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1 - 10 of 19 results for: FILMEDIA ; Currently searching winter courses. You can expand your search to include all quarters

FILMEDIA 11Q: Art in the Metropolis (ARTSINST 11Q, ENGLISH 11Q, MUSIC 11Q, TAPS 11Q)

This seminar is offered in conjunction with the annual "Arts Immersion" trip to New York that takes place over the spring break and is organized by the Stanford Arts Institute (SAI). Enrollment in this course a requirement for taking part in the trip (and vice versa). The program is designed to provide a group of students with the opportunity to immerse themselves in the cultural life of New York City guided by faculty and SAI staff. Students will experience a broad range and variety of art forms (visual arts, theater, opera, dance, etc.) and will meet with prominent arts administrators and practitioners, some of whom are Stanford alumni. For further details and updates about the trip, see https://arts.stanford.edu/for-students/academics/arts-immersion/new-york/.
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: Ma, J. (PI)

FILMEDIA 102: Theories of the Moving Image: The Technologically Mediated Image (FILMEDIA 302)

This course examines influential theories of film and media from the early twentieth century to the present. Prerequisites: FILMEDIA 4.
Terms: Win | Units: 4 | UG Reqs: WAY-A-II, GER:DB-Hum
Instructors: Reichman, R. (PI)

FILMEDIA 110N: Coming-of-Age Movies

Physical changes, religious rituals, and new legal rights and responsibilities outwardly mark the transition from childhood to adulthood. They imply inward transformation such as loss of innocence and maturation of perspective. This combination of inward and outward change is generative material for cinema. What does cinema bring to these stories, and what do these stories reveal about cinema¿s capacities as medium and art? What can we take from such movies as we ask what it means to be an adult?
Terms: Win | Units: 3 | UG Reqs: WAY-A-II
Instructors: Oeler, K. (PI)

FILMEDIA 135: Around the World in Ten Films (FILMEDIA 335, GLOBAL 135)

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.
Terms: Win | Units: 3-4 | UG Reqs: WAY-A-II

FILMEDIA 234: Media Theory and the Sea (GERMAN 234, GERMAN 334)

This seminar serves as an introduction to media theory by turning to the sea as a medium. Designed for third- and fourth-year German majors, the course explores the way the ocean has served as a constant vehicle for poetic and philosophical reflection throughout history, from Homer's Odyssey to Paul Valery's Cemetery by the Sea. Combining theoretical studies of seafaring by Hans Blumenberg and Bernard Siegert with literary writings from Franz Kafka and Friedrich Hölderlin, this course highlights the way nautical activity becomes a theater of political and poetic concerns when our engagement with the ocean is viewed as a metaphor or a cultural technique. In recent years, the sea has also become a flashpoint for environmental concerns due to rising sea levels, leading to calls to take the material status of the ocean itself seriously. The sea, when viewed through the lens of environmental media, continues to serve as a canvas for the projection of human hopes and fears while opening up further questions about the relationship between nature, cultural practices, and theoretical texts. Readings for this course will be in German and English.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II
Instructors: Norton, B. (PI)

FILMEDIA 256Q: Horror Comics

This seminar will explore the vast array of horror comics. How does horror work in comics, as distinct from prose and cinema? How and why are non-moving images scary? The different narrational strategies of short stories, self-contained works, and continuing series will be explored, as will American, Japanese, and European approaches. Special attention will be given to Frankenstein, in novel, film, illustration, and comics. Example of such sub-genres as literary horror, horrific superheroes, cosmic (Lovecraftian) horror, ecological horror, as well as the horrors of bodies, sexuality, and adolescence will be encountered.Students will read many comics, some comics theory, and will do an in-class presentation on a comic or topic of their choosing. The course is a seminar, so discussion will be continuous and required. Enrollment limited.
Terms: Win | Units: 3
Instructors: Bukatman, S. (PI)

FILMEDIA 280: Curricular Practical Training

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.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit

FILMEDIA 290: Movies and Methods: The Films Of Vincente Minnelli (AMSTUD 290, FILMEDIA 490)

Working at MGM, the most opulent of Hollywood studios, Vincente Minnelli epitomized the studio system, and yet his films remain idiosyncratic, distinct, and personal. He is thus a curious figure within the history of auteurist study. Minnelli's work constitutes a series of rich collaborations with some of Hollywood's most prominent stars, screenwriters, composers, cinematographers, choreographers, cinematographers, set designers and costume designers while remaining both formally and thematically coherent as a body of work. His opulent melodramas, musicals, and comedies are haunted by a recognition of the fragility and necessity of illusion. His characters display what Thomas Elsaesser calls 'the vital need to assert' - not so much one's self, but rather one's conception of meaning, one's vision of things. Characters in such films as Meet Me in St. Louis, Madame Bovary, Some Came Running, The Bad and the Beautiful, The Band Wagon, Brigadoon, and Lust for Life strive to remake reality, more »
Working at MGM, the most opulent of Hollywood studios, Vincente Minnelli epitomized the studio system, and yet his films remain idiosyncratic, distinct, and personal. He is thus a curious figure within the history of auteurist study. Minnelli's work constitutes a series of rich collaborations with some of Hollywood's most prominent stars, screenwriters, composers, cinematographers, choreographers, cinematographers, set designers and costume designers while remaining both formally and thematically coherent as a body of work. His opulent melodramas, musicals, and comedies are haunted by a recognition of the fragility and necessity of illusion. His characters display what Thomas Elsaesser calls 'the vital need to assert' - not so much one's self, but rather one's conception of meaning, one's vision of things. Characters in such films as Meet Me in St. Louis, Madame Bovary, Some Came Running, The Bad and the Beautiful, The Band Wagon, Brigadoon, and Lust for Life strive to remake reality, pushing their (and the films') aesthetic sensibilities beyond the limits to produce the experiential shift described by the philosopher and cineaste Gilles Deleuze as a 'movement of world.' Minnelli was also formally adventurous, his worlds steeped in the bold use of color, widescreen, camera movement and performance. The seminar will be film-heavy, with students watching about two films per week. This course is the capstone seminar for graduating FMS seniors. Instructor permission required for everyone else.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II | Repeatable 2 times (up to 10 units total)
Instructors: Bukatman, S. (PI)

FILMEDIA 295: Films & Media Studies Internship

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.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable 3 times (up to 10 units total)

FILMEDIA 297: Honors Thesis Writing

May be repeated for credit.
Terms: Aut, Win, Spr | Units: 2-5 | Repeatable 3 times (up to 10 units total)
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