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Course Criteria
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4.00 Credits
Exchange Program SLCC: Sound as a creative tool for enhanced story telling in film production. Use of proper equipment and techniques for acquisition of production sound; tools, techniques and practices of audio post production. At SLCC.
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3.00 Credits
Exchange Program SLCC: Prereq: FLM 1045 & FLM 1055. This course teaches advanced video editing techniques and theory utilizing the industry standard editing software. Students will understand the use of color correction technique. Students will utilize keyframes, motion effects and advanced compositing techniques.
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4.00 Credits
This course seeks to understand American film history in light of one decisive set of events: the House Un-American Activities Committee hearings on communism in the film industry and the resulting industry blacklist. These events extended from 1947 until the late 1950s, which is obviously a small portion of American cinema history. We will situate them in relation to a broader historical context. For instance, the blacklist is incomprehensible without some sense of how the Hollywood studio system operated and the threat it was under in the late forties. And if the economic conditions in Hollywood played a decisive role in the blacklist, they continue to determine the political and aesthetic character of American movies to this day. We will treat the blacklist as a particularly vivid convergence of the factors that have shaped American cinema from the beginning, including the circumstances of international capitalism (and communism), the political beliefs and artistic aspirations of particular filmmakers, and the struggle between nativism and cosmopolitanism in American culture as a whole and in American cinema in particular. (WCore: WCFAH, RE)
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4.00 Credits
This course explores the history, procedures, and consequences of organizing popular films into distinct "genres" (i.e. Western, Sci-Fi, Fantasy). The course will consider such questions as how genres get established, how we know that a film falls into a particular genre, how genres organize audience expectations, and how films may either meet or upset those expectations. (WCore: WCFAH)
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4.00 Credits
A selective consideration of films from around the world and from various historical periods, World Cinema focuses predominantly but not exclusively on films from the developing world and from underrepresented populations in the West. The emphasis is on cinema's intersection with social realities. Students may consider cinematic engagements with such issues as African decolonization, gender segregation in middle-class Indian homes in the 1950s, and poverty in urban Brazil. Prerequisite: FILM 110. Films may include profanity, violence, and/or sexually explicit images. (WCore: WCFAH)
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4.00 Credits
Exchange Program SLCC: Prereq: COMM 2200 or FILM 1055. Provides advanced video production experiences for students who already have significant video production experience. Students work alone to produce short format documentary films and in groups to produce long format film projects.
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4.00 Credits
Exchange Program SLCC: Prereq: FLM 1045, FLM 1055, ART 1310. This course covers advanced lighting techniques and camera technology for digital cinematography. Through lab demonstrations, studio projects and location settings, students will utilize professional motion-picture equipment to develop various compositional and technical skills. Digital camera equipment, lighting, filters, and other film technology will be explored.
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1.00 Credits
This is the general designation for film electives, which explore specific elements of film, film history, and interdisciplinary film studies. Courses include: Film Theory, Cinematography and Editing, National Cinemas, Documentary Film, Sociology of Popular Culture, Screenwriting, Film Genres, Narrative and Adaptation, and Race in Film.
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4.00 Credits
Through a critical analysis of key films portraying dystopian and/or post-apocalyptic events, this course will explore the representation of gender and sexuality amidst tales of eminent and complete societal collapse. Of special interest will be the relationship between traditional gender and sexuality roles vis-a-vis life changing events disrupting those constructions and suggesting the possibility of creating alternative postmodern identities. Examples will range from early foundational films including Fritz Lang's Metropolis (1927); to mid to late twentieth century films concerned with the possibilities of nuclear annihilation such as On the Beach (1959), over-population as envisioned in Soylent Green (1973), and totalitarian governments as in the adaptations of Fahrenheit 451 (1966) and 1984 (1956 and 1984); the return to film noir tropes in Blade Runner (1982), Brazil (1985), and Twelve Monkeys (1995); to the current resurgence of the genre via YA novel adaptations (Hunger Games (2012), Divergent (2014), etc) alongside dystopian re-imaginations staring diverse protagonists such as 28 Days Later (2002), I am Legend (2007) and Book of Eli (2010), among others. Texts and discussions will particularly address issues of gender and sexuality, race and ethnicity, and other markers of identity, as well as salient critiques of government and politics as evidenced in these films. Films may include profanity, violence, and/or sexually explicit images.
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2.00 Credits
Philosophy begins in wonder, Plato tells us. There is a lot in story of the Harry Potter and friends and their adversaries to wonder about in a philosphical spirit. We will explore explanations of a metaphysical sort for the parallel existence of the magic/muggle worlds, for the difference, if any, between magic and technology and science. Most of our attention will given to undertanding how the whole sequence of events in the saga, from the placing of Harry on the doorstep of his aunt to the final confrontation of Harry and Valdemort, turns on the different moral perpsectives and motives of the charatcters as well as their complex relationships. In particular, we will come to appreciate how large a role is played by the moral character or qualities of the of the participants, (i.e. their virtues (or vices)) as the driving forces behind the action and the unfolding of events.
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