace, and dismantle traditional practices.We begin by looking at historical works and move into analyzing contemporary experimental media. This is a beginning course that covers the basics of shooting video, lighting, audio, and digital editing in the context of the above themes. Meets Humanities I-A requirement J. Perlin Prereq. Permission of Instructor required.; 1 meeting (3 hours), 1 screening (3 hours); a lab fee may be charged; 4 credits 210(02) Space, Silence, Splicing, Sound: Beginning Video Production This beginning video course is an intensive introduction to digital video cameras, microphones, lights, and digital video editing. The "space" section investigates basic shootingstrategies. In the "silent" section, we study thesilent film genre, viewing historical and contemporary works. "Splicing" looks at editingas a primary focus for the creation of meaning. The "sound" section examines audio asan aesthetic world with a life of its own. The course requires production assignments and numerous readings, and weekly evening screenings. Final projects entail the creation of one or more videos of your own devising. Meets Humanities I-A requirement J. Perlin Prereq. Permission of Instructor required.; 1 meeting (3 hours), 1 screening (3 hours); a lab fee may be charged; 4 credits
  • 1.00 Credits

    Fall 2008 220f(01) Music and Film (See Music 220) Meets Humanities I-A requirement D. Sanford Prereq. 100 or 103 or 105 or permission of instructor; 4 credits 220f(02) American Gothic (See English 243) Meets Humanities I-A requirement E. Young Prereq. soph, jr, sr, English 240 or 241 recommended; 4 credits Spring 2009 220s(01) Religion and Film (See Religion 213) Meets Humanities I-A requirement H. Atchley 2 meetings (75 minutes), 1 screening 1 hour and 50 minutes; 4 credits 220s(02) Reel America: History and Film (See History 283(01)) Meets Humanities I-A requirement D. Czitrom 4 credits 220(04) Economics in Popular Film (See Economics 100(02)) Meets Humanities I-A requirement S. Gabriel 2 meetings (75 minutes), and film showing (3 hours); 4 credits 220(05) American Media History (See History 283s(08)) Meets Humanities I-A requirement D. Czitrom 4 credits 220(06) American Popular Culture, 1945 to the Present Meets Humanities I-A requirement J. Gerhard
  • 4.00 Credits

    This course examines the principles, methods, and styles of nonfiction film. Beginning with the "actualités" of film history's firpractitioners and ending with contemporary self-reflexive films, such as Errol Morris'sThe ?n Blue Line, the class studies films that strive to represent some aspect of the real world as opposed to the fictional worlds of narrative cinema. Meets Humanities I-A requirement R. Blaetz Prereq. Film Studies 201 or 202 or permission of instructor; 2 meetings (75 minutes) plus 1 screening (2 1/2 hours); 4 credits
  • 2.00 Credits

    This course examines some aspect of the history and aesthetics of cinema made outside of the narrative practice of the classical Hollywood model. Some areas of focus include: surrealism and the cinema, American avantgarde cinema, or women's experimental cinema. Meets Humanities I-A requirement R. Blaetz Prereq. Film Studies 201 or 202 or permission of instructor; 2 meetings (75 minutes), 1 screening (2 hours); 4 credits
  • 4.00 Credits

    This course offers an historical survey of the cinema as a developing art form and a means of communication.We will consider the national, economic, and social conditions of an international medium that has existed for over a century. The national and thematic focus of the course shi?s through the semester. For example, we will focus on u.S. film in studying the earliest developments in film technology and narrative, Soviet and French films to study the formal and social experimentation of the 1920s, and films made in Cuba and Brazil to elucidate political filmmaking in the 1960s. The course provides a background for understanding film history and pursuing further studies in the field. Meets Humanities I-A requirement N. Inouye Prereq. Film Studies 201 or 202 or permission of instructor; 2 meetings (75 minutes), 1 screening (2 1/2 hours); 4 credits
  • 2.00 Credits

    This course offers a critical, historical, and theoretical approach to a specific film genre. Some examples of genres that might be studied are: the science fiction, horror, melodrama, musical,Western, detective, or gangster film. Fall 2008 260f(01) Film Genre and Gender This course examines the development of Hollywood film genres largely in the poststudio era, particularly the musical, the melodrama, the horror film, and the science fiction film.We will consider the evolution of these four genres in relation to changes in the film industry and in American society, especially in relation to gender. Meets Humanities I-A requirement R. Blaetz Prereq. Film Studies 201 or 202 or permission of instructor; 2 meetings (75 minutes) and 1 screening (2 hours, 30 minutes); 4 credits Spring 2009 260s(01) Race, Ethnicity, and the Hollywood Musical The musical film has been the most criticized of Hollywood genres for its "escapism" andall-pervasive "whiteness." Yet it was also oneof the few genres to feature and promote performers from different racial and ethnic groups such as Al Jolson, Lena Horne, and Carmen Miranda.We will examine the ways in which this prototypical Hollywood product ignored and reflected the dynamics of race and ethnicity in American society. Meets Humanities I-A requirement D. Garcia Prereq. Film Studies 201 or 202 or permission of instructor; 2 meetings (75 minutes) and 1 screening (2 hours, 30 minutes); 4 credits
  • 3.00 Credits

    This course offers a critical, historical, and theoretical approach to the cinema of a single country or group of countries. Some examples that might be studies are: French cinema, Francophone cinema, Indian cinema, Eastern European cinema, or Latin American cinema.
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