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Course Criteria
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4.00 Credits
This course will examine the Western as the American film genre par excellence. Numerous theoretical approaches will be used to study the rise and fall of the Western's popularity, its role in shaping popular myths about the United States, and its representation of masculine identity. By going chronologically from early classical to more contemporary films, students will learn how ideology and sociohistorical conditions lead to the making of certain films at certain times. In addition to looking at the classical Western, the course will analyze how the socalled spaghetti Western and political events such as the Vietnam War have transformed the genre. Students will learn how to read and discuss films by analyzing the various cinematic codes (lighting, editing, camera angles, sets, music, the three gazes, etc.), the significance of the star system, and theories of spectatorship and scopophilia. Attendance at weekly screenings is required.
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4.00 Credits
This course explores the very rich period in French Cinema during the 1950s and 1960s that is known as the French New Wave ( La Nouvelle Vague). Spearheaded by a group of young directors who also wrote their own screenplays (Truffaut, Godard, Malle, Chabrol, Resnais, among others), this movement gave rise to ?e cinema d'auteur as an innovative and influential way to produce films. To understand this very importantfilm movement, we will study the uses of script, image, and sound in the films themselves with special emphasis on storyline, subplot, and character. We will also pay considerable attention to the cultural and economic contexts in which the films were produced and the biographies of the directors themselves. Attendance at weekly screenings is required.
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4.00 Credits
This course looks critically at Brazilian cinema in both historical and contemporary contexts. We will study selected films by both major and emergent Brazilian filmmakers and also the social, political, and economic forces shaping film production in Brazil. The course emphasizes both change and continuity in the cultural formation of Brazilian film with special attention to an enduring concern in such films with social inequality and power relations in Brazil. Critical, historical, and theoretical readings will inform class discussion about the relationship between film and social change in Brazil, focusing on issues of colonialism, liberation, race, gender, class, national identity, and globalization. Attendance at weekly screenings is required.
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4.00 Credits
The Australian Cinema embodies the spatial and temporal conditions of a distant, strange continent that is home to a complex relationship between the majority immigrant population (bearing the traditions and values of European, North American, and now Asian communities) and an indigenous people who date back over 50,000 years. The course will explore these issues by focusing on films made by Australian directors (autuers) made in Australia and abroad and on films made in Australia by nonAustralian directors. Attendance at weekly screenings is required.
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4.00 Credits
This course will selectively explore the national cinemas of Japan, China, Taiwan, India, and Korea. Although the course concentrates on films that have been produced in the last ten years or so, it will also attend to seminal movements in the development of national cinematic traditions, such as the postwar films of Akira Kurosawa and Yasujiro Ozu in Japan and Saryajit Ray in India. This course will then survey several examples of new East Asian cinema - for example, Wong Karwai's In the Mood for Love ( Hong Kong/China), Hou Hsiaohsien's City of Sadness ( China), Edward Yang's Yi Yi (Taiwan), Im Kwon Taek's Chunhyang, and Takeshi Kitano's Fireworks (Japan) - , one or two films from India (Mira Nair ? SalaaBombay, and a selected Bollywood extravaganza. Attendance at weekly screenings is required Meets general academic requirement D.
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4.00 Credits
This course will focus on cinematic representations of postrevolutionary Iran, of the socalled "question" ofPalestine, and of the struggle for national selfdefinition in Turkey. In order to provide students with a grounding in the films and cultures in question, the course will also explore literary works crucial to the development of the films and cultures in question and the commercial, social, and political conditions which inform film production, distribution, and reception. The course will include films such as Kiarastomi's The Wind Will Carry Us, Meshkini's The Day I Became a Woman, Suleiman' s Divine Intervention , Panahi' Crimson Gold, Makhmalbaf's Kandahar, Ghabadi' s Marooned in Iraq , and Ceylon's Distant. The courswill be writingintensive and discussionoriented. Attendance at weekly screenings is required Meets general academic requirement D and W.
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4.00 Credits
This course will explore the structure of the motion picture industry in the United States by considering the economics of film production, distribution, and exhibition, as well as the technological aspects of the filmmedium. First, the development of the motion picture industry will be considered from the early 20 th Century through the Hollywood Studio Era of the 1930s and 1940s. Second, the course will consider how creative mavericks from the 1940s through the 1970s have been able to challenge or bend the rules of the Hollywood system. Students will explore several case studies involving these rebels, including Orson Welles ( Citizen Kane), Francis Ford Coppola ( The Godfather), and Roman Polanski ( Chinatown). Finally, the course will outline the competing financial calculus of blockbuster and independent filmmaking today, considering the technological and logistical challenges facing filmmakers in an increasingly digital world. Attendance at weekly screenings is required.
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4.00 Credits
Advanced study and analysis of selected areas in film studies designed for majors and other qualified students. Topics may include auteur studies, genre or form studies, national or regional film studies, film theory, or explorations of film and popular culture. Special emphasis is placed on advanced textual and film analysis, scholarly discussion, and writing. Attendance at weekly screenings is required. Prerequisite: FLM 202 and senior film studies major or permission of the instructor.
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1.00 Credits
An introduction to basic grammar and vocabulary as well as communication skills in French within its cultural contexts. Students will use a variety of authentic text and media resources to acquire and enhance linguistic skills. The first semester is designed for students with no knowledge of or with a weak background in French, the second for students with limited but residual previous exposure to French. Assignment by placement test. Four class hours per week plus Language Learning Center assignments.
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1.00 Credits
An accelerated review of basic French grammar through speaking, reading, writing, and other linguistically appropriate activities. The introduction of more advanced grammatical structures and a variety of authentic text and multimedia resources will enhance the students' linguistic skills and sociocultural awareness of the French speaking world. The development of functional skills and communicative ability is emphasized. Students also acquire the linguistic tools needed to continue learning French as it pertains to their fields of interest. Assignment by placement test. Three class hours per week plus Language Learning Center assignments.
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