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| FILM 150a, Introduction to Film Studies. |
| MWF 11.35-12.25 ; T 7.00-11.00p |
Aaron Gerow |
| II Hu WR (34) |
A survey of film studies concentrating on theory, analysis, and criticism. Students learn the critical and technical vocabulary of the subject and study important films in weekly screenings.
Prerequisite for the major. |
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| FILM 170b, Modes of Filmmaking. |
| M 7.00-9.00p ; TTh 1.30-2.20 ; 1 HTBA |
Ron Gregg, Sandra Luckow |
| II (26) |
Practice in modes of filmmaking - documentary, fiction, animation, and experimental - and study of the central historical, theoretical, and aesthetic concerns raised by each mode.
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| FILM 264b, French Female Filmmakers. |
| MW 2.30-3.20 ; 1 HTBA |
Jean-Jacques Poucel |
| I Hu (0) |
A study of contemporary French women directors. Particular focus on the gendered gaze and the disruption of social roles. Theories of a feminine aesthetic in editing, camera work, and narrative representations of childhood, coming of age, mothering, eroticism, and dying. Directors include Ackerman, Breillat, Denis, Duras, Kurys, Serreau, and Varda.
One discussion section conducted in English. |
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| FILM 315b, Korean Cinema after 1961. |
| TTh 1.00-2.15 ; 1 HTBA |
Seungja Choi |
| I Hu (0) |
Exploration of Korean national cinema from the early 1960s to the present. Cinematic representations in the context of such themes as history, nationhood, gender, identity, and traditional culture. Attention to formal aspects of the films, including film styles and cinematography.
No knowledge of Korean required. Discussion section conducted in Korean available for students who have completed KREN 150 or equivalent. |
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| FILM 317a, Understanding Bollywood. |
| Su 6.00-9.00p ; MW 4.00-5.15 |
Ashish Chadha |
II ; Not Cr/D/F Hu (0)
Permission of instructor required |
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| FILM 320a, Close Analysis of Film. |
| M 9.00-11.00p ; T 1.30-3.20 |
Staff |
II ; Not Cr/D/F Hu (26)
Permission of instructor required |
Exploration of ways in which traditional genres and alternative film forms establish or subvert convention and expectation in thematic and ideological concerns, narrative containment and excess, the representation of the body, the use of music and voice, and the construction of space in the cinema. Close analysis of expressive techniques of cinematic image and sound in a selection of Hollywood and European films.
Prerequisite: FILM 150a. |
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| FILM 320b, Close Analysis of Film. |
| M 7.00-9.00p ; MW 1.00-2.15 |
Scott Bukatman |
II ; Not Cr/D/F Hu (26)
Permission of instructor required |
Exploration of ways in which traditional genres and alternative film forms establish or subvert convention and expectation in thematic and ideological concerns, narrative containment and excess, the representation of the body, the use of music and voice, and the construction of space in the cinema. Close analysis of expressive techniques of cinematic image and sound in a selection of Hollywood and European films.
Prerequisite: FILM 150a. |
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| FILM 325a, American Film Comedy. |
| M 2.30-5.20 |
Michael Roemer |
II ; Not Cr/D/F Hu (37)
Permission of instructor required
Meets during reading period |
A study of the great American film comedians and an investigation into the psychology of laughter. Comedians from Chaplin and Keaton to the Marx brothers and Fields examined against a background of European comedy. Topics include comic form and technique, and their relevance to the American scene. Not a history of American film comedy.
Priority to juniors and seniors majoring in American Studies or in Film Studies. |
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| FILM 330b, Film Theory and Aesthetics. |
| TTh 11.35-12.50 ; 2 HTBA |
John MacKay |
| II ; Not Cr/D/F Hu (24) |
Survey of film theory from Hugo Münsterberg to Laura Mulvey. Key texts examined in their historical context and in light of related theories of aesthetics, psychoanalysis, and other intellectual currents. Special attention to the properties of film as an art form and to the ways film has functioned as a cultural practice. Theorists include Arnheim, Benjamin, Kuleshov, Eisenstein, Epstein, Dulac, Kracauer, Bazin, Metz, and Doane.
After FILM 150a or LITR 300b, or with permission of instructor. |
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| FILM 331b, Race, Cinema, and the Migrant City. |
| MW 11.35-12.50 ; T 9.00-11.00p |
Staff |
II ; Not Cr/D/F Hu (0)
Permission of instructor required |
History and aesthetics of the cinema in relation to race, immigration, and modernity. Asian American, African American, and white immigrant film history, representation, and spectatorship.
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| |
| FILM 338a, Errol Morris and Contemporary Documentary. |
| T 7.00-9.00p ; W 3.30-5.20 |
Charles Musser |
II ; Not Cr/D/F Hu (0)
Permission of instructor required
Meets during reading period |
Introduction to the work of one of America“s foremost documentary filmmakers, with a systematic viewing and analysis of his films. Morris’s work in relation to that of contemporary filmmakers whose work he praises.
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| |
| FILM 343b, Psychopathology in Film. |
| T 7.00-9.00p ; W 1.30-3.20 |
James Charney |
III ; Not Cr/D/F So (0)
Permission of instructor required |
A clinical discussion of psychosis, paranoia, psychopathy, depression, mania, and obsessions as they appear in films. Distortions from reality that are introduced for dramatic or cinematic effect. The language and craft of film as they convey character and inner experience. Primary texts are films such as Repulsion, Strangers on a Train, The Night of the Hunter, Taxi Driver, Psycho, and A Woman Under the Influence.
First class session is the screening on January 15, 2008, in 211 LC. |
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| FILM 349a, Script to Screen. |
| W 7.00-9.00p ; Th 11.35-1.25 |
Marc Lapadula |
II ; Not Cr/D/F (0)
Permission of instructor required |
The process of adaptation between the written script and the filmed moment. Discussion of what is gained and lost during this transition.
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| |
| FILM 350a, Screenwriting. |
| W 3.30-5.20 |
Marc Lapadula |
II ; Not Cr/D/F (0)
Permission of instructor required |
A seminar and workshop in screenplay writing. Students learn the basics of the craft by reading existing scripts, looking at films from a writer’s perspective, and writing a short screenplay.
Enrollment limited to junior Film Studies majors. |
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| FILM 350b, Screenwriting. |
| |
Marc Lapadula |
II ; Not Cr/D/F (0)
Permission of instructor required |
A seminar and workshop in screenplay writing. Students learn the basics of the craft by reading existing scripts, looking at films from a writer’s perspective, and writing a short screenplay.
Enrollment limited to junior Film Studies majors. |
| |
| FILM 364a, Milos Forman and His Films. |
| Th 1.30-3.20 ; 2 HTBA |
Karen von Kunes |
I ; Not Cr/D/F Hu (0)
Permission of instructor required |
An in-depth examination of selected films by Milos Forman and the representatives of the New Wave, cinéma vérité in Czech filmmaking. Special attention to Forman’s artistic and aesthetic development as a Hollywood director in such films as Hair, One Flew over the Cuckoo’s Nest, Ragtime, and Amadeus.
Screenings and discussion in English. |
| |
| FILM 377a, Postwar Queer Avant-Garde Film. |
| Su 7.00-9.00p ; T 1.30-3.20 |
Ron Gregg |
II ; Not Cr/D/F Hu (0)
Permission of instructor required |
Production, exhibition, and aesthetic practices in postwar queer underground cinema in the United States as it developed from the 1930s to the early 1970s. The films of gay or bisexual filmmakers such as Willard Maas, Andy Warhol, Jack Smith, Kenneth Anger, and José Rodriguez-Soltero; the work of antiheteronormative female filmmakers such as Barbara Rubin and Marie Menken; the links between avant-garde cinema, theater, and other arts, as well as the political context.
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| |
| FILM 405b, Film and History. |
| T 1.30-3.20 |
Seth Fein |
II ; Not Cr/D/F Hu WR (0)
Permission of instructor required |
An exploration of relationships between cinema and the past that focuses on two discrete but related themes: how film constructs history and how history can be approached through the study of film.
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| |
| FILM 411a, The Films of Alfred Hitchcock. |
| M 7.00-9.00p ; T 3.30-5.20 |
Brigitte Peucker |
II ; Not Cr/D/F Hu (0)
Permission of instructor required |
An examination of Hitchcock’s career as a filmmaker from Blackmail to Frenzy, with close attention to the wide variety of critical and theoretical approaches to his work. Topics include the status of the image; the representation of the feminine and of the body; spectatorship; painterliness and theatricality; generic and psychoanalytic issues.
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| |
| FILM 432b, World Documentary. |
| W 7.00-9.00p ; Th 1.30-3.20 |
Charles Musser |
II ; Not Cr/D/F (0)
Permission of instructor required
Meets during reading period |
A survey of international documentaries that have emerged since the end of the Cold War. The new political alignments, moving image technologies, and exhibition practices that have made possible a new phase in documentary practice. Filmmakers include Chris Marker, Wu Wenguang, Agnes Varda, Anand Patwardhan, Annie Goldson, and Raoul Peck.
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| |
| FILM 437b, Film Noir and American Culture of the 1940s and 1950s. |
| T 1.30-3.20 |
John Szwed |
II ; Not Cr/D/F Hu (0)
Permission of instructor required |
A study of film noir as a genre of American commercial cinema in relation to the social and cultural history of the United States in the 1940s and 1950s.
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| |
| FILM 438b, U.S. Cinema from 1960 to the Mid-1970s. |
| W 6.30-8.30p ; F 1.30-3.20 |
Michael Kerbel |
II ; Not Cr/D/F Hu (0)
Permission of instructor required
Meets during reading period |
An examination of the significant developments in American narrative cinema from 1960 to the mid-1970s, through close analysis of major representative films. Topics include the decline of the studio system; Hollywood’s departures from traditional genres, themes, structures, and styles; the treatment of previously forbidden subjects; the influence of avant-garde, documentary, and international film; the director’s ascendance; representations of race, ethnicity, gender, and sexuality; relations between films and American politics, society, and culture.
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| |
| FILM 442b, The City in Literature and Film. |
| T 7.00-9.00p ; Th 9.25-11.15 |
Katerina Clark |
I ; Not Cr/D/F Hu (0)
Permission of instructor required |
Consideration of the architecture, town planning, and symbolic functions of various cities in Europe, Latin America, the United States, and East Asia. Discussion of the representation of these cities in literature and film. Works include older Soviet and Chinese films about Shanghai and contemporary films about Hong Kong and Beijing.
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| |
| FILM 445a, Adaptation and Representation in Cinema. |
| T 7.00-9.00p ; Th 9.25-11.15 |
Dudley Andrew |
I (0)
Permission of instructor required
Meets during reading period |
Cinema from the outset adapted works from older arts, particularly literature. This fact need not be taken as evidence of compromise but rather as a sign of the modernity of cinema. Case studies of filmic transformations used to address the status of the arts in the twentieth century.
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| |
| FILM 446a, Japanese Cinema before 1960. |
| TTh 11.35-12.50 ; W 7.00-9.30p |
Aaron Gerow |
I ; Not Cr/D/F Hu (0)
Permission of instructor required
Readings in translation |
The history of Japanese cinema to 1960, including the social, cultural, and industrial backgrounds to its development. Periods covered include the silent era, the coming of sound and the wartime period, the occupation era, the golden age of the 1950s, and the new modernism of the late 1950s.
No knowledge of Japanese required. |
| |
| FILM 455a, Documentary Film Workshop. |
| W 12.00-3.00 |
Christine Hegedus |
II ; Not Cr/D/F (0)
Permission of instructor required
Meets during reading period |
A workshop designed primarily for Film Studies majors making documentaries as senior projects.
Seniors in majors other than Film Studies admitted as space permits. |
| |
| FILM 455b, Documentary Film Workshop. |
| W 12.00-3.00 |
D. A. Pennebaker |
II ; Not Cr/D/F (0)
Permission of instructor required
Meets during reading period |
A workshop designed primarily for Film Studies majors making documentaries as senior projects.
Seniors in majors other than Film Studies admitted as space permits. |
| |
| FILM 460a, Modern Italy: History and Film. |
| TTh 11.35-12.50 ; W 7.00-9.00p |
Millicent Marcus, Frank Snowden |
| II Hu (24) |
The making of modern Italy from the Congress of Vienna to the present, fusing the techniques of historians with the insights of modern film studies. History as it is represented and transformed in the cinema; dialogue between these two discourses. Topics include national unification; regionalism and the Italian South; organized crime and the Mafia; emigration; fascism; malaria and its social impact; the First and Second World Wars; Christian Democracy, communism, and the Italian Republic; the consumer society; terrorism; and contemporary politics.
No knowledge of Italian required. |
| |
| FILM 468b, Weimar Cinema. |
| M 7.00-9.00p ; T 3.30-5.20 |
Brigitte Peucker |
I, II Hu (0)
Permission of instructor required |
The German cinema, 1919-1930. Expressionist films and films of the New Objectivity. The pressures of technology, psychoanalysis, and the other arts on cinema; issues of spectatorship, visual pleasure, and distraction in the context of a national cinema. Readings by Kracauer, Benjamin, and others. Films by Murnau, Lang, Pabst, Brecht, von Sternberg, and others.
Conducted in English, with readings in English. |
| |
| FILM 471a, Independent Directed Study. |
| 1 HTBA |
Staff |
II ; Not Cr/D/F (0)
Permission of instructor required |
For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. To apply, students should present a prospectus, a bibliography for the work proposed, and a letter of support from the adviser to the director of undergraduate studies. Term credit for independent research or reading may be granted and applied to any of the requisite areas upon application and approval by the director of undergraduate studies.
|
| |
| FILM 471b, Independent Directed Study. |
| 1 HTBA |
Aaron Gerow |
II ; Not Cr/D/F (0)
Permission of instructor required |
For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. To apply, students should present a prospectus, a bibliography for the work proposed, and a letter of support from the adviser to the director of undergraduate studies. Term credit for independent research or reading may be granted and applied to any of the requisite areas upon application and approval by the director of undergraduate studies.
|
| |
| FILM 483a, Fiction Film Workshop. |
| Th 12.30-3.20 |
Jonathan Andrews |
II ; Not Cr/D/F (0)
Permission of instructor required |
A yearlong workshop designed primarily for Art and Film Studies majors making senior projects. Each student writes and directs a short fiction film. The first term focuses on the screenplay, production schedule, storyboards, casting, budget, and locations. In the second term students rehearse, shoot, edit, and screen the film. Materials fee: $150.
Enrollment limited to 8. Priority to majors in Art and in Film Studies. Prerequisite: ART 341a or b. |
| |
| FILM 483b, Fiction Film Workshop. |
| Th 12.30-3.20 |
Jonathan Andrews |
II ; Not Cr/D/F (0)
Permission of instructor required |
A yearlong workshop designed primarily for Art and Film Studies majors making senior projects. Each student writes and directs a short fiction film. The first term focuses on the screenplay, production schedule, storyboards, casting, budget, and locations. In the second term students rehearse, shoot, edit, and screen the film. Materials fee: $150.
Enrollment limited to 8. Priority to majors in Art and in Film Studies. Prerequisite: ART 341a or b. |
| |
| FILM 487a, Advanced Screenwriting. |
| Th 1.30-3.20 |
Marc Lapadula |
II ; Not Cr/D/F (0)
Permission of instructor required |
Students write a feature-length screenplay. Emphasis on multiple drafts and revision. Admission in the fall term based on acceptance of a complete step-sheet outline for the story to be written during the coming year.
Primarily for Film Studies majors working on senior projects. Prerequisite: FILM 350a or b. |
| |
| FILM 487b, Advanced Screenwriting. |
| Th 1.30-3.20 |
Marc Lapadula |
II ; Not Cr/D/F (0)
Permission of instructor required |
Students write a feature-length screenplay. Emphasis on multiple drafts and revision. Admission in the fall term based on acceptance of a complete step-sheet outline for the story to be written during the coming year.
Primarily for Film Studies majors working on senior projects. Prerequisite: FILM 350a or b. |
| |
| FILM 491a, The Senior Essay. |
| 1 HTBA |
Staff |
II ; Not Cr/D/F (0)
Permission of instructor required |
An independent writing and research project. A prospectus signed by the student’s adviser must be submitted to the director of undergraduate studies by the end of the second week of the term in which the essay project is to commence. A rough draft must be submitted to the adviser and the director of undergraduate studies approximately one month before the final draft is due. Essays are normally thirty-five pages long (one term) or fifty pages (two terms).
|
| |
| FILM 492b, The Senior Essay. |
| 1 HTBA |
Aaron Gerow |
II ; Not Cr/D/F (0)
Permission of instructor required |
An independent writing and research project. A prospectus signed by the student’s adviser must be submitted to the director of undergraduate studies by the end of the second week of the term in which the essay project is to commence. A rough draft must be submitted to the adviser and the director of undergraduate studies approximately one month before the final draft is due. Essays are normally thirty-five pages long (one term) or fifty pages (two terms).
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| |
| FILM 493a, The Senior Project. |
| 1 HTBA |
Staff |
II ; Not Cr/D/F (0)
Permission of instructor required |
For students making a film or videotape, either fiction or nonfiction, as their senior project. Senior projects require the approval of the Film Studies Committee and are based on proposals submitted at the end of the junior year. An interim project review takes place at the end of the fall term, and permission to complete the senior project can be withdrawn if satisfactory progress has not been made. For guidelines, consult the director of undergraduate studies.
Does not count toward the fourteen courses required for the major when taken in conjunction with FILM 455 or 483. |
| |
| FILM 494b, The Senior Project. |
| 1 HTBA |
Aaron Gerow |
II ; Not Cr/D/F (0)
Permission of instructor required |
For students making a film or videotape, either fiction or nonfiction, as their senior project. Senior projects require the approval of the Film Studies Committee and are based on proposals submitted at the end of the junior year. An interim project review takes place at the end of the fall term, and permission to complete the senior project can be withdrawn if satisfactory progress has not been made. For guidelines, consult the director of undergraduate studies.
Does not count toward the fourteen courses required for the major when taken in conjunction with FILM 455 or 483. |
