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431 - 440 of 859 results for: all courses

FILMSTUD 133B: Technology and American Visual Culture (AMSTUD 133)

An exploration of the dynamic relationship between technology and the ways we see and represent the world, with a focus on American visual culture from the 19th century through the present. We study the history of different tools from telescopes and microscopes to digital detectors that have changed and enhanced our visual capabilities; the way technological shifts, such as the introduction of electric lights or train travel, have shaped our visual imagination and aesthetic sensibilities; and how technology has inspired or responded to visual art. Special attention is paid to how different media, such as photography, cinema, and computer screens, translate the visual experience into a representation; the automation of vision; and the intersection of technology with notions of time and space.
Terms: not given this year, last offered Winter 2018 | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

FILMSTUD 135: Around the World in Ten Films (FILMSTUD 335, 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: Win | Units: 3-4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Levi, P. (PI)

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, last offered Autumn 2013 | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | 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, last offered Winter 2016 | 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, last offered Winter 2014 | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

FILMSTUD 165B: American Style and the Rhetoric of Fashion (AMSTUD 127, ARTHIST 165B)

Focus on the visual culture of fashion, especially in an American context. Topics include: the representation of fashion in different visual media (prints, photographs, films, window displays, and digital images); the relationship of fashion to its historical context and American culture; the interplay between fashion and other modes of discourse, in particular art, but also performance, music, economics; and the use of fashion as an expression of social status, identity, and other attributes of the wearer. Texts by Thorstein Veblen, Roland Barthes, Dick Hebdige, and other theorists of fashion.
Terms: not given this year, last offered Winter 2018 | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit

FILMSTUD 181Q: Alternative Viewpoints: Black Independent Film (AFRICAAM 181Q)

Preference to sophomores. Do you want to learn more about independent film as it was practiced in major urban centers by young filmmakers? This class focuses on major movements by groups such as the Sankofa Film Collective and the L.A. Rebellion. Learn how to analyze film and to discuss the politics of production as you watch films by Spike Lee, Julie Dash, Melvin Van Peebles, Ngozi Onwurah and more. We will discuss representation, lighting, press material, and of course the films themselves. This course includes a workshop on production, trips to local film festivals and time to critique films frame-by-frame. It matters who makes film and how they do so. When you have completed this class you will be able to think critically about "alternative viewpoints" to Hollywood cinema. You will understand how independent films are made and you will be inspired to seek out and perhaps produce or promote new visions.
Terms: not given this year, last offered Spring 2015 | Units: 4 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter or Credit/No Credit

FILMSTUD 211N: Childish Enthusiasms and Perishable Manias

This course has a simple premise: Effective scholarship need not suck the joy from the world.nnCollege, we understand, is serious stuff. Serious questions need to be asked in serious fields; serious meanings need to be derived from serious texts. College and graduate school are sites of gravitas; weighty work is expected. But what of levitas -- a lighter, more playful category? Does such a concept have a place at such institutions of higher learning as Stanford?nnGravitas and levitas can co-exist; one need not preclude the other. Writers and artists have long sought to incorporate a playful spirit, recognizing virtue in levity.nnIn a fairly cranky assessment of the crude commercialism of American urban space circa 1922, the British writer G. K. Chesterton paused to reflect, ¿If a child saw these colored lights, he would dance with as much delight as at any other coloured toys; and it is the duty of every poet, and even of every critic, to dance in respectful imitation of the child.¿ nn more »
This course has a simple premise: Effective scholarship need not suck the joy from the world.nnCollege, we understand, is serious stuff. Serious questions need to be asked in serious fields; serious meanings need to be derived from serious texts. College and graduate school are sites of gravitas; weighty work is expected. But what of levitas -- a lighter, more playful category? Does such a concept have a place at such institutions of higher learning as Stanford?nnGravitas and levitas can co-exist; one need not preclude the other. Writers and artists have long sought to incorporate a playful spirit, recognizing virtue in levity.nnIn a fairly cranky assessment of the crude commercialism of American urban space circa 1922, the British writer G. K. Chesterton paused to reflect, ¿If a child saw these colored lights, he would dance with as much delight as at any other coloured toys; and it is the duty of every poet, and even of every critic, to dance in respectful imitation of the child.¿ nnWhat does it mean to do scholarly work that respects a child¿s engagement with the world? To retain (or recover) the intensely pleasurable relation to particular objects or habits that we were allowed when younger? Does intellectually credible work depend upon a ¿critical distance¿ between the scholar and the object of study? Can we take something seriously without imposing a seriousness upon it that it may not possess (or want)? Do you have to be serious to be serious? nnThis seminar will try to answer some of those questions. We will explore such ¿unserious¿ media as amusement parks, comics, cartoons, musicals, and children¿s books, and encounter modes of critical engagement that stress experience over meaning, and investment over critical distance.
Terms: Aut | Units: 4 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Bukatman, S. (PI)

FILMSTUD 213: Theories of Melodrama (FILMSTUD 413)

Commonly derided for being over the top, with films in this mode put down as weepies, tear-jerkers, and women's films, melodrama as a genre and a cinematic mode has been reclaimed by feminist-queer-film scholars as providing a powerful site of ideological struggle and sustained engagement with individual and social subjection and suffering. Melodrama, a transgeneric mode of emotional dramaturgy, centered around body and community, delay and chance, realism and excess, affords radical critiques of discourses of gender, sexuality, race, class, and nation. We will consider melodrama's careful calibration of sensation and affect through its employment of cinematic form (color, music, editing etc.), and sweeping performative gestures. Through an analysis of films from Europe, Asia, Africa, Latin America, by auteurs such as Douglas Sirk, Ritwik Ghatak, Wong Kar-wai, Rainer Werner Fassbinder, and Pedro Almodovar, among others, we will study global and transnational flows in the adoption of the politics and aesthetics of the melodramatic mode. The seminar is conceived to be interdisciplinary and participants are encouraged to work with texts from disciplines other than film studies as well, including theatre, visual arts, music, dance, literature etc.
Terms: Spr | Units: 5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Iyer, U. (PI)

FILMSTUD 259: Game Studies (FILMSTUD 459)

This course aims to introduce students to the emerging, interdisciplinary field of game studies. We will investigate what games (including but not limited to digital games) are, why we play them, and what the functions of this activity might be. The bulk of the course will be devoted specifically to digital games, which we will approach from a variety of perspectives: from historical, cultural, industrial/commercial, media-theoretical, and formal (narratological/ludological) perspectives, among others. Thus, we will seek to understand the contexts in which video games emerged and evolved, the settings in which they have been played, and the discourses and practices that have determined their place in social and cultural life. In addition, we will ask difficult questions about the mediality of digital games: What is the relation of digital to non-digital games? Are they both games in the same sense, or do digital media redefine what games are or can be? How do digital games relate to ot more »
This course aims to introduce students to the emerging, interdisciplinary field of game studies. We will investigate what games (including but not limited to digital games) are, why we play them, and what the functions of this activity might be. The bulk of the course will be devoted specifically to digital games, which we will approach from a variety of perspectives: from historical, cultural, industrial/commercial, media-theoretical, and formal (narratological/ludological) perspectives, among others. Thus, we will seek to understand the contexts in which video games emerged and evolved, the settings in which they have been played, and the discourses and practices that have determined their place in social and cultural life. In addition, we will ask difficult questions about the mediality of digital games: What is the relation of digital to non-digital games? Are they both games in the same sense, or do digital media redefine what games are or can be? How do digital games relate to other (digital as well as non-digital) non-game media, such as film, television, print fiction, or non-game computer applications? Of course, to engage meaningfully with these questions at all will require us to investigate theories of mediality (including inter- and transmediality) more generally. Finally, though, we will be interested in the formal and experiential parameters that define (different types of) digital games in particular. What does it feel like to play (various) digital games? What are the relations between storytelling and the activity of gameplaying in them? What is the relation between these aspects and the underlying mechanics of digital games, as embodied in hardware and software? What is the role of the human body? Because these questions can only be approached on the basis of personal experience, students will be expected to spend some time playing digital games and reflecting critically on their gameplay.
Terms: Aut | Units: 5 | UG Reqs: WAY-A-II | Grading: Letter or Credit/No Credit
Instructors: Denson, S. (PI)
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