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81 - 90 of 115 results for: FILMSTUD

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

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.
Last offered: Autumn 2013

FILMSTUD 347: Iberian and Latin American Experimental Cinemas, 1960s to the Present (FILMSTUD 147)

This class will offer a panorama of Iberian and Latin American experimental film cultures from the 1960 to the present. We will focus on developments and formations mainly in Mexico, Brasil, Argentina, and Spain, but will cast side glances at Bolivia, Peru, Cuba, Paraguay and Uruguay. Among our main thematic interests will be the representation of the body and sexuality; abstraction; politics; the reading of history; personal subgenres (the essay and the diary film); and collage and appropriation. Readings will range from general theoretical statements on experimental film aesthetics to specific historical and critical excavations of experimental film by contemporary critics and historians.
Last offered: Spring 2017

FILMSTUD 348: Archival Cinema: Excavating the Future (FILMPROD 148, FILMPROD 348, FILMSTUD 148)

This course examines the practices of appropriation of archival material in cinema, and the problems of representation inherent to them. The practical component consists of a series of creative assignments in which students are asked to use archival material, including some from Stanford's collections, to produce short moving image pieces.
Terms: Aut | Units: 4
Instructors: Keca, S. (PI)

FILMSTUD 350: Cinema and the City (FILMSTUD 150)

Utopian built environments of vast perceptual and experiential richness in the cinema and city. Changing understandings of urban space in film. The cinematic city as an arena of social control, social liberation, collective memory, and complex experience. Films from international narrative traditions, industrial films, experimental cinema, documentaries, and musical sequences. Recommended: 4 or equivalent.
Last offered: Winter 2009

FILMSTUD 355: Comics and the City

Urban history and life informs the history, stories, structures and aesthetics of the comics, coinciding with the emergence of the modern metropolis in America and Europe and is rooted in the same industrial, commercial, and social transformations. Comics and cartoons were fixtures of urbane humor publications of the 19th century and became a valued fixture of the American newspaper in the very earliest part of the 20th. The characters in early comic strips were often denizens of the urban world, whether immigrants fresh off the boat or the nouveau riche. Many strips were grounded in quotidian urban experience. Later comics use the city as setting, aesthetic, and metaphor. The mean streets of Jacques Tardi's noirish cities abut the rather sunnier and shinier example of Superman's Metropolis. Science fiction comics and manga give us the impacted and often destructed cities of the future. The graphic novel adaptation of Paul Auster's City of Glass maps the grid pattern of the comics page onto the gridded streets of Manhattan. Chris Ware's Building Stories series uses one apartment building to follow the myriad and sometimes intersecting lines found therein. Assigned readings include many comics alongside urban and comics scholarship. Artists to be considered include Outcault, Swinnerton, McCay, Eisner, Katchor, Tatsumi, Doucet, Tardi, Otomo. Hergé, Mazzuchelli, Chaykin, Miller, Ware, Pekar, Crumb, Gloeckner.
Last offered: Spring 2013

FILMSTUD 357: Film Noir from Bogart to Mulholland Drive (FILMSTUD 157)

Why did prosperous mid-20th-century America produce a dark cinema of hard-boiled characters, gritty urban settings, stark high-contrast lighting, and convoluted plots? Key examples and the recent legacy of film noir: 40s and 50s Hollywood movies featuring anti-heroes, femmes fatales, shattered dreams, violence, and a heaviness of mood. Film noir's influences included pulp fiction; B-movie production-budgets; changes in Hollywood genres; left-populist aesthetic movements; a visual style imported by European émigré directors; innovations in camera and film technology; changes in gender roles; combat fatigue; and anxieties about the economy, communism and crime. Directors, writers, cinematographers and actors. Film viewings, readings and analyses.
Last offered: Winter 2014

FILMSTUD 364A: Technology and the Visual Imagination (ARTHIST 164A, ARTHIST 364A, FILMSTUD 164A)

An exploration of the dynamic relationship between technology and the ways we see and represent the world. The course examines technologies from the Renaissance through the present day, from telescopes and microscopes to digital detectors, that have changed and enhanced our visual capabilities as well as shaped how we imagine the world. We also consider how these technologies influenced and inspired the work of artists. Special attention is paid to how different technologies such as linear perspective, photography, cinema, and computer screens translate the visual experience into a representation; the automation of vision; and the intersection of technology with conceptions of time and space.
Last offered: Winter 2016

FILMSTUD 365A: Fashion Shows: From Lady Godiva to Lady Gaga (ARTHIST 165A, ARTHIST 365A, FILMSTUD 165A)

The complex and interdependent relationship between fashion and art. Topics include: the ways in which artists have used fashion in different art forms as a means to convey social status, identity, and other attributes of the wearer; the interplay between fashion designers and various art movements, especially in the 20th century; the place of prints, photography, and the Internet in fashion, in particular how different media shape how clothes are seen and perceived. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Last offered: Winter 2014

FILMSTUD 367B: Beyond the Fuzzy-Techie Divide: Art, Science, Technology (ARTHIST 167, ARTHIST 367, FILMSTUD 167B)

Although art and science are often characterized as "two cultures" with limited common interests or language, they share an endeavor: gaining insight into our world. They even rely on common tools to make discoveries and visually represent their conclusions. To clarify and interrogate points of similarity and difference, each week¿s theme (time, earth, cosmos, body) explores the efforts of artists and scientists to understand and represent it and the role of technology in these efforts. Focus on contemporary examples.
Last offered: Spring 2014


Formal, historical, and cultural issues in the study of film. Classical narrative cinema compared with alternative narrative structures, documentary films, and experimental cinematic forms. Issues of cinematic language and visual perception, and representations of gender, ethnicity, and sexuality. Aesthetic and conceptual analytic skills with relevance to cinema.
Last offered: Winter 2017
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