printer friendly pageFILMPROD 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:
Sabu, D. (PI)
FILMPROD 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:
Krawitz, J. (PI)
;
Stolakis, K. (PI)
FILMPROD 116: Script to Screen
Script to Screen is a hybrid writing/production course that guides students through a series of narrative film exercises. Students will write and workshop 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 and post-production. Priority goes to film studies majors.nnStudents interested in applying need to email Professor Meltzer (jmelt@stanford.edu) by the end of fall quarter for a link to the course application.
Terms: Win
| Units: 5
| UG Reqs: WAY-CE
Instructors:
Meltzer, J. (PI)
;
Tobin, A. (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, Buñuel, Truffaut, Varda, Chabrol, Colline Serreau, Tonie Marshall. Discussion in English; films in French with English subtitles. 3 units, 4 units or 5 units. Class meets Tuesday/Thursday 1:30-2:50pm; film screenings Monday 6:00-8:30pm. NOTE: FILMSTUD students must take this course for 3 units only.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Alduy, C. (PI)
FRENCH 154E: Film & Philosophy CE (COMPLIT 154E, ITALIAN 154E, PHIL 193E, PHIL 293E)
Issues of authenticity, morality, personal identity, and the value of truth explored through film; philosophical investigation of the filmic medium itself. Screenings to include Blade Runner (Scott), Do The Right Thing (Lee), The Seventh Seal (Bergman), Fight Club (Fincher), La Jetée (Marker), Memento (Nolan), and Eternal Sunshine of the Spotless Mind (Kaufman). Taught in English. Satisfies the WAY CE.
Terms: Win
| Units: 3
| UG Reqs: WAY-CE
Instructors:
Dannenberg, J. (PI)
;
Landy, J. (PI)
;
Kim, H. (TA)
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more instructors for FRENCH 154E »
Instructors:
Dannenberg, J. (PI)
;
Landy, J. (PI)
;
Kim, H. (TA)
;
Madigan, T. (TA)
;
McDonald, T. (TA)
;
Slabon, T. (TA)
FRENCH 166: Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 266, 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 must email both professors (mgalvez@stanford.edu, jrodin@stanford.edu) by 20 September with a statement of up to 350 words that includes: (a) reasons for wanting to take the class; (b) relevant background in cooking/medieval studies/etc.; (c) stated commitment to attend all ten course meetings; and (d) any dietary restrictions/preferences.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Galvez, M. (PI)
;
Rodin, J. (PI)
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, Buñuel, Truffaut, Varda, Chabrol, Colline Serreau, Tonie Marshall. Discussion in English; films in French with English subtitles. 3 units, 4 units or 5 units. Class meets Tuesday/Thursday 1:30-2:50pm; film screenings Monday 6:00-8:30pm. NOTE: FILMSTUD students must take this course for 3 units only.
Terms: Win
| Units: 3-5
| UG Reqs: WAY-A-II, WAY-CE
Instructors:
Alduy, C. (PI)
FRENCH 266: Food, Text, Music: A Multidisciplinary Lab on the Art of Feasting (FRENCH 166, 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 must email both professors (mgalvez@stanford.edu, jrodin@stanford.edu) by 20 September with a statement of up to 350 words that includes: (a) reasons for wanting to take the class; (b) relevant background in cooking/medieval studies/etc.; (c) stated commitment to attend all ten course meetings; and (d) any dietary restrictions/preferences.
| UG Reqs: WAY-A-II, WAY-CE
HISTORY 200B: Doing Environmental History: Climate Change... the podcast
This will be a hands-on course that will emphasize how to do environmental history. Students will reflect on what it means to think historically about a pressing contemporary problem--climate change. We will ask historical questions, produce historical knowledge, and as a critical part of the course, present that knowledge to a general audience in the form of a podcast. This course forms part of the "Doing History" series: rigorous undergraduate colloquia that introduce the practice of history within a particular field or thematic area.
Terms: Spr
| Units: 5
| UG Reqs: WAY-SI, WAY-CE
Instructors:
Warga, J. (PI)
;
White, R. (PI)
HISTORY 205J: Wonder, Curiosity & Collecting: Building a Stanford Cabinet of Curiosities (ARTHIST 225, ARTHIST 425, HISTORY 305J)
(
History 205J is an undergraduate course offered for 5 units;
History 305J is a graduate course offered for 4-5 units.) Inside every museum lies a cabinet of curiosities. Explores the history of wonder, curiosity, and collecting, with special attention to the Renaissance origins of the cabinet of curiosities and their modern afterlives. Hands-on experience working with the Stanford collection in the Cantor to create a contemporary cabinet in collaboration with artist Mark Dion. This will be a unique opportunity to create a Stanford cabinet of curiosities for the twenty-first century. All seminar participants will contribute to the published exhibit catalogue.
Terms: Win
| Units: 5
| UG Reqs: WAY-CE
Instructors:
Findlen, P. (PI)
;
Dackerman, S. (SI)
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