Results for FILMEDIA

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Enrollment in this course a requirement for taking part in the trip (and vice versa). The program is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and SAI staff. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. For further details and updates about the trip, see https://arts.stanford.edu/for-students/academics/arts-immersion/new-york/.

This research unit looks at Comics from a transnational, cross-cultural, and interdisciplinary perspective. Each quarter we organize a series of lectures, reading sessions, and workshops around a main topic. Some previous topics that we have explored are: Postcolonialism and Decoloniality (Fall 2021), Feminisms (Winter 2022), and Superheroes (Spring 2022). This year we plan on exploring topics such as Mangas (Fall 2022), Computer Science (Winter 2023), and Comic Theory (Spring 2023). We gather three times per quarter on Zoom or in person. To earn the unit, students must attend all events hosted during the quarter, do the readings in advance of the meeting, and participate actively in the discussion.

This course examines influential theories of film and media from the early twentieth century to the present. Prerequisites: FILMEDIA 4.

Physical changes, religious rituals, and new legal rights and responsibilities outwardly mark the transition from childhood to adulthood. They imply inward transformation such as loss of innocence and maturation of perspective. This combination of inward and outward change is generative material for cinema. What does cinema bring to these stories, and what do these stories reveal about cinema's capacities as medium and art? What can we take from such movies as we ask what it means to be an adult?

This is an introductory-level course about the cinema as a global language. We will undertake a comparative study of select historical and contemporary aspects of international cinema, and explore a range of themes pertaining to the social, cultural, and political diversity of the world. A cross-regional thematic emphasis and inter-textual methods of narrative and aesthetic analysis, will ground our discussion of films from Italy, Japan, United States, India, China, France, Brazil, Nigeria, Russia, Iran, Mexico, and a number of other countries. Particular emphasis will be placed on the multi-cultural character and the regional specificities of the cinema as a "universal language" and an inclusive "relational network."nnThere are no prerequisites for this class. It is open to all students; non-majors welcome.

This seminar serves as an introduction to media theory by turning to the sea as a medium. Designed for third- and fourth-year German majors, the course explores the way the ocean has served as a constant vehicle for poetic and philosophical reflection throughout history, from Homer's Odyssey to Paul Valery's Cemetery by the Sea. Combining theoretical studies of seafaring by Hans Blumenberg and Bernard Siegert with literary writings from Franz Kafka and Friedrich Hölderlin, this course highlights the way nautical activity becomes a theater of political and poetic concerns when our engagement with the ocean is viewed as a metaphor or a cultural technique. In recent years, the sea has also become a flashpoint for environmental concerns due to rising sea levels, leading to calls to take the material status of the ocean itself seriously. The sea, when viewed through the lens of environmental media, continues to serve as a canvas for the projection of human hopes and fears while opening up further questions about the relationship between nature, cultural practices, and theoretical texts. Readings for this course will be in German and English.

This seminar will explore the vast array of horror comics. How does horror work in comics, as distinct from prose and cinema? How and why are non-moving images scary? The different narrational strategies of short stories, self-contained works, and continuing series will be explored, as will American, Japanese, and European approaches. Special attention will be given to Frankenstein, in novel, film, illustration, and comics. Example of such sub-genres as literary horror, horrific superheroes, cosmic (Lovecraftian) horror, ecological horror, as well as the horrors of bodies, sexuality, and adolescence will be encountered.Students will read many comics, some comics theory, and will do an in-class presentation on a comic or topic of their choosing. The course is a seminar, so discussion will be continuous and required. Enrollment limited.

CPT course required for international students completing degree. Students must obtain a new I-20 with CPT authorization prior to the employment start date. Professional experience in a field related to the cinematic arts (film, television, media) for six to ten weeks. Internships may include work for production companies, producers, studios, networks, films, television series, directors, screenwriters, non-profit organizations, academic publications and related workplaces. Students arrange the internship, provide a confirmation letter from the hosting institution, and must receive consent from the faculty coordinator to enroll in units. Students submit three self-assessments, and evaluations from the student and the supervisor are submitted at the end of the internship. Restricted to declared majors and minors. May be repeated for credit.

Working at MGM, the most opulent of Hollywood studios, Vincente Minnelli epitomized the studio system, and yet his films remain idiosyncratic, distinct, and personal. He is thus a curious figure within the history of auteurist study. Minnelli's work constitutes a series of rich collaborations with some of Hollywood's most prominent stars, screenwriters, composers, cinematographers, choreographers, cinematographers, set designers and costume designers while remaining both formally and thematically coherent as a body of work. His opulent melodramas, musicals, and comedies are haunted by a recognition of the fragility and necessity of illusion. His characters display what Thomas Elsaesser calls 'the vital need to assert' - not so much one's self, but rather one's conception of meaning, one's vision of things. Characters in such films as Meet Me in St. Louis, Madame Bovary, Some Came Running, The Bad and the Beautiful, The Band Wagon, Brigadoon, and Lust for Life strive to remake reality, pushing their (and the films') aesthetic sensibilities beyond the limits to produce the experiential shift described by the philosopher and cineaste Gilles Deleuze as a 'movement of world.' Minnelli was also formally adventurous, his worlds steeped in the bold use of color, widescreen, camera movement and performance. The seminar will be film-heavy, with students watching about two films per week. This course is the capstone seminar for graduating FMS seniors. Instructor permission required for everyone else.

Professional experience in a field related to the cinematic arts (film, television, media) for six to ten weeks. Internships may include work for production companies, producers, studios, networks, films, television series, directors, screenwriters, non-profit organizations, academic publications and related workplaces. Students arrange the internship, provide a confirmation letter from the hosting institution, and must receive consent from the faculty coordinator to enroll in units. Students submit weekly self-assessments, and evaluations from the student and the supervisor are submitted at the end of the internship. Summer internships may be credited in fall quarter. Restricted to declared majors and minors. May be repeated for credit.

May be repeated for credit.

Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms and payment are required by the end of Week 2 of each quarter. Please contact the Undergraduate Coordinator in McMurtry 108 for more information. May be repeated for credit.

This course examines influential theories of film and media from the early twentieth century to the present. Prerequisites: FILMEDIA 4.

This is an introductory-level course about the cinema as a global language. We will undertake a comparative study of select historical and contemporary aspects of international cinema, and explore a range of themes pertaining to the social, cultural, and political diversity of the world. A cross-regional thematic emphasis and inter-textual methods of narrative and aesthetic analysis, will ground our discussion of films from Italy, Japan, United States, India, China, France, Brazil, Nigeria, Russia, Iran, Mexico, and a number of other countries. Particular emphasis will be placed on the multi-cultural character and the regional specificities of the cinema as a "universal language" and an inclusive "relational network."nnThere are no prerequisites for this class. It is open to all students; non-majors welcome.

The past year has witnessed a remarkable reckoning with systemic racism and embedded structures of inequality, underscoring once again the epistemic violence of the privileging of a white, western, heteropatriarchal intellectual tradition in the academy. This seminar mobilizes multiple approaches and orientations, including decolonial theory, the Black Radical Tradition, postcolonial theory, and transnational decolonial feminisms. We consider critiques from these traditions of the Eurocentrism of critical theory, its imbrication with western modernity, colonial capitalism, and neocolonial geopolitics. Through texts ranging across frameworks of the coloniality of gender, epistemologies of the South, critical race studies, and theories of the global, we examine ways to de-universalize, de-imperialize, decolonize, and globalize Theory. Limited to graduate students; undergraduates must contact instructor for permission (seniors only).The seminar can be taken for less than 5 units only under extenuating circumstances. Contact instructor in such cases for permission.

Working at MGM, the most opulent of Hollywood studios, Vincente Minnelli epitomized the studio system, and yet his films remain idiosyncratic, distinct, and personal. He is thus a curious figure within the history of auteurist study. Minnelli's work constitutes a series of rich collaborations with some of Hollywood's most prominent stars, screenwriters, composers, cinematographers, choreographers, cinematographers, set designers and costume designers while remaining both formally and thematically coherent as a body of work. His opulent melodramas, musicals, and comedies are haunted by a recognition of the fragility and necessity of illusion. His characters display what Thomas Elsaesser calls 'the vital need to assert' - not so much one's self, but rather one's conception of meaning, one's vision of things. Characters in such films as Meet Me in St. Louis, Madame Bovary, Some Came Running, The Bad and the Beautiful, The Band Wagon, Brigadoon, and Lust for Life strive to remake reality, pushing their (and the films') aesthetic sensibilities beyond the limits to produce the experiential shift described by the philosopher and cineaste Gilles Deleuze as a 'movement of world.' Minnelli was also formally adventurous, his worlds steeped in the bold use of color, widescreen, camera movement and performance. The seminar will be film-heavy, with students watching about two films per week. This course is the capstone seminar for graduating FMS seniors. Instructor permission required for everyone else.

For Art History Ph.D. candidates. Prerequisite: consent of instructor.

For graduate students only. Approved independent research projects with individual faculty members.

May be repeated for credit. (Staff)

CPT course required for international students completing degree.