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41 - 50 of 99 results for: FILMSTUD

FILMSTUD 220: Being John Wayne (AMSTUD 220B, TAPS 220A)

John Wayne's imposing corporeality and easy comportment combined to create an icon of masculinity, the American West, and America itself. Focus is on the films that contributed most to the establishment, maturation, and deconstruction of the iconography and mythology of the John Wayne character. The western and war film as genres; the crisis of and performance of masculinity in postwar culture; gender and sexuality in American national identity; relations among individualism, community, and the state; the Western and national memory; and patriotism and the Vietnam War.
Terms: Win | Units: 5
Instructors: Bukatman, S. (PI)


This course surveys a range of critical perspectives and debates on Chinese cinema. It is organized on the basis of weekly topics, such as genre, historiography, gender, modernity, and the idea of national cinema. Consent of instructor required.
Last offered: Winter 2016

FILMSTUD 245B: History and Politics in Russian and Eastern European Cinema (FILMSTUD 445B, REES 301B)

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. Permission of instructor required prior to the first day of classes.
Terms: Aut | Units: 5
Instructors: Levi, P. (PI)

FILMSTUD 249: Eye of the Beholder: Subjective Cinema (FILMSTUD 449)

This course proposes to look at how even the most seemingly objective films are shaped by a subjective eye. An eye which is molded by gender, race, culture and class - all of which influence the entire film-making process and experience from how something is framed to how it is cut and and how it is perceived it. How we look at something, for how long we look at it and in what context we are shown something is as important as what we are looking at. Similarly the subjective eye of the viewer shapes how he or she understands and interprets the film. Whether the viewer is an insider or outsider to the subject completely changes expectations and reactions to the film. So then what are we really talking about when we talk about documentary films? What makes a documentary a documentary? Why is such a categorization valuable? necessary? useful? nThe course will combine analysis of films, theoretical texts, and some practical ¿production" exercises.
Last offered: Winter 2016

FILMSTUD 250B: Bollywood and Beyond: An Introduction to Indian Film (COMPLIT 247, GLOBAL 250)

A broad engagement with Indian cinema: its relationship with Indian politics, history, and economics; its key thematic concerns and forms; and its adaptation of and response to global cinematic themes, genres, and audiences. Locating the films within key critical and theoretical debates and scholarship on Indian and world cinemas. Goal is to open up what is often seen as a dauntingly complex region, especially for those who are interested in but unfamiliar with its histories and cultural forms.
Terms: Spr | Units: 3-5 | UG Reqs: GER:EC-GlobalCom, WAY-A-II, WAY-ED

FILMSTUD 251: Media in Transition

In a culture obsessed with new media, we are bombarded with hype about the present as a revolutionary phase of convergence. But everything old was once new, and pioneering media of the past also had to negotiate existing technologies, ideologies, and fantasies. This seminar is organized around case studies of transitional media moments from the long 20th century, including proto-cinema, ham radio, early television, hypertext, and digital film. In exploring the material and discursive aspects of remediation through theoretical, historical, and media archaeological readings, we will ask: what is a medium and how do they emerge and evolve.
Last offered: Autumn 2010

FILMSTUD 264B: Starstuff: Space and the American Imagination (AMSTUD 143X, ARTHIST 264B)

Course on the history of twentieth and twenty-first century American images of space and how they shape conceptions of the universe. Covers representations made by scientists and artists, as well as scientific fiction films, TV, and other forms of popular visual culture. Topics will include the importance of aesthetics to understandings of the cosmos; the influence of media and technology on representations; the social, political, and historical context of the images; and the ways representations of space influence notions of American national identity and of cosmic citizenship.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II
Instructors: Kessler, E. (PI)

FILMSTUD 273: Visual Culture of the Arctic (ARTHIST 273)

In what ways does contemporary art address the slowly unfolding catastrophes of melting ice and thawing permafrost in the Arctic due to climate change? How might contemporary art and experimental cinema help us come to grips with the emotional disturbance of living amidst the deep-seated changes that are happening in our environment? These are the key questions this course attempts to answer.nThe first part of the class attempts to outline the complex history of Arctic visual and cultural representations through an interdisciplinary lens. The second part focuses on the more recent artistic and cinematic responses to climate change in the arctic. For their final projects, students will be able to combine analytical writing with creative projects that could take the form of photography, installation art, web-based art, fiction, video or poetry.
Last offered: Spring 2016

FILMSTUD 290: Movies and Methods: Post-Cinema (FILMSTUD 490)

In this seminar, we will try to come to terms with twenty-first century motion pictures by thinking through a variety of concepts and theoretical approaches designed to explain their relations and differences from the cinema of the previous century. We will 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. nIn addition to viewing a wide range of recent and contemporary films, we will also engage more directly and materially with post-cinematic moving images: we will 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 post-cinematic media.nThe course addresses key issues in recent film and media theory and, especially in its hands-on components, encourages experimentation with methods of digital humanities, computational media art, and other creative practices.nNote: Open to graduate students and advanced undergraduates with permission of the instructor; capstone course for majors (senior seminar). Topics vary year to year. Focus is on historiography and theory. Limited enrollment. Permission code needed in order to enroll.
Terms: Win | Units: 5
Instructors: Denson, S. (PI)

FILMSTUD 297: Honors Thesis Writing

May be repeated for credit.
Terms: Aut, Win, Spr | Units: 1-5 | Repeatable for credit
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