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1 - 10 of 50 results for: FILMSTUD

FILMSTUD 4: Introduction to Film Study

Formal, historical, and cultural issues in the study of film. Classical narrative cinema compared with alternative narrative structures, documentary films, and experimental cinematic forms. Issues of cinematic language and visual perception, and representations of gender, ethnicity, and sexuality. Aesthetic and conceptual analytic skills with relevance to cinema.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 100A: History of World Cinema I, 1895-1929 (FILMSTUD 300A)

From cinema's precursors to the advent of synchronized sound.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Oeler, K. (PI)

FILMSTUD 100B: History of World Cinema II, 1930-1959 (FILMSTUD 300B)

The impact of sound to the dissolution of Hollywood's studio system.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Oeler, K. (PI)

FILMSTUD 100C: History of World Cinema III, 1960-Present (FILMSTUD 300C)

From the rise of the French New Wave to the present.
Last offered: Spring 2008 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 101: Fundamentals of Cinematic Analysis (FILMSTUD 301)

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.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 102: Theories of the Moving Image (FILMSTUD 302)

Major theoretical arguments and debates about cinema: realism,formalism, poststructuralism, feminism, postmodernism, and phenomenology. Prerequisites: ARTHIST 1, FILMSTUD 4.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, GER:DB-Hum

FILMSTUD 111: The Body in American Genre Film: From Chaplin to The Matrix (FILMSTUD 311)

The American genre film as a mass form that shares elements with a carnivalesque, folk culture such as a rejection of politeness and piety, and an emphasis on the physical. Genres include comedy, western, war, science fiction, musical, horror, melodrama, gangster, and cult, exploitation, and blaxploitation films. The place of the body onscreen. How does the body exist in relation to the world, other bodies, and the act of perception? What meaning does bodily movement have in relation to narrative?
Last offered: Autumn 2006 | UG Reqs: GER:DB-Hum

FILMSTUD 114: Comics: A Lively Art (FILMSTUD 314)

History and aesthetics of comics in relation to emerging mass media and modernist and postmodernist aesthetic and narrative practices. Focus is on innovators in humorous and dramatic strips, superheroes, undergrounds and independents, political commentary, and autobiography.
| UG Reqs: GER:DB-Hum

FILMSTUD 115: Documentary Issues and Traditions (FILMSTUD 315)

Issues include objectivity/subjectivity, ethics, censorship, representation, reflexivity, responsibility to the audience, and authorial voice. Parallel focus on form and content.
Last offered: Autumn 2007 | UG Reqs: GER:DB-SocSci, WAY-A-II

FILMSTUD 116: International Documentary (FILMSTUD 316)

Historical, aesthetic, and formal developments of documentary through nonfiction films in Europe, Asia, Latin America, and Africa.
Terms: Aut, Sum | Units: 4 | UG Reqs: GER:DB-Hum
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