Results for FILMSTUD

From the rise of the French New Wave to the present.

The close analysis of film. Emphasis is on formal and narrative techniques in structure and style, and detailed readings of brief sequences. Elements such as cinematography, mise-en-scène, composition, sound, and performance. Films from various historical periods, national cinemas, directors, and genres. Prerequisite: FILMSTUD 4 or equivalent. Recommended: ARTHIST 1 or FILMSTUD 102. Course can be repeated twice for a max of 8 units.

While anime has spread around the world, Japanese art animators have been busy developing a parallel tradition, built from a more personal, experimental, and idiosyncratic approach to the medium. Looking closely at key works from major artists in the field, this course explores art animation from a variety of perspectives: animation scene; philosophical attempts to account for animated movement; and art animation's unique perspective on Japanese culture.

Preference to sophomores. Do you want to learn more about independent film as it was practiced in major urban centers by young filmmakers? This class focuses on major movements by groups such as the Sankofa Film Collective and the L.A. Rebellion. Learn how to analyze film and to discuss the politics of production as you watch films by Spike Lee, Julie Dash, Melvin Van Peebles, Ngozi Onwurah and more. We will discuss representation, lighting, press material, and of course the films themselves. This course includes a workshop on production, trips to local film festivals and time to critique films frame-by-frame. It matters who makes film and how they do so. When you have completed this class you will be able to think critically about "alternative viewpoints" to Hollywood cinema. You will understand how independent films are made and you will be inspired to seek out and perhaps produce or promote new visions.

A broad engagement with Indian cinema: its relationship with Indian politics, history, and economics; its key thematic concerns and forms; and its adaptation of and response to global cinematic themes, genres, and audiences. Locating the films within key critical and theoretical debates and scholarship on Indian and world cinemas. Goal is to open up what is often seen as a dauntingly complex region, especially for those who are interested in but unfamiliar with its histories and cultural forms.

Open to graduate students and advanced undergraduates with permission of the instructor; capstone course for majors (senior seminar). Topics vary year to year. Focus is on historiography and theory. Limited enrollment. Permission code needed in order to enroll.

May be repeated for credit.

May be repeated for credit.

From the rise of the French New Wave to the present.

The close analysis of film. Emphasis is on formal and narrative techniques in structure and style, and detailed readings of brief sequences. Elements such as cinematography, mise-en-scène, composition, sound, and performance. Films from various historical periods, national cinemas, directors, and genres. Prerequisite: FILMSTUD 4 or equivalent. Recommended: ARTHIST 1 or FILMSTUD 102. Course can be repeated twice for a max of 8 units.

Physical, emotional, aesthetic, and social liberation mark this most colorful of film genres. Musicals are a place for staging issues of identity, including the impact of African American and Jewish culture, and issues of gay reception and interpretation. Attention to technologies of sound and color, the relation to vaudeville and Broadway, and ethnic and aesthetic diversity. Musicals as the epitome of filmic illusionism and the Hollywood studio system; the implications of their seduction of audiences; the meaning of spectacle, the centrality of performance. Busby Berkeley, Fred Astaire, Judy Garland, Bob Fosse, Stanley Donen, Gene Kelly, Vincente Minnelli.

Open to graduate students and advanced undergraduates with permission of the instructor; capstone course for majors (senior seminar). Topics vary year to year. Focus is on historiography and theory. Limited enrollment. Permission code needed in order to enroll.

For Art History Ph.D. candidates. Prerequisite: consent of instructor.

For graduate students only. Approved independent research projects with individual faculty members.

May be repeated for credit. (Staff)