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Course Criteria
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4.00 Credits
Same as History 4988
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4.00 Credits
Same as History 4994
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3.00 Credits
This course presents a historical overview of the forms that racial and ethnic representations have taken in American television. The course attempts to chart changes in public perception of racial and ethnic difference in the context of sweeping cultural and social transformations. One of the key aims of the course is to understand how notions of American identity are produced by a consensus medium. Required screenings.
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3.00 Credits
From the early documentary roots of cinema through the Civil Rights movement and to the recent democratization of the means of media production, questions of race and ethnicity have proved crucial both to the content of American films and also to the perspective from which they are made. This class looks at the representation of historical moments from the Civil War to Hurricane Katrina, the production of cinematic stereotypes as well as their appropriation for subversive purposes, and the gradual evolution of multiculturalism as a central factor in the stories told and the telling of stories on the American screen. Students use film texts to develop a critical understanding of one of the most important issues in American history. Required screenings.
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3.00 Credits
What do such disparate television series as Dr. Who, Star Trek, The Avengers, Monty Python's Flying Circus, The X-Files, Buffy the Vampire Slayer, Xena: Warrior Princess, and Sealab 2021 have in common? They all attract loyal audiences, stimulate "subcultural" sensibilities, lend themselves to "textual poaching," and thus qualify as examples of "Cult TV," a term that has become increasingly salient within critical studies of the medium. In this course we explore the subject of cult television from a variety of social, cultural, and thematic perspectives, so that by the end of the semester students have gained a deeper understanding of its historical importance as a barometer of both popular and oppositional tastes. We examine how these and other examples of genre-based network and cable programming complicate distinctions between lowbrow and highbrow tastes while sustaining worldwide "interpretative communities" years after their original airdates. Students also examine the importance of syndication, home video technologies, ancillary markets, publishing, and the Internet in the construction of fan cultures. Required screenings.
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3.00 Credits
This course surveys the history of Asian representations in American cinema from the silent period to the contemporary era. Throughout the semester we focus on images of Chinese, Japanese, Koreans, Filipinos, and Vietnamese that have become most ingrained in American popular culture over the past century, from Fu Manchu and Madame Butterfly stereotypes popular during the classical studio era to more recent reconfigurations of racialized imagery in Jackie Chan and Jet Li films. We also examine selected works by Asian-American independent writer-directors; films and videos such as Chan is Missing, History and Memory, and Better Luck Tomorrow that challenge the stereotypes and normative tropes of "Orientalism" still permeating mainstream media. Students are asked to frame textual analyses of key films (such as The Cheat, Daughter of Shanghai, Battle Hymn, Flower Drum Song, and Enter the Dragon) within various political, social, cultural, and industrial contexts (e.g. anti-Asiatic immigration and labor policies; U.S. foreign policies; the practice of "yellowface;" censorship codes; wars in East and Southeast Asia; anti-miscegenation laws; grassroots campaigns to stem the tide of stereotypes and hate-crimes; etc.). Required screenings.
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1.00 - 3.00 Credits
This course is intended for freshmen and sophomores who wish to register for internships. Students must receive program approval prior to beginning the internship. Please consult the program guidelines governing internships.
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3.00 Credits
Same as Comp Lit 215C
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3.00 Credits
How do film images create meaning? What are the tools the film artist uses to create images? This course introduces students to basic techniques of film production and formal methodologies for analyzing film art. Students learn the essential components of film language-staging, camera placement, camera movement, editing, lighting, special effects, film stock, lenses-to heighten perceptual skills in viewing films and increase critical understanding of the ways films function as visual discourse. The course is foundational for the major in Film and Media Studies. Required screenings.
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3.00 Credits
This introductory video production course explores how images and sounds function as cinematic building blocks and purveyors of content. Through creative assignments involving at times personal inquiry, at other times the understanding of elementary semiotics, the components of film and video are examined. Students learn the basics of key sound and editing software to produce, outside of class time, an original two-minute narrative piece. This course is a prerequisite to all other Film and Media Studies video courses. Prerequisite: Film 220 or consent of instructor.
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