printer friendly pageFEMST 210: Queer Almodovar (ILAC 210)
Focus on the representation of non-normative sexualities and genders in films by Pedro Almodóvar, one of the most recognizable auteur directors in Europe today. Analysis of his hybrid and eclectic visual style complemented by critical and theoretical readings in queer studies. Taught in English.
Last offered: Spring 2013
| UG Reqs: GER:DB-Hum, GER:EC-Gender, WAY-A-II, WAY-EDP
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: Win
| Units: 5
| UG Reqs: GER:DB-Hum, WAY-A-II
FILMSTUD 6: Introduction to Digital Media
Media beyond the horizon of cinema and television present unique problems of definition and analysis. Taking the digital - information represented as discrete values - as a reasonable approximation of the mechanics and fantasies of computation, course surveys theoretical approaches to code, networks, and cyberculture. Taking familiar formations like web sites and video games as objects by which to learn how thinkers have understood and envisioned emerging media from the mid-20th century to the present. Students to develop own methodological tools for becoming more critical users of digital media.
COMM 1B can be taken in substitution of
FILMSTUD 6 when the course is not being offered.
Last offered: Winter 2013
| UG Reqs: WAY-A-II
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
FILMSTUD 100B: History of World Cinema II, 1930-1959 (FILMSTUD 300B)
The impact of sound to the dissolution of Hollywood's studio system.
Terms: Aut, Spr
| Units: 4
| UG Reqs: WAY-A-II, GER:DB-Hum
Instructors:
Laderman, D. (PI)
FILMSTUD 100C: History of World Cinema III, 1960-Present (FILMSTUD 300C)
From the rise of the French New Wave to the present.
Terms: Spr
| Units: 4
| UG Reqs: WAY-A-II, GER:DB-Hum
Instructors:
Ma, J. (PI)
;
Metzger, M. (TA)
FILMSTUD 101: Fundamentals of Cinematic Analysis (FILMSTUD 301)
The close analysis of film. Emphasis is on formal and narrative techniques in structure and style, and detailed readings of brief sequences. Elements such as cinematography, mise-en-scène, composition, sound, and performance. Films from various historical periods, national cinemas, directors, and genres. Prerequisite:
FILMSTUD 4 or equivalent. Recommended:
ARTHIST 1 or
FILMSTUD 102. Course can be repeated twice for a max of 8 units.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
| Repeatable
3 times
(up to 12 units total)
Instructors:
Ma, J. (PI)
;
Pei, E. (TA)
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.
Terms: Win
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
Instructors:
Oxman, E. (PI)
FILMSTUD 110: Science Fiction Cinema (FILMSTUD 310)
Science fiction film's sense of wonder depends upon the development and revelation of new ways of seeing. The American science fiction film emphasizes the fundamental activity of human perception, its relation to bodily experience and the exploration of other worlds, new cities, and other modes of being, in such new technological spaces as the cyberspaces of the information age. It is perhaps the Hollywood genre most directly concerned with the essence of cinema itself.
Terms: Aut
| Units: 4
| UG Reqs: GER:DB-Hum, WAY-A-II
FILMSTUD 110N: Darkness in Light: The Filmic Imagination of Horror
Preference to freshmen. From its beginnings, the cinema evinced an affinity with the phantom realm of specters, ghosts, and supernatural beings. Not only does horror have deep and diverse roots in the international history of film; it emerges as a trope of film itself, as a medium of shadows, dematerialized presence, life drained of substance. Overview of filmic imaginations of horror with a focus on the U.S., Europe, and Japan. Theories of horror, from the fantastic to the uncanny; unpacking these in light of key moments in the genre's development. The merits of vampires versus zombies. Ongoing debates through the lens of horror about cinematic representation, from Andre Bazin's idea of the mummy complex to Linda Williams' thesis of body genres to Jeffrey Sconce's notion of haunted media. Introduction to film analysis and interpretation; no prior experience in film studies required. Required weekly screening.
Terms: Spr
| Units: 3
| UG Reqs: WAY-A-II
Instructors:
Ma, J. (PI)
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