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181 - 190 of 441 results for: all courses

FILMEDIA 100A: History of World Cinema I, 1895-1929 (FILMEDIA 300A)

Provides an overview of cinema made around the globe between its emergence as a mass medium in the late-19th century, and the rise of synchronized sound around 1930. This is a fecund period in which the 'language' of film was at once established, challenged, and expanded. We study key film movements, modes of production, and film theories that emerged in order to develop a formal, historical, and theoretical appreciation of a variety of commercial and art film traditions. Specific topics may vary by term/year/instructor.nnThis term's topic will explore...TBD
| UG Reqs: GER:DB-Hum, WAY-A-II

FILMEDIA 100B: History of World Cinema II: Critics, Curators Communities (FILMEDIA 300B)

Provides an overview of cinema made around the world between 1930 and 1960, highlighting technical, cultural, political, and economic forces that shaped mid-twentieth-century cinema. We study key film movements and national cinemas towards developing a formal, historical, and theoretical appreciation of a variety of commercial and art film traditions. Specific topics may vary by term/year/instructor.nnThis term's topic: The emphasis on studios, producers, directors, and stars in film historiography can blind us to the work of critics, curators, and film societies in developing and influencing film culture. Such work helped make possible various 'new waves' and experimental cinemas. This course will engage mid-twentieth-century cinema, in its great variety (short films, educational films, and influential feature-length films) by foregrounding the creativity of critics, curators, and audiences in understanding and shaping the film industries, technologies and aesthetics of their time.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II, GER:DB-Hum
Instructors: Deb, A. (PI)

FILMEDIA 100C: History of World Cinema III, 1960-Present (ARTHIST 164, ARTHIST 364, CSRE 102C, CSRE 302C, FILMEDIA 300C, GLOBAL 193, GLOBAL 390, TAPS 100C, TAPS 300C)

Provides an overview of cinema from around the world since 1960, highlighting the cultural, political, and economic forces that have shaped various film movements over the last six decades. We study key film movements and national cinemas towards developing a formal, historical, theoretical appreciation of a variety of commercial and art film traditions. Specific topics may vary by term/year/instructor.nnThis term's topic, Queer Cinema and the World, explores an overview of cinema from around the world since 1960, highlighting cultural, political, economic forces that have shaped film movements over the last six decades. Through films from Africa, Asia, Latin America, and Europe, we examine non-Hollywood film industries and movements. We interrogate the concepts of 'national cinema' and 'world cinema,' and consider the politics of race, class, gender, and region in discussing world cinema as a territory of political resistance. You also learn to analyze formal aspects of cinematography, editing, and mise-en-scène, and how these contribute to defining film movements and industries.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMEDIA 101: Close Analysis: Film Sound (FILMEDIA 301)

The close analysis of film, with an emphasis on sound, music, and audio-visuality. 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. This course fulfills the WIM requirement for Film and Media Studies majors.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 3 times (up to 12 units total)

FILMEDIA 102: Theories of the Moving Image (FILMEDIA 302)

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.
Terms: Win | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMEDIA 114: Reading Comics (AMSTUD 114X, FILMEDIA 314)

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.
Terms: Win | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMEDIA 145: Politics and Aesthetics in East European Cinema (FILMEDIA 345)

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.
Terms: Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 116: International Documentary (FILMSTUD 316)

Historical, aesthetic, and formal developments of documentary through nonfiction films in Europe, Asia, Latin America, and Africa.
Last offered: Autumn 2018 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED

FRENCH 118: Literature and the Brain (COMPLIT 138, COMPLIT 238, ENGLISH 118, ENGLISH 218, FRENCH 218, PSYC 126, PSYCH 118F)

Recent developments in and neuroscience and experimental psychology have transformed the way we think about the operations of the brain. What can we learn from this about the nature and function of literary texts? Can innovative ways of speaking affect ways of thinking? Do creative metaphors draw on embodied cognition? Can fictions strengthen our "theory of mind" capabilities? What role does mental imagery play in the appreciation of descriptions? Does (weak) modularity help explain the mechanism and purpose of self-reflexivity? Can the distinctions among types of memory shed light on what narrative works have to offer?
Terms: Spr | Units: 3 | UG Reqs: GER:DB-Hum

FRENCH 120: Coffee and Cigarettes: The Making of French Intellectual Culture

Examines a quintessential French figure "l'intellectuel" from a long-term historical perspective. We will observe how this figure was shaped over time by such other cultural types as the writer, the artist, the historian, the philosopher, and the moralist. Proceeding in counter-chronological order, from the late 20th to the 16th century, we will read a collection of classic French works. As this course is a gateway for French studies, special emphasis will be placed on oral proficiency. Taught in French; readings in French.
Last offered: Autumn 2019 | UG Reqs: GER:DB-Hum, WAY-A-II
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