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331 - 340 of 839 results for: all courses

FILMSTUD 114: Reading Comics (AMSTUD 114X, FILMSTUD 314)

The modern medium of comics, a history that spans 150 years. The flexibility of the medium encountered through the genres of humorous and dramatic comic strips, superheroes, undergrounds, independents, journalism, and autobiography. Innovative creators including McCay, Kirby, Barry, Ware, and critical writings including McCloud, Eisner, Groenstee. Topics include text/image relations, panel-to-panel relations, the page, caricature, sequence, seriality, comics in the context of the fine arts, and relations to other media.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)

FILMSTUD 116: International Documentary (FILMSTUD 316)

Historical, aesthetic, and formal developments of documentary through nonfiction films in Europe, Asia, Latin America, and Africa.
Terms: Aut | Units: 4 | UG Reqs: GER:DB-Hum | Grading: Letter (ABCD/NP)
Instructors: Keca, S. (PI)

FILMSTUD 133: Contemporary Chinese Auteurs (FILMSTUD 333)

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.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

FILMSTUD 140: Film Aesthetics: Editing (FILMSTUD 340)

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.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit

FILMSTUD 141: Music Across Media: Music Video to Postclassical Cinema (FILMSTUD 341, MUSIC 185, MUSIC 385)

What makes music videos, YouTube clips and musical numbers in today's films engaging? What makes them tick? Emphasis is on aesthetics and close reading. How music videos and its related forms work. Uses of the body, how visual iconography operates, what lyrics and dialogue can do, how and what music can say, and how it can work with other media. Questions of representation such as how class, ethnicity, gender, race, and nationality function. Viewership and industry practices.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum | Grading: Letter or Credit/No Credit

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

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.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)

FILMSTUD 150: Cinema and the City (FILMSTUD 350)

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.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, GER:EC-GlobalCom | Grading: Letter (ABCD/NP)

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

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.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

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

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.
Terms: not given this year | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

FRENCH 112: Oscar Wilde and the French Decadents (COMPLIT 112, COMPLIT 312, FRENCH 312)

Close reading of Oscar Wilde's work together with major texts and authors of 19th-century French Decadence, including Symbolism, l'art pour l'art, and early Modernism. Points of contact between Wilde and avant-garde Paris salons; provocative, creative intersections between (homo)erotic and aesthetic styles, transgression; literary and cultural developments from Baudelaire to Mallarmé, Huysmans, Flaubert, Rachilde, Lorrain, and Proust compared with Wilde¿s Salomé, Picture of Dorian Gray, and critical writings; relevant historical and philosophical contexts. All readings in English; all student levels welcome.
Terms: not given this year | Units: 3-5 | UG Reqs: GER:DB-Hum, WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit
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