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71 - 80 of 115 results for: FILMSTUD

FILMSTUD 316: International Documentary (FILMSTUD 116)

Historical, aesthetic, and formal developments of documentary through nonfiction films in Europe, Asia, Latin America, and Africa.
Last offered: Autumn 2016

FILMSTUD 319: Science Fiction: Cyborgs & Human Simulacra in the Cinema (AMSTUD 119, FILMSTUD 119)

The human simulacrum has a long history in mythology, fairy tales and children¿s stories, as well as in the genres of horror and science fiction. This course explores synthetic human narratives in the cinema. Stories of artificially created life, living statues, automata, body snatchers, robots, cyborgs and electronic simulations all direct our attention to our assumed definitions of the human.The fantasies and anxieties that undergird these stories engage with such issues as labor, gender, sexuality, death, emotion, rationality, embodiment, consumerism, reproductive technologies, and power relations. Attention will also be given the relation of cinema¿s human simulacra to changing cinematic technologies. Films will include Metropolis, Pinocchio, Robocop, Bride of Frankenstein, The Golem, A.I., My Fair Lady, Her, Blade Runner, and the HBO iteration of Westworld. Readings will include essays, as well as some fiction and possibly comics.
Terms: Aut | Units: 4
Instructors: Bukatman, S. (PI)

FILMSTUD 329: Animation and the Animated Film (AMSTUD 129, FILMSTUD 129)

The fantasy of an image coming to life is ancient, but not until the cinema was this fantasy actualized. The history of the movies begins with optical toys, and contemporary cinema is dominated by films that rely on computer animation. This course considers the underlying fantasies of animation in art and lit, its phenomenologies, its relation to the uncanny, its status as a pure cinema, and its place in film theory. Different modes of production and style to be explored include realist animation, abstract animation; animistic animation; animated drawings, objects, and puppets; CGI, motion capture, and live/animation hybrids.
Terms: Aut | Units: 4
Instructors: Bukatman, S. (PI)

FILMSTUD 331: Cinemato-graph (FILMSTUD 131)

The term cinematography, which literally means "inscribing motion," tends to lose the "graphic" part in modern use. However, several influential film-makers not only practiced the art of "inscribing motion" but also wrote texts discussing the aesthetic premises of cinematographic art. This course explores theories of cinema as propagated by the following film-makers: Vertov, Eisenstein, Godard, Bresson, Antonioni, Pasolini, Tarkovsky, Greenaway, and Lynch. Selected key texts will be supplemented by screenings of classic films, indicative of each director's work.
Last offered: Winter 2016

FILMSTUD 332: East Asian Cinema

Social, historical, and aesthetic dimensions of the cinemas of Japan, Hong Kong, Taiwan, mainland China, and Korea. Topics such as nation and gender, form and genre, and local and transnational conditions of practice and reception. Screenings include popular and art films from the silent to contemporary eras, including, Zhang Yimou, Wong Kar-wai, Hou Hsiao-hsien, Ozu Yasujiro, Kurosawa Akira, and Im Kwon-taek.
Last offered: Spring 2007

FILMSTUD 332A: Indian Cinema (FILMSTUD 132A)

This course will provide an overview of cinema from India, the world's largest producer of films. We will trace the history of Indian cinema from the silent era, through the studio period, to state-funded art filmmaking to the contemporary production of Bollywood films as well as the more unconventional multiplex cinema. We will examine narrative conventions, stylistic techniques, and film production and consumption practices in popular Hindi language films from the Bombay film industry as well as commercial and art films in other languages. This outline of different cinematic modes will throw light on the social, political, and economic transformations in the nation-state over the last century.
Terms: Spr | Units: 5

FILMSTUD 333: Contemporary Chinese Auteurs (FILMSTUD 133)

New film cultures and movements in Taiwan, Hong Kong, and mainland China in the 80s. Key directors including Jia Zhangke, Wu Wenguang, Tsai Ming-liang, Hou Hsiao-hsien, Wong Kar-wai, Ann Hui. Topics include national cinema in the age of globalization, the evolving parameters of art cinema, and authorship.
Last offered: Spring 2013

FILMSTUD 335: Around the World in Ten Films (FILMSTUD 135, 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: Aut | Units: 3-4
Instructors: Levi, P. (PI)

FILMSTUD 336: Gender and Sexuality in Chinese Cinema (FILMSTUD 136)

Representations of gender and sexuality in the cinemas of China, Taiwan, and Hong Kong, covering key periods and genres such as the golden age of Shanghai film, Hong Kong action pictures, opera films, post-socialist art films, and new queer cinema. Historical and contemporary perspectives on cinematic constructions of femininity, masculinity, and sexuality as they relate to issues of nationalism, modernity, globalization, and feminist and queer politics. Weekly screening required.
Last offered: Spring 2012

FILMSTUD 340: Film Aesthetics: Editing (FILMSTUD 140)

Practical and theoretical approaches to editing and montage. The role of editing in film meaning, and cognitive and emotional impact on the viewer. Developments in the history and theory of cinema including continuity system, Soviet montage, French new wave, postwar and American avant garde. Aesthetic functions, spectatorial effects, and ideological implications of montage. Film makers include Eisenstein, Godard, and Conner.
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