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1 - 10 of 19 results for: FILMSTUD

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

From the rise of the French New Wave to the present.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Oeler, K. (PI)

FILMSTUD 125: Horror Films

TBA
Terms: Win | Units: 4

FILMSTUD 131: Cinemato-graph (FILMSTUD 331, SLAVIC 185, SLAVIC 285)

The term cinematography, which literally means "inscribing motion," tends to lose the "graphic" part in modern use. However, several influential film-makers not only practiced the art of "inscribing motion" but also wrote texts discussing the aesthetic premises of cinematographic art. This course explores theories of cinema as propagated by the following film-makers: Vertov, Eisenstein, Godard, Bresson, Antonioni, Pasolini, Tarkovsky, Greenaway, and Lynch. Selected key texts will be supplemented by screenings of classic films, indicative of each director's work.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Skakov, N. (PI)

FILMSTUD 164A: Technology and the Visual Imagination (ARTHIST 164A, ARTHIST 364A, FILMSTUD 364A)

An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Kessler, E. (PI)

FILMSTUD 165B: American Style and the Rhetoric of Fashion (AMSTUD 127, ARTHIST 165B)

Focus on the visual culture of fashion, especially in an American context. Topics include: the representation of fashion in different visual media (prints, photographs, films, window displays, and digital images); the relationship of fashion to its historical context and American culture; the interplay between fashion and other modes of discourse, in particular art, but also performance, music, economics; and the use of fashion as an expression of social status, identity, and other attributes of the wearer. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Terms: Win | Units: 4-5 | UG Reqs: WAY-A-II
Instructors: Kessler, E. (PI)

FILMSTUD 232: Chinese Cinema (FILMSTUD 432)

This course surveys a range of critical perspectives and debates on Chinese cinema. It is organized on the basis of weekly topics, such as genre, historiography, gender, modernity, and the idea of national cinema. Consent of instructor required.
Terms: Win | Units: 5
Instructors: Ma, J. (PI)

FILMSTUD 249: Eye of the Beholder: Subjective Cinema (FILMSTUD 449)

This course proposes to look at how even the most seemingly objective films are shaped by a subjective eye. An eye which is molded by gender, race, culture and class - all of which influence the entire film-making process and experience from how something is framed to how it is cut and and how it is perceived it. How we look at something, for how long we look at it and in what context we are shown something is as important as what we are looking at. Similarly the subjective eye of the viewer shapes how he or she understands and interprets the film. Whether the viewer is an insider or outsider to the subject completely changes expectations and reactions to the film. So then what are we really talking about when we talk about documentary films? What makes a documentary a documentary? Why is such a categorization valuable? necessary? useful? nThe course will combine analysis of films, theoretical texts, and some practical ¿production" exercises.
Terms: Win | Units: 5
Instructors: Almada, N. (PI)

FILMSTUD 290: Movies and Methods: Hitchcock and Beyond (FILMSTUD 490)

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.
Terms: Win | Units: 5
Instructors: Levi, P. (PI)

FILMSTUD 297: Honors Thesis Writing

May be repeated for credit.
Terms: Aut, Win, Spr | Units: 1-5 | Repeatable 1 times (up to 5 units total)

FILMSTUD 299: Independent Study: Film and Media Studies

May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 1-15 | Repeatable for credit
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