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1 - 10 of 46 results for: FILMSTUD ; Currently searching offered courses. You can also include unoffered courses

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 | Grading: Letter (ABCD/NP)

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: 3 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Levi, P. (PI)

FILMSTUD 6: Introduction to Media

What is a medium? This course starts from the assumption that the answer to this question is not as obvious as it might at first appear. Clearly, we know some media when we see them: radio, film, and television are in many ways paradigmatic media of the twentieth century. But what about the computational, networked media of the twenty-first century? Are these still media in the same sense, or has the nature of media changed with the emergence of digital technologies? And what, for that matter, about pre-technical media? Is painting a medium in the same sense that oil or acrylic are media, or in the sense that we speak of ¿mixed media¿? Is language a medium? Are numbers? Is the body? As we shall see, the question of what a medium is raises a number of other questions of a theoretical or even philosophical nature. How is our experience of the world affected or shaped by media? Are knowledge and perception possible apart from media, or are they always mediated by the apparatuses, instrume more »
What is a medium? This course starts from the assumption that the answer to this question is not as obvious as it might at first appear. Clearly, we know some media when we see them: radio, film, and television are in many ways paradigmatic media of the twentieth century. But what about the computational, networked media of the twenty-first century? Are these still media in the same sense, or has the nature of media changed with the emergence of digital technologies? And what, for that matter, about pre-technical media? Is painting a medium in the same sense that oil or acrylic are media, or in the sense that we speak of ¿mixed media¿? Is language a medium? Are numbers? Is the body? As we shall see, the question of what a medium is raises a number of other questions of a theoretical or even philosophical nature. How is our experience of the world affected or shaped by media? Are knowledge and perception possible apart from media, or are they always mediated by the apparatuses, instruments, or assemblages of media? What is the relation between the forms and the contents of media, and how does this relation bear on questions of aesthetics, science, technology, or politics? The lecture-based course addresses these and other questions and seeks in this way to introduce a way of thinking about media that goes beyond taken-for-granted ideas and assumptions, and that has a potentially transformative effect on a wide range of theoretical and practical interests.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

FILMSTUD 50Q: The Video Essay: Writing with Video about Film and Media

In this course, we will explore what it means to write with video, and we will learn to make effective and engaging video essays about historical and contemporary audiovisual media. Specifically, we will examine formal, aesthetic, and rhetorical strategies for communicating in the medium of video, and we will conduct a series of hands-on exercises utilizing digital video editing software to construct arguments, analyses, and interpretations of film and other media (including television, video games, and online media). Compared with traditional, text-based engagements, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. In this medium, authors no longer struggle to describe audiovisual contents in words that can never do justice to the rich array of details that are immediately apparent to spectators eyes and ears; instead, video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any eas more »
In this course, we will explore what it means to write with video, and we will learn to make effective and engaging video essays about historical and contemporary audiovisual media. Specifically, we will examine formal, aesthetic, and rhetorical strategies for communicating in the medium of video, and we will conduct a series of hands-on exercises utilizing digital video editing software to construct arguments, analyses, and interpretations of film and other media (including television, video games, and online media). Compared with traditional, text-based engagements, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. In this medium, authors no longer struggle to describe audiovisual contents in words that can never do justice to the rich array of details that are immediately apparent to spectators eyes and ears; instead, video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier to write effectively with video than it is to compose an essay with pen and paper. Similar types of expository and argumentative planning are involved in both forms, while the new technology introduces its own characteristic challenges and choices, including decisions about the spatial and temporal organization and transformation of audiovisual materials, the addition of onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we will develop our skills with editing software such as Adobe Premiere Pro and Apple's Final Cut Pro while also cultivating our awareness of the formal and narrative techniques employed in films and other moving-image media. Through weekly assignments and group critique sessions, we will learn to express ourselves more effectively and creatively in audiovisual media. As a culmination of our efforts, we will assemble a group exhibition of our best video essays for public display on campus.nNo previous experience is required, but a willingness to learn new technologies (in particular, video editing software) is important.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE | Grading: Letter (ABCD/NP)
Instructors: Denson, S. (PI)

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 | Grading: Letter (ABCD/NP)
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 | Grading: Letter (ABCD/NP)
Instructors: Pei, E. (PI)

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

This course will provide an overview of cinema from around the world since 1960, highlighting the cultural, political, and economic forces that have shaped various film movements over the last six decades. We will study some key film movements and national cinemas towards developing a historical appreciation of a variety of commercial and art film traditions. Through an exploration of films from Europe, Africa, Asia, and Latin America, we shall examine the industrial histories of non-Hollywood film production and exhibition practices that produce the particular cinematic cultures of each region.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

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. WIM at 4 units only.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

FILMSTUD 103S: Anima to Anime

From Anima to Anime is an introductory level course designed to familiarize students with key concepts and issues surrounding animated media in East Asian. It is by no means an exhaustive survey of the region¿s national animation traditions, be that of Japan, Korea, or Greater China. Rather, this course takes an emphatically transnational approach arguing that animation serves as an important site where national forms, traditional materials, and techniques converge with powerful currents of internationalism and modernism. We will thus look to pay close attention to the way shared cultural, aesthetic, and technological norms participate in the ongoing definition of a ¿regional¿ animated media in East Asia. In addition, we will look at how East Asian animation has given rise to significant global trends, including developments in mass media communication, franchising, adaptation, youth culture, consumption and fandom, as well as modes of play and mediated self-expression.
Terms: Sum | Units: 3 | Grading: Letter or Credit/No Credit
Instructors: Cohen, D. (PI)

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)
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