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371 - 380 of 802 results for: all courses

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

Major theoretical arguments and debates about cinema: realism,formalism, poststructuralism, feminism, postmodernism, and phenomenology. Prerequisites: FILMSTUD 4.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Oeler, K. (PI)

FILMSTUD 110: Science Fiction Cinema (FILMSTUD 310)

Science fiction film's sense of wonder depends upon the development and revelation of new ways of seeing. The American science fiction film emphasizes the fundamental activity of human perception, its relation to bodily experience and the exploration of other worlds, new cities, and other modes of being, in such new technological spaces as the cyberspaces of the information age. It is perhaps the Hollywood genre most directly concerned with the essence of cinema itself.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

FILMSTUD 110N: Darkness in Light: The Filmic Imagination of Horror

Preference to freshmen. From its 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. Overview of filmic imaginations of horror with a focus on the U.S., Europe, and Japan. Theories of horror, from the fantastic to the uncanny; unpacking these in light of key moments in the genre's development. The merits of vampires versus zombies. Ongoing debates through the lens of horror 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. Introduction to film analysis and interpretation; no prior experience in film studies required. Required weekly screening.
Terms: not given this year | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

FILMSTUD 112: Women in French Cinema: 1958- (FEMGEN 192, FRENCH 192)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The myth of the feminine idol in French films in historical and cultural context since the New Wave until now. The mythology of stars as the imaginary vehicle that helped France to change from traditional society to modern, culturally mixed nation. The evolution of female characters, roles, actresses, directors in the film industry. Filmmakers include Vadim, Truffaut, Varda, Godard, Ozon, Colline Serreau, Tonie Marshall, Maïwen. Discussion in English; films in French with English subtitles. 3 units, 4 units or 5 units.nNOTE: FILMSTUD students must take this course for 3 units only.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Alduy, C. (PI)

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.
Terms: Win | Units: 4 | UG Reqs: GER:DB-SocSci, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Krawitz, J. (PI)

FILMSTUD 131: Cinemato-graph (FILMSTUD 331)

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: not given this year | Units: 3-5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

FILMSTUD 132A: Indian Cinema (FILMSTUD 332A)

This course will provide an overview of cinema from India, the world's largest producer of films. We will trace the history of Indian cinema from the silent era, through the studio period, to state-funded art filmmaking to the contemporary production of Bollywood films as well as the more unconventional multiplex cinema. We will examine narrative conventions, stylistic techniques, and film production and consumption practices in popular Hindi language films from the Bombay film industry as well as commercial and art films in other languages. This outline of different cinematic modes will throw light on the social, political, and economic transformations in the nation-state over the last century.
Terms: Spr | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Iyer, U. (PI)

FILMSTUD 133: Contemporary Chinese Auteurs (FILMSTUD 333)

New film cultures and movements in Taiwan, Hong Kong, and mainland China in the 80s. Key directors including Jia Zhangke, Wu Wenguang, Tsai Ming-liang, Hou Hsiao-hsien, Wong Kar-wai, Ann Hui. Topics include national cinema in the age of globalization, the evolving parameters of art cinema, and authorship.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

FILMSTUD 133B: Technology and American Visual Culture (AMSTUD 133)

An exploration of the dynamic relationship between technology and the ways we see and represent the world, with a focus on American visual culture from the 19th century through the present. We study the history of different tools from telescopes and microscopes to digital detectors that have changed and enhanced our visual capabilities; the way technological shifts, such as the introduction of electric lights or train travel, have shaped our visual imagination and aesthetic sensibilities; and how technology has inspired or responded to visual art. Special attention is paid to how different media, such as photography, cinema, and computer screens, translate the visual experience into a representation; the automation of vision; and the intersection of technology with notions of time and space.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Kessler, E. (PI)

FILMSTUD 145: Politics and Aesthetics in East European Cinema (FILMSTUD 345)

From 1945 to the mid-80s, emphasizing Polish, Hungarian, Czech, Slovak, and Yugoslav contexts. The relationship between art and politics; postwar establishment of film industries; and emergence of national film movements such as the Polish school, Czech new wave, and new Yugoslav film. Thematic and aesthetic preoccupations of filmmakers such as Wajda, Jancso, Forman, and Kusturica.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
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