1 - 10 of 18 results for: FILMEDIA

This research unit looks at Comics from a transnational, cross-cultural, and interdisciplinary perspective. Each quarter we organize a series of lectures, reading sessions, and workshops around a main topic. Some previous topics that we have explored are: Postcolonialism and Decoloniality (Fall 2021), Feminisms (Winter 2022), and Superheroes (Spring 2022). This year we plan on exploring topics such as Mangas (Fall 2022), Computer Science (Winter 2023), and Comic Theory (Spring 2023). We gather three times per quarter on Zoom or in person. To earn the unit, students must attend all events hosted during the quarter, do the readings in advance of the meeting, and participate actively in the discussion.

In this course, we focus on the recent shift from analog to digital media in order to think about the larger stakes of theorizing moving images. We consider the impact of digital technologies on film, think about the cultural contexts and aesthetic practices of contemporary motion pictures, and try to understand the experiential dimensions of spectatorship in today's altered viewing conditions. In addition to viewing a wide range of recent and contemporary films, we also engage more directly and materially with moving images: we experiment with scholarly and experimental uses of non-linear video editing for the purposes of film analysis, cinemetrics, and a variety of academic and creative responses to moving-image media.

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 is an introductory-level course about the cinema as a global language. We will undertake a comparative study of select historical and contemporary aspects of international cinema, and explore a range of themes pertaining to the social, cultural, and political diversity of the world. A cross-regional thematic emphasis and inter-textual methods of narrative and aesthetic analysis, will ground our discussion of films from Italy, Japan, United States, India, China, France, Brazil, Nigeria, Russia, Iran, Mexico, and a number of other countries. Particular emphasis will be placed on the multi-cultural character and the regional specificities of the cinema as a "universal language" and an inclusive "relational network."nnThere are no prerequisites for this class. It is open to all students; non-majors welcome.

In this course we will watch and critique films made about Latin America's 20th century revolutions focusing on the Cuban, Chilean and Mexican revolutions. We will analyze the films as both social and political commentaries and as aesthetic and cultural works, alongside archivally-based histories of these revolutions.

This course explores central topics in aesthetics where aesthetics is understood both in the narrow sense of the philosophy of art and aesthetic judgment, and in a broader sense as it relates to questions of perception, sensation, and various modes of embodied experience. We will engage with both classical and contemporary works in aesthetic theory, while special emphasis will be placed on phenomenological approaches to art and aesthetic experience across a range of media and/or mediums (including painting, sculpture, film, and digital media). PhD students in the Art History program may take the class to fulfill degree requirements in Modern/Contemporary Art or Film & Media Studies, depending on the topic of their seminar paper.

CPT course required for international students completing degree. Students must obtain a new I-20 with CPT authorization prior to the employment start date. 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 three self-assessments, and evaluations from the student and the supervisor are submitted at the end of the internship. Restricted to declared majors and minors. May be repeated for credit.

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.

May be repeated for credit.