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1 - 10 of 18 results for: FILMEDIA ; Currently searching spring courses. You can expand your search to include all quarters

FILMEDIA 38: Comics: More than Words (DLCL 238, ENGLISH 1C)

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.
Terms: Aut, Win, Spr | Units: 1 | Repeatable 20 times (up to 20 units total)

FILMEDIA 100C: History of World Cinema III: Queer Cinemas around the World (ARTHIST 164, ARTHIST 364, CSRE 102C, CSRE 302C, FEMGEN 100C, 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. Specific topics may vary by term/year/instructor. This term's topic, Queer Cinemas around the World, engages with a range of queer cinematic forms and queer spectatorial practices in different parts of the world, as well as BIPOC media from North America. Through film and video from Kenya, Malaysia, India, The Dominican Republic, China, Brazil, Palestine, Japan, Morocco, the US etc., we will examine varied narratives about trans experience, same-sex desire, LGBTQI2S+ rights, censorship, precarity, and hopefulness. This course will attune us to regional cultural specificities in queer expression and representation, prompting us to move away from hegemonic and homogenizing understandings of queer life and media. Notes: Screenings will be held on Wednesdays at 5:30PM in Oshman Hall. Screening times will vary slightly from week to week.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, GER:DB-Hum | Repeatable 2 times (up to 10 units total)

FILMEDIA 101: Close Cinematic Analysis - Caste, Sexuality, and Religion in Indian Media (ARTHIST 199, FEMGEN 104, FILMEDIA 301, TAPS 101F)

India is the world's largest producer of films in over 20 languages, and Bollywood is often its most visible avatar, especially on US university curricula. This course will introduce you to a range of media from the Indian subcontinent across commercial and experimental films, documentaries, streaming media, and online cultures. We will engage in particular with questions of sexuality, gender, caste, religion, and ethnicity in this postcolonial context and across its diasporas, including in the Caribbean. Given this course's emphasis on close cinematic analysis, we will analyze formal aspects of cinematography, editing, mise-en-scène, and performance, and how these generate spectatorial pleasure, star and fan cultures, and particular modes of representation. This course fulfills the WIM requirement for Film and Media Studies majors. Note: Screenings will be held on Thursdays at 5:30 PM. Screening times will vary from week to week and may range from 90 to 180 minutes.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II, GER:DB-Hum

FILMEDIA 120: Superhero Theory (AMSTUD 120B, ARTHIST 120, ARTHIST 320, FILMEDIA 320)

With their fantastic powers, mutable bodies, multiple identities, complicated histories, and visual dynamism, the American superhero has been a rich vehicle for fantasies (and anxieties) for 80+ years across multiple media: comics, film, animation, TV, games, toys, apparel. This course centers upon the body of the superhero as it incarnates allegories of race, queerness, hybridity, sexuality, gendered stereotypes/fluidity, politics, vigilantism, masculinity, and monstrosity. They also embody a technological history that encompasses industrial, atomic, electronic, bio-genetic, and digital.
Terms: Spr | Units: 3-5 | UG Reqs: WAY-A-II

FILMEDIA 216: Media and the Environment (FILMEDIA 416, SUSTAIN 156, SUSTAIN 356)

How are environmental issues represented in various media, from cinema and television to videogames, VR, and experimental art? And how are these media themselves involved in environmental change? In this course, we look at media and the environment as interlocking parts of a system, inseparable from one another. We might start by asking how, for example, documentary and narrative films portray environmental crises like oil spills, wildfires, or extinction events. From there, however, we will need to investigate the ways that media themselves constitute environments, both metaphorically and literally. We swim in media; it is the air we breathe. Virtually all of our experience and communication take place within the spaces of media. Meanwhile, media-technologies and their infrastructures are increasingly entangled with the material environment: from rare earth metals in our electronic devices to undersea cables that bring us the Internet, digital media in particular are an increasingly s more »
How are environmental issues represented in various media, from cinema and television to videogames, VR, and experimental art? And how are these media themselves involved in environmental change? In this course, we look at media and the environment as interlocking parts of a system, inseparable from one another. We might start by asking how, for example, documentary and narrative films portray environmental crises like oil spills, wildfires, or extinction events. From there, however, we will need to investigate the ways that media themselves constitute environments, both metaphorically and literally. We swim in media; it is the air we breathe. Virtually all of our experience and communication take place within the spaces of media. Meanwhile, media-technologies and their infrastructures are increasingly entangled with the material environment: from rare earth metals in our electronic devices to undersea cables that bring us the Internet, digital media in particular are an increasingly significant driver of environmental change. In addition to reading and engaging with a variety of media objects, students will have the opportunity to create their own media objects (video essays, VR projects, experimental artworks, etc.) that shed light on the interrelations of media and the environment.
Terms: Spr | Units: 3-5
Instructors: Denson, S. (PI)

FILMEDIA 257: Black Contemporary Filmmakers (AFRICAAM 256, AMSTUD 256)

Despite the systemic inequalities of the Hollywood system, there is a robust, stylistically diverse cohort of African-American writer/directors at work, including Barry Jenkins, Ava DuVernay, and Ryan Coogler. Jenkins' films (Moonlight, If Beale Street Could Talk), are aesthetically lush, intimate, and understated. DuVernay (When They See Us) foregrounds racial history and injustice in her feature films, television, and documentary work. Coogler followed his realist Fruitvale Station with two powerful genre films with black protagonists (Creed, Black Panther - this last the highest-grossing film by a black director).
Terms: Spr | Units: 5
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 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)

FILMEDIA 299: Independent Study: Film and Media Studies

Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms and payment are required by the end of Week 2 of each quarter. Please contact the Undergraduate Coordinator in McMurtry 108 for more information. May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit
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