printer friendly pageFEMGEN 144X: Transforming Self and Systems: Crossing Borders of Race, Nation, Gender, Sexuality, and Class (ASNAMST 144, CSRE 144)
Exploration of crossing borders within ourselves, and between us and them, based on a belief that understanding the self leads to understanding others. How personal identity struggles have meaning beyond the individual, how self healing can lead to community healing, how the personal is political, and how artistic self expression based in self understanding can address social issues. The tensions of victimization and agency, contemplation and action, humanities and science, embracing knowledge that comes from the heart as well as the mind. Studies are founded in synergistic consciousness as movement toward meaning, balance, connectedness, and wholeness. Engaging these questions through group process, journaling, reading, drama, creative writing, and storytelling. Study is academic and self-reflective, with an emphasis on developing and presenting creative works in various media that express identity development across borders.
Terms: Win
| Units: 5
| UG Reqs: WAY-CE, WAY-EDP
Instructors:
Murphy-Shigematsu, S. (PI)
FEMGEN 150G: Performing Race, Gender, and Sexuality (CSRE 150G, TAPS 150G)
This theory and practice-based course will examine performances by and scholarly texts about artists who critically and mindfully engage race, gender, and sexuality. Students will cultivate their skills as artist-scholars through written assignments and the creation of performance-based works in response to the assigned material. Attendance and written reflection on the TAPS Vital Signs: Performance Art in the 21st Century performance art series are required. The practical component of the class will also incorporate meditation into the process of preparing for, making, and critiquing performance. We will approach mindfulness as method and theory in our own practice, as well in relation to the works studied, while attending to the ethics and current debates concerning its use. Examples of artists studied include James Luna, Nao Bustamante, William Pope.L, Yoko Ono, Cassils, Adrian Piper, Guillermo Gomez-Peña, Nikki S. Lee, and Ana Mendieta.
Terms: Spr
| Units: 4
| UG Reqs: WAY-CE, WAY-EDP
Instructors:
Otalvaro, G. (PI)
FEMGEN 177: Dramatic Writing: The Fundamentals (CSRE 177, TAPS 177, TAPS 277)
Course introduces students to the basic elements of playwriting and creative experimentation for the stage. Topics include: character development, conflict and plot construction, staging and setting, and play structure. Script analysis of works by contemporary playwrights may include: Marsha Norman, Patrick Shanley, August Wilson, Suzan-Lori Parks, Paula Vogel, Octavio Solis and others. Table readings of one-act length work required by quarter's end.
Last offered: Autumn 2016
| UG Reqs: GER:DB-Hum, WAY-CE
FEMGEN 192: Women in French Cinema: 1958- (FILMSTUD 112, 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
Instructors:
Alduy, C. (PI)
FILMPROD 12AX: Write and Shoot: Narrative Filmmaking
Write and Shoot: Narrative Filmmaking is a hybrid writing/production course that guides students through the process of completing a 2-3 minute narrative film. Students will write scripts for short fiction films, and then, by filming them, learn to apply the fundamentals of digital video production. Initial classwork will include visual writing exercises, DSLR cinematography instruction, script work, and basic fiction film production. Students will continue on in groups of three to develop, film, edit, and critique 2-3 minute narrative films based on a shared class theme or narrative premise. This course is truly INTENSIVE and requires a significant amount of work (including nights and weekends) outside of class and daily deadlines for submission of creative work.
Terms: Sum
| Units: 2
| UG Reqs: WAY-CE
Instructors:
Stolakis, K. (PI)
;
Tobin, A. (PI)
FILMPROD 101: Screen Writing I: Visual Writing
A writing workshop that is an exploration of visual storytelling. Beginning with visual literacy, the class progresses from basic cinematic techniques through scene exercises to revisions and ultimately to connecting scenes in order to build sequences of script pages. Open to all majors; may substitute for ENGL 190F prerequisite for FP101.
Last offered: Winter 2017
| UG Reqs: WAY-CE
FILMPROD 101T: Writing the Television Pilot
A writing workshop in which students are introduced to the basic structures and genre of television pilots and to writing within the screenwriting/television writing form. Students will develop, outline, and workshop their own original pilot episode and series bible. Serves as a prerequisite for FP104 Intermediate Screenwriting. Enrollment by decision of instructor.
Terms: Win
| Units: 5
| UG Reqs: WAY-CE
Instructors:
Tobin, A. (PI)
FILMPROD 103: Adaptation
A close analysis of film adaptation, using various source materials to examine the demands form makes on content and the creative choices made in adaptation to film. Source materials will include plays, fiction, biography, history, graphic novels, and reference to video games and amusement park rides. A weekly film screening is a requirement of the course.
Terms: Win
| Units: 4
| UG Reqs: WAY-CE
Instructors:
Tobin, A. (PI)
FILMPROD 106: Image and Sound: Filmmaking for the Digital Age
Despite the rise of emerging forms like two-minute YouTube videos, six second Vines, or interactive storytelling modules, many core principles of visual storytelling remain unchanged. In this hands-on film production class students will learn a broad set of filmmaking fundamentals (basic history, theory, and practice) and will apply them creating film projects using tools such as iPhones, consumer cameras and FCPX.
Terms: Aut, Win, Spr
| Units: 3
| UG Reqs: WAY-CE
Instructors:
Stolakis, K. (PI)
FILMPROD 106S: Image and Sound: Filmmaking for the Digital Age
Despite the rise of emerging forms like two-minute YouTube videos, six second Vines, or interactive storytelling modules, many core principles of visual storytelling remain unchanged. In this hands-on film production class students will learn a broad set of filmmaking fundamentals (basic history, theory, and practice) and will apply them creating film projects using tools such as iPhones, consumer cameras and FCPX.
Terms: Sum
| Units: 3
| UG Reqs: WAY-CE
Instructors:
Shaw, E. (PI)
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