printer friendly pageFILMPROD 114: Introduction to Film and Video Production
Hands-on. Techniques of film and video making including conceptualization, visualization, story structure, cinematography, sound recording, and editing. Enrollment limited to 12 students. Priority to junior/senior Film & Media Studies majors.Admission determined on the first day of class.
Terms: Aut, Spr
| Units: 5
| UG Reqs: WAY-CE
Instructors:
Green, L. (PI)
FILMSTUD 50Q: The Video Essay: Writing with Video about Film and Media
In this course, we will explore what it means to write with video, and we will learn to make effective and engaging video essays about historical and contemporary audiovisual media. Specifically, we will examine formal, aesthetic, and rhetorical strategies for communicating in the medium of video, and we will conduct a series of hands-on exercises utilizing digital video editing software to construct arguments, analyses, and interpretations of film and other media (including television, video games, and online media). Compared with traditional, text-based engagements, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. In this medium, authors no longer struggle to describe audiovisual contents in words that can never do justice to the rich array of details that are immediately apparent to spectators eyes and ears; instead, video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier to write effectively with video than it is to compose an essay with pen and paper. Similar types of expository and argumentative planning are involved in both forms, while the new technology introduces its own characteristic challenges and choices, including decisions about the spatial and temporal organization and transformation of audiovisual materials, the addition of onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we will develop our skills with editing software such as Adobe Premiere Pro and Apple's Final Cut Pro while also cultivating our awareness of the formal and narrative techniques employed in films and other moving-image media. Through weekly assignments and group critique sessions, we will learn to express ourselves more effectively and creatively in audiovisual media. As a culmination of our efforts, we will assemble a group exhibition of our best video essays for public display on campus.nNo previous experience is required, but a willingness to learn new technologies (in particular, video editing software) is important.
Terms: Aut
| Units: 3
| UG Reqs: WAY-CE
Instructors:
Denson, S. (PI)
FILMSTUD 112: Women in French Cinema: 1958- (FEMGEN 192, 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)
FRENCH 166: Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 366, MUSIC 133, MUSIC 333)
Students cook a collection of unfamiliar recipes each week while learning about the cultural milieus in which they originated. The course focuses on the fourteenth and fifteenth centuries, a time of great banquets that brought together chefs, visual artists, poets, musicians, and dancers. Students read late-medieval cookbooks under the guidance of professional chefs, learn songs and poetry with the help of visiting performers, and delve into a burgeoning scholarly literature on food history and sensory experience. We will also study trade routes and food networks, the environmental impact of large-scale banquets, the science of food, and the politics of plenty. This course may count towards the Medieval component of the French major, and corresponds to
DLCL 121, a course requirement for the Medieval Studies Minor. Students interested in applying for course need to email Professors Galvez and Rodin (mailto:mgalvez@stanford.edu and mailto:jrodin@stanford.edu) with a statement of intent and dietary restrictions/preferences.
Last offered: Winter 2017
| UG Reqs: WAY-A-II, WAY-CE
FRENCH 192: Women in French Cinema: 1958- (FEMGEN 192, FILMSTUD 112)
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)
ILAC 111Q: Spanish-English Literary Translation Workshop (DLCL 111Q)
This course introduces students to the theoretical knowledge and practicalnskills necessary to translate literary texts from Spanish to English andnEnglish to Spanish. Topics may include comparative syntaxes, morphologies,nand semantic systems; register and tone; audience; the role of translationnin the development of languages and cultures; and the ideological andnsocio-cultural forces that shape translations. Students will workshop andnrevise an original translation project throughout the quarter.
Last offered: Winter 2015
| UG Reqs: WAY-A-II, WAY-CE
ILAC 113Q: Borges and Translation (DLCL 113Q)
Borges's creative process and practice as seen through the lens of translation. How do Borges's texts articulate the relationships between reading, writing, and translation? Topics include authorship, fidelity, irreverence, and innovation. Readings will draw on Borges's short stories, translations, and essays. Taught in Spanish. Prerequisite: 100-level course in Spanish or permission of instructor.
Terms: Aut
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Santana, C. (PI)
ILAC 241: Fiction Workshop in Spanish
Spanish and Spanish American short stories approached through narrative theory and craft. Assignments are creative in nature and focus on the formal elements of fiction (e.g. character and plot development, point of view, creating a scene, etc.). Students will write, workshop, and revise an original short story throughout the term. No previous experience with creative writing is required. Readings may include works by Ayala, Bolaño, Borges, Clarín, Cortázar, García Márquez, Piglia, Rodoreda, and others. Enrollment limited.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Santana, C. (PI)
ILAC 242: Poetry Workshop in Spanish
Latin American and Spanish poetry approached through elements of craft. Assignments are creative in nature and focus on lyric subgenres (e.g. ode, elegy, prose poetry) and formal elements of poetry (e.g. meter, rhythm, rhetorical figures, and tropes). Students write original poems over the course of the quarter. No previous experience with creative writing is required. Authors include Dario, Machado, Jimenez, Vallejo, Huidobro, Salinas, Pales Matos, Lorca, Aleixandre, Cernuda, Neruda, Girondo. Course is offered every other year. Taught in Spanish. Prerequisite: 100-level course taught in Spanish, or equivalent. Enrollment limited to 10 students.
Terms: Aut
| Units: 3-5
| UG Reqs: WAY-CE
Instructors:
Santana, C. (PI)
ITALIC 93: Immersion in the Arts: Living in Culture
ITALIC is an arts-minded, residence-based academic program for freshmen. It's built around a series of big questions about the historical, critical and practical purposes of art. It also builds community. This yearlong experience fosters close exchanges among faculty, students, guest artists and scholars in class, over meals and during excursions to arts events. We¿ll trace the challenges that works of art have presented to history, politics, and culture, particularly since the 19th century. We'll look at ways arts can inform creative problem-solving, confront uncertainty and ambiguity, and experiment with different sets of rules. Through rigorous inquiry, ITALIC seeks to create new frameworks for exploring our (and others') experience.
Terms: Spr
| Units: 4
| UG Reqs: THINK, WAY-CE, College, WAY-EDP
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