61 - 70 of 71 results for: FILMSTUD

Restricted to M.F.A. documentary film students. Continuation of 410A. Topics in nonfiction media. Presentations and screenings by guest filmmakers. Prerequisite: consent of instructor.

Long derided as neither literature nor art, the medium of comics, with its complex juxtapositions of word and image and of images with one another, is increasingly understood as a supple and sophisticated mode of communication and expression. Dynamic new work is appearing on a weekly basis, and lavish reprint projects have made comics history more available for study and pleasure. This seminar simultaneously explores the aesthetic and historical parameters of the medium as well as the shape of comics scholarship. As comics are something of a hybrid form, the seminar will necessarily be interdisciplinary in approach. The treatment of time, rhythm, and tempo will be considered alongside explorations of line, panel, sequence, page, story, and seriality. The flexibility of the medium will be encountered by reading broadly in comic strips (humorous and dramatic), superheroes, undergrounds and independents, political satire and pedagogy, autobiography, experimental works, and children¿s comics, as well as recent iterations of ¿the graphic novel.¿

Course surveys a range of critical perspectives and debates on Chinese cinema. It is organized on the basis of weekly topics, such as genre, historiography, gender, modernity, and the idea of national cinema. Consent of instructor required.

Physical, emotional, aesthetic, and social liberation mark this most colorful of film genres. Musicals are a place for staging issues of identity, including the impact of African American and Jewish culture, and issues of gay reception and interpretation. Attention to technologies of sound and color, the relation to vaudeville and Broadway, and ethnic and aesthetic diversity. Musicals as the epitome of filmic illusionism and the Hollywood studio system; the implications of their seduction of audiences; the meaning of spectacle, the centrality of performance. Busby Berkeley, Fred Astaire, Judy Garland, Bob Fosse, Stanley Donen, Gene Kelly, Vincente Minnelli.

From 1945 to the mid-80s, emphasizing Polish, Hungarian, Czech, Slovak, and Yugoslav contexts. The relationship between art and politics; postwar establishment of film industries; and emergence of national film movements such as the Polish school, Czech new wave, and new Yugoslav film. Thematic and aesthetic preoccupations of filmmakers such as Wajda, Jancso, Forman, and Kusturica.

The seminar will discuss the workings of the face: as privileged object of representation, as figure of subjectivity, as mode and ethic of address, through film theory and practice. How has the cinema responded to the mythic and iconic charge of the face, to the portrait's exploration of model and likeness, identity and identification, the revelatory and masking play of expression, the symbolic and social registers informing the human countenance? At this intersection of archaic desires and contemporary anxieties, the face will serve as our medium by which to reconsider, in the cinematic arena, some of the oldest questions on the image. Among the filmmakers and writers who will inform our discussion are Aumont, Balázs, Barthes, Bazin, Bresson, Doane, Dreyer, Epstein, Hitchcock, Koerner, Kuleshov, Warhol, and others.

TBD

Open to graduate students and advanced undergraduates with permission of the instructor; capstone course for majors (senior seminar). Topics vary year to year. Focus is on historiography and theory. Limited enrollment. Permission code needed in order to enroll.

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