2016-2017 2017-2018 2018-2019 2019-2020 2020-2021
Browse
by subject...
    Schedule
view...
 
  COVID-19 Scheduling Updates!
See Stanford's HealthAlerts website for latest updates concerning COVID-19 and academic policies.

511 - 520 of 1095 results for: all courses

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, instrument more »
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.nnnFilm & Media Studies majors and minors must enroll for 5 units.
Last offered: Autumn 2019 | UG Reqs: WAY-A-II

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.
Last offered: Autumn 2019 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 100B: History of World Cinema II: Critics, Curators Communities (FILMSTUD 300B)

The emphasis on studios, producers, directors, and stars in film historiography can blind us to the work of critics, curators, and film societies in developing and influencing film culture. Such work helped make possible various ¿new waves¿ and experimental cinemas. This course engages mid-twentieth-century cinema, in its great variety (short films, educational films, and influential feature-length films) by foregrounding the creativity of critics, curators, and audiences in understanding and shaping the film industries, technologies and aesthetics of their time.
Terms: Aut, Win | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

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.
Last offered: Spring 2020 | 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: Spr | Units: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable 3 times (up to 12 units total)

FILMSTUD 102: Theories of the Moving Image (FILMSTUD 302)

Major theoretical arguments and debates about cinema: realism,formalism, poststructuralism, feminism, postmodernism, and phenomenology. Prerequisites: FILMSTUD 4.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II

FILMSTUD 107N: Documentary Film: Telling it Like it Is?

Documentary films have become a "lingua franca," thanks to ubiquitous streaming services and our devotion to screen time. Offering compelling stories, intriguing "characters," and a lingering resonance, they often function as a Rorschach test that elicits divergent responses. This course decodes the narrative technique, point of view, authorship, and aesthetic approach of nonfiction films that explore scintillating and provocative subject matter. The student develops "visual literacy" skills as we interrogate the inferred relationship between documentary, objectivity, and "truth." In this seminar-style class, we peel back the veneer of the films we watch, examining both form and content.
Terms: Aut | Units: 3 | UG Reqs: WAY-A-II
Instructors: Krawitz, J. (PI)

FILMSTUD 112: Women in French Cinema: 1958- (FEMGEN 192, FRENCH 192)

Women as objects and subjects of the voyeuristic gaze inherent to cinema. The myth of the feminine idol in French films in historical and cultural context since the New Wave until now. The mythology of stars as the imaginary vehicle that helped France to change from traditional society to modern, culturally mixed nation. The evolution of female characters, roles, actresses, directors in the film industry. Filmmakers include Vadim, Buñuel, Truffaut, Varda, Chabrol, Colline Serreau, Tonie Marshall. Discussion in English; films in French with English subtitles.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE

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.
Last offered: Autumn 2018 | UG Reqs: GER:DB-Hum, WAY-A-II
Filter Results:
term offered
updating results...
teaching presence
updating results...
number of units
updating results...
time offered
updating results...
days
updating results...
UG Requirements (GERs)
updating results...
component
updating results...
career
updating results...
© Stanford University | Terms of Use | Copyright Complaints