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Introduction to Film Study introduces you to film as art, as entertainment, a field of study, and an everyday cultural practice. This course enables you to analyze films in terms of their formal elements, themes, and narrative structures. You learn to 'read' details of cinematic 'language' such as the arrangement of shots (editing), the composition and framing of a shot (cinematography), the overall look of a film (mise-en-scene), and its sound environment. We not only identify such cinematic details, but also consider how they contribute to the overall meaning of a film. Thinking about film and writing about film are intricately linked and inform each other deeply. Learning to write about film with sophistication requires a grasp of the mechanics of writing, familiarity with film terminology, and an understanding of film theory and history. This course helps you develop skills in critical viewing, reading, and writing. We explore basic concepts that have been important to the study of film, such as genre, authorship, and stardom to comprehend how films make meaning within their social, political, cultural, and historical contexts.

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 is a requirement for taking part in the spring break trip. 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. In the seminar, we will prepare for the diverse experiences the trip affords and develop individual projects related to particular works of art, exhibitions, and performances that we'll encounter in person during our stay in New York. Class time will be divided between readings, presentations, and one studio-based creative project. The urban setting in which the various forms of art are created, presented, and received will form a special point of focus. A principal aim of the seminar will be to develop aesthetic sensibilities through writing critically about the art that interests and engages us and making art. For further details please visit the Stanford Arts Institute website: https://arts.stanford.edu/for-students/academics/arts-immersion/new-york/

Provides an overview of cinema made around the world between 1930 and 1960, highlighting technical, cultural, political, and economic forces that shaped mid-twentieth-century cinema. We study key film movements and national cinemas towards developing a formal, historical, and theoretical appreciation of a variety of commercial and art film traditions. Specific topics may vary by term/year/instructor. This term's topic: TBD

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The evolution of female characters, roles, actresses, directors in the French film industry from the sexual liberation to #metoo. Women as archetypes, icones, images, or as agents and subjects. Emphasis on filmic analysis: framing, point of view, narrative, camera work as ways to convey meaning. Themes include: sexualization and desire; diversity and intersectionality in films; new theories of the female gaze; gender, ethnicity and class. Filmmakers include Roger Vadim, Agnès Varda, Luis Buñuel, Claude Chabrol, Colline Serreau, Elena Rossi, Tonie Marshall, Houda Benyamina, Eléonore Pourriat, Céline Sciamma, Justine Triet, Mati Diop. Special guest: director Elena Rossi. Films in French with subtitles; discussion in English.

The modern medium of comics throughout its 150 year history (mostly North American). The flexibility of the medium explored through the genres of humorous and dramatic comic strips, superheroes, undergrounds, independents, kids and comics, journalism, and autobiography. Innovative creators including McCay, Kirby, Barry, Ware, and critical writings including McCloud, Eisner, Groenstee. Topics include text/image relations, panel-to-panel relations, the page, caricature, sequence, subjective expression, seriality, realism vs cartoonism, comics in the context of the fine arts, and relations to other media.

This class traces the development and evolution of observational cinema, setting out to define and explore observational filmmaking as a strategy to prize the experiential and immerse the viewer in the present tense. We start with the early Cinema Verite and Direct Cinema films from France, Canada and the U.S. and expand the possibilities of the observational form into the experimental films of the 1970s and beyond. The films selected for this course represent classics of the genre and of modern documentary film in general, but also allow for films that blur lines between experimental, documentary and fiction forms. Lectures and readings will focus on providing a clear cinematic context for observational techniques, raising aesthetic, technical and ethical questions for the class to consider. This course is a collective inquiry into documentary filmmaking practice, and as such requires a deep engagement with screenings, readings and our in-class discussions.

How are environmental issues represented in various media, from cinema and television to videogames, VR, and experimental art? And how are these media themselves involved in environmental change? In this course, we look at media and the environment as interlocking parts of a system, inseparable from one another. We might start by asking how, for example, documentary and narrative films portray environmental crises like oil spills, wildfires, or extinction events. From there, however, we will need to investigate the ways that media themselves constitute environments, both metaphorically and literally. We swim in media; it is the air we breathe. Virtually all of our experience and communication take place within the spaces of media. Meanwhile, media-technologies and their infrastructures are increasingly entangled with the material environment: from rare earth metals in our electronic devices to undersea cables that bring us the Internet, digital media in particular are an increasingly significant driver of environmental change. In addition to reading and engaging with a variety of media objects, students will have the opportunity to create their own media objects (video essays, VR projects, experimental artworks, etc.) that shed light on the interrelations of media and the environment.

This seminar explores the visual legacy of civil unrest in the United States. Focusing on the 1965 Watts Rebellion, 1992 Los Angeles Riots, 2014 Ferguson Uprising, and 2020 George Floyd Uprisings students will closely examine photographs, television broadcasts, newspapers, magazines, and film and video representations of unrest. Additionally, students will visually analyze the works of artists who have responded to instances of police brutality and challenged the systemic racism, xenophobia, and anti-Black violence leading to and surrounding these events.

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.