printer friendly pageFILMSTUD 345: Politics and Aesthetics in East European Cinema (FILMSTUD 145)
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: Spr
| Units: 4
Instructors:
Levi, P. (PI)
FILMSTUD 350: Cinema and the City (FILMSTUD 150)
Utopian built environments of vast perceptual and experiential richness in the cinema and city. Changing understandings of urban space in film. The cinematic city as an arena of social control, social liberation, collective memory, and complex experience. Films from international narrative traditions, industrial films, experimental cinema, documentaries, and musical sequences. Recommended: 4 or equivalent.
Last offered: Winter 2009
FILMSTUD 353A: Transmedia TV (FILMSTUD 153A)
Beginning from theoretical questions about the structure of media texts and their production, distribution, reception, and regulation, this course analyzes how the collision of broadcast and broadband is reshaping the media landscape. Course investigates the definition of television and its articulation across multiple platforms, including streaming video, online tie-ins, fan remixes, and web shows. Such convergence involves both intensified corporate consolidation and intensified viewer participation. As the boundary between producers and consumers of entertainment breaks down, course explores renegotiating the possibilities of the TV experience.
Terms: Spr
| Units: 4
Instructors:
Russo, J. (PI)
FILMSTUD 404: Postwar American Avant Garde Cinema
History and theory of post-WW II American independent and experimental film. Emphasis is on issues of audiovisual form, structure, and medium specificity. Films and writings include Maya Deren, Stan Brakhage, Michael Snow, and Hollis Frampton.
Last offered: Autumn 2007
FILMSTUD 406: Montage
Graduate seminar in film aesthetics. Theoretical and practical approaches to editing/montage. Stylistic, semiotic, epistemological, and ideological functions of montage considered in film-historical contexts including: development of the continuity system of editing; flourishing of the Soviet montage school; and achievements of the post-war new waves. Filmmakers include D. W. Griffith, Sergei Eisenstein, Jean-Luc Godard, and Dusan Makavejev.
Terms: Aut
| Units: 5
Instructors:
Levi, P. (PI)
FILMSTUD 407: The Still Moving Image
Tension and overlap between cinema and photography as technological media, beginning with Frankfurt school critiques of media theory, classical film, and photography theory through recent considerations of the post-cinematic age of digital and virtual images. How ideas of indexicality, medium specificity, memory, duration, narrativity, chance, stasis, repetition have informed accounts of the relationship of these media.
Last offered: Autumn 2008
FILMSTUD 410A: Documentary Perspectives I
Restricted to M.F.A. documentary film students. Topics in nonfiction media. Presentations and screenings by guest filmmakers. Prerequisite: consent of instructor.
Terms: Win
| Units: 4
| Repeatable
for credit
Instructors:
Meltzer, J. (PI)
FILMSTUD 410B: Documentary Perspectives II
Restricted to M.F.A. documentary film students. Continuation of 410A. Topics in nonfiction media. Presentations and screenings by guest filmmakers. Prerequisite: consent of instructor.
| Repeatable
for credit
FILMSTUD 411: Animation
The fantasy of an image coming to life dates back centuries, and artists have long sought to imbue their images with "liveliness," but it wasn't until the onset of the cinema that the fantasy was actualized. It is sometimes argued that animation is the ground against which cinema situates itself: the history of moving pictures begins with optical toys that greatly predate the invention of the cinema, and mainstream cinema is increasingly dominated by films that are computer animated, in whole or in part. This course seeks to delve into the implications of animation, considering its underlying fantasies (in art and literature), its particular phenomenologies, its relation to the uncanny, its status as a "pure" cinema, and its place in film theory. Different modes of production and style will be explored, including "realist" animation, abstract animation; "animistic" animation; animated drawings, objects, and puppets; CGI, and live/animation hybrids. Films will be drawn from a range of traditions over a long history.
Terms: Spr
| Units: 5
Instructors:
Bukatman, S. (PI)
FILMSTUD 440: Sound Technology
Development of sound technology and reproduction in context of modernity, with some emphasis on the crossings of sound and image in the history and theory of technological reproduction. Topics include phonography, recording, and mass culture (Adorno, Sterne, Thompson, Lastra); cinematic sound and music (Chion, Altman, Gorbman); filmic and compositional practices in the American avant-garde (Joseph, Kahn); acoustic ecology (Schafer). Weekly screenings or listenings.
Terms: Win
| Units: 5
Instructors:
Ma, J. (PI)
Filter Results: