printer friendly pageFILMSTUD 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: Win
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II
FILMSTUD 4S: Language of Film
This course familiarizes students with various elements of film language (cinematography, editing, sound, etc.) and introduces them to a range of approaches to cinematic analysis (authorship, genre, close formal reading, socio-historical considerations). Different types of films (narrative, documentary, and experimental) will be surveyed. Classical narrative cinema will be compared with alternative modes of story-telling.
Terms: Sum
| Units: 4
Instructors:
Levi, P. (PI)
FILMSTUD 6: Introduction to Digital Media
Media beyond the horizon of cinema and television present unique problems of definition and analysis. Taking the digital - information represented as discrete values - as a reasonable approximation of the mechanics and fantasies of computation, course surveys theoretical approaches to code, networks, and cyberculture. Taking familiar formations like web sites and video games as objects by which to learn how thinkers have understood and envisioned emerging media from the mid-20th century to the present. Students to develop own methodological tools for becoming more critical users of digital media.
Terms: Win
| Units: 5
| UG Reqs: WAY-A-II
Instructors:
Vernallis, C. (PI)
FILMSTUD 7: Introduction to Television Studies
Television is arguably the most influential and ubiquitous mass medium of the last half century. Because of its familiarity and popularity, it is also often the medium most overlooked, dismissed, and maligned. Drawing from the history of television and of television scholarship, this course builds a theoretical framework for understanding this pivotal cultural form. Course covers interdisciplinary approaches to studying TV texts, TV audiences, and TV industries, including questions of the boundaries of television (from independent and avant-garde video to convergence). In the process students develop methodological tools as critical television viewers.
Last offered: Autumn 2010
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:
Bukatman, S. (PI)
;
Levavy, S. (TA)
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:
Greenhough, A. (PI)
FILMSTUD 100C: History of World Cinema III, 1960-Present
From the rise of the French New Wave to the present.
Last offered: Spring 2012
| 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. Course can be repeated twice for a max of 8 units.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
| Repeatable
3 times
(up to 12 units total)
Instructors:
Ma, J. (PI)
;
Pang, H. (TA)
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
Instructors:
Laderman, D. (PI)
;
Pei, E. (TA)
FILMSTUD 110N: Darkness in Light: The Filmic Imagination of Horror
From its very beginnings, the cinema evinced an affinity with the phantom realm of specters, ghosts, and supernatural beings. Not only does horror have deep and diverse roots in the international history of film; it emerges as a trope of film itself, as a medium of shadows, dematerialized presence, life drained of substance. This course offers an overview of filmic imaginations of horror across the span of the twentieth century, with a focus on the US, Europe, and Japan. We will read and discuss theories of horror - from the fantastic to the uncanny - and unpack these in light of key moments in the genre's development. We will debate the merits of vampires versus zombies. And we will trace, through the lens of horror, ongoing debates about cinematic representation, from Andre Bazin's idea of the "mummy complex" to Linda Williams' thesis of "body genres" to Jeffrey Sconce's notion of "haunted media." The course will serve as an introduction to film analysis and interpretation; no prior experience in film studies is required or expected. In addition to regular class meetings, there will be a required weekly screening.
Terms: Win
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Ma, J. (PI)
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