2016-2017 2017-2018 2018-2019 2019-2020 2020-2021
by subject...

1 - 10 of 142 results for: FILMSTUD

FILMSTUD 4: Introduction to Film Study

This course will introduce students to formal, historical, and cultural issues in the study of film. We will explore the technological and social history of cinema and engage with philosophical and theoretical questions pertaining to film as a medium and as a cultural product, even as we undertake the formal analysis of fiction, documentary, and experimental films.
Terms: Aut | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 4S: Language of Film

This course familiarizes students with various elements of film language (cinematography, editing, sound, etc.) and introduces them to a range of approaches to cinematic analysis (authorship, genre, close formal reading, socio-historical considerations). Different types of films (narrative, documentary, and experimental) will be surveyed. Classical narrative cinema will be compared with alternative modes of story-telling.
Last offered: Summer 2019 | UG Reqs: WAY-A-II

FILMSTUD 6: Introduction to Media (FILMSTUD 306)

What is a medium? This course starts from the assumption that the answer to this question is not as obvious as it might at first appear. Clearly, we know some media when we see them: radio, film, and television are in many ways paradigmatic media of the twentieth century. But what about the computational, networked media of the twenty-first century? Are these still media in the same sense, or has the nature of media changed with the emergence of digital technologies? And what, for that matter, about pre-technical media? Is painting a medium in the same sense that oil or acrylic are media, or in the sense that we speak of mixed media? Is language a medium? Are numbers? Is the body? As we shall see, the question of what a medium is raises a number of other questions of a theoretical or even philosophical nature. How is our experience of the world affected or shaped by media? Are knowledge and perception possible apart from media, or are they always mediated by the apparatuses, instruments, or assemblages of media? What is the relation between the forms and the contents of media, and how does this relation bear on questions of aesthetics, science, technology, or politics? The lecture-based course addresses these and other questions and seeks in this way to introduce a way of thinking about media that goes beyond taken-for-granted ideas and assumptions, and that has a potentially transformative effect on a wide range of theoretical and practical interests.nnFilm & Media Studies majors and minors must enroll for 5 units.
Terms: Aut | Units: 3-5 | UG Reqs: WAY-A-II

FILMSTUD 6B: Media and Visual Culture


FILMSTUD 7: Introduction to Television Studies

Television is arguably the most influential and ubiquitous mass medium of the last half century. Because of its familiarity and popularity, it is also often the medium most overlooked, dismissed, and maligned. Drawing from the history of television and of television scholarship, this course builds a theoretical framework for understanding this pivotal cultural form. Course covers interdisciplinary approaches to studying TV texts, TV audiences, and TV industries, including questions of the boundaries of television (from independent and avant-garde video to convergence). In the process students develop methodological tools as critical television viewers.
Last offered: Autumn 2010

FILMSTUD 50Q: The Video Essay: Writing with Video about Film and Media

In this course, we will explore what it means to write with video, and we will learn to make effective and engaging video essays about historical and contemporary audiovisual media. Specifically, we will examine formal, aesthetic, and rhetorical strategies for communicating in the medium of video, and we will conduct a series of hands-on exercises utilizing digital video editing software to construct arguments, analyses, and interpretations of film and other media (including television, video games, and online media). Compared with traditional, text-based engagements, the video essay offers a remarkably direct mode of communicating critical and analytical ideas. In this medium, authors no longer struggle to describe audiovisual contents in words that can never do justice to the rich array of details that are immediately apparent to spectators eyes and ears; instead, video essayists can simply show their viewers what they want them to see. This does not mean, however, that it is any easier to write effectively with video than it is to compose an essay with pen and paper. Similar types of expository and argumentative planning are involved in both forms, while the new technology introduces its own characteristic challenges and choices, including decisions about the spatial and temporal organization and transformation of audiovisual materials, the addition of onscreen text, voiceover commentary, and visual effects. By taking a hands-on approach, we will develop our skills with editing software such as Adobe Premiere Pro and Apple's Final Cut Pro while also cultivating our awareness of the formal and narrative techniques employed in films and other moving-image media. Through weekly assignments and group critique sessions, we will learn to express ourselves more effectively and creatively in audiovisual media. As a culmination of our efforts, we will assemble a group exhibition of our best video essays for public display on campus.nnNo previous experience is required, but a willingness to learn new technologies (in particular, video editing software) is important.
Terms: Aut | Units: 3 | UG Reqs: WAY-CE
Instructors: Denson, S. (PI)

FILMSTUD 100A: History of World Cinema I, 1895-1929 (FILMSTUD 300A)

This course begins at the end of the nineteenth century, when the purpose of cinema was questioned and debated, film grammar was just being invented, distribution and exhibition were haphazard, and writers internationally were registering surprise and wonder at the new medium. It ends with modernist masterpieces of the 1920s, subtle (and still relevant) critical debates about the aesthetics and politics of film, and the development of viable sound technologies. What could film have become and did not? How did storytelling come to dominate the development of the new medium? How and why did various national cinemas develop distinctive stylesâ¿¿classical Hollywood, French Impressionism, German Expressionism, Russian montageâ¿¿that shape screen arts to this day? How did influential critics understand cinema and the ways it could reflect and effect social change? To explore these questions you will work mainly with primary textsâ¿¿the films themselves, and criticism written contemporaneously with them. Lectures will help you place these filmic and critical texts within a larger narrative about the first thirty-five years of cinema.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Oeler, K. (PI)

FILMSTUD 100B: History of World Cinema II, 1930-1959 (FILMSTUD 300B)

This course will explore the history of cinema in the sound era. Specifically, the focus of our aesthetic/formal and contextual (industrial, socio-political, cultural) study will be on European cinema in the post-WWII era, and the proliferation of the so-called New Waves in the cinemas of Italy, France, Germany, Poland, Great Britain, Czechoslowakia, and more.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Levi, P. (PI)

FILMSTUD 100C: History of World Cinema III, 1960-Present (FILMSTUD 300C)

This course will provide 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. We will study some key film movements and national cinemas towards developing a historical appreciation of a variety of commercial and art film traditions. Through an exploration of films from Europe, Africa, Asia, and Latin America, we shall examine the industrial histories of non-Hollywood film production and exhibition practices that produce the particular cinematic cultures of each region.
Terms: Spr | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 101: Fundamentals of Cinematic Analysis: Film Sound (FILMSTUD 301)

The close analysis of film. Emphasis is on formal and narrative techniques in structure and style, and detailed readings of brief sequences. Elements such as cinematography, mise-en-scène, composition, sound, and performance. Films from various historical periods, national cinemas, directors, and genres. Prerequisite: FILMSTUD 4 or equivalent. Recommended: ARTHIST 1 or FILMSTUD 102. Course can be repeated twice for a max of 8 units.
Terms: Win | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 3 times (up to 12 units total)
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
updating results...
UG Requirements (GERs)
updating results...
updating results...
updating results...
© Stanford University | Terms of Use | Copyright Complaints