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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: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit | Grading: Letter (ABCD/NP)
Instructors: Ma, J. (PI)

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. WIM at 4 units only.
Terms: Spr | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter (ABCD/NP)
Instructors: Oeler, K. (PI)

FILMSTUD 110: Science Fiction Cinema (FILMSTUD 310)

Science fiction film's sense of wonder depends upon the development and revelation of new ways of seeing. The American science fiction film emphasizes the fundamental activity of human perception, its relation to bodily experience and the exploration of other worlds, new cities, and other modes of being, in such new technological spaces as the cyberspaces of the information age. It is perhaps the Hollywood genre most directly concerned with the essence of cinema itself.
Terms: not given this year, last offered Autumn 2013 | Units: 4 | UG Reqs: GER:DB-Hum, WAY-A-II | Grading: Letter or Credit/No Credit

FILMSTUD 110N: Darkness in Light: The Filmic Imagination of Horror

Preference to freshmen. From its beginnings, the cinema evinced an affinity with the phantom realm of specters, ghosts, and supernatural beings. Not only does horror have deep and diverse roots in the international history of film; it emerges as a trope of film itself, as a medium of shadows, dematerialized presence, life drained of substance. Overview of filmic imaginations of horror with a focus on the U.S., Europe, and Japan. Theories of horror, from the fantastic to the uncanny; unpacking these in light of key moments in the genre's development. The merits of vampires versus zombies. Ongoing debates through the lens of horror about cinematic representation, from Andre Bazin's idea of the mummy complex to Linda Williams' thesis of body genres to Jeffrey Sconce's notion of haunted media. Introduction to film analysis and interpretation; no prior experience in film studies required. Required weekly screening.
Terms: not given this year, last offered Winter 2015 | Units: 3 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

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, Godard, Colline Serreau, Tonie Marshall. Discussion in English; films in French with English subtitles. 3 units, 4 units or 5 units. Class meets Tuesday/Thursday 1:30-2:50pm; film screenings Monday 6:00-8:30pm. NOTE: FILMSTUD students must take this course for 3 units only.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE | Grading: Letter or Credit/No Credit
Instructors: Alduy, C. (PI)

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, WAY-A-II | Grading: Letter (ABCD/NP)

FILMSTUD 115: Documentary Issues and Traditions (FILMSTUD 315)

Issues include objectivity/subjectivity, ethics, censorship, representation, reflexivity, responsibility to the audience, and authorial voice. Parallel focus on form and content.
Terms: not given this year, last offered Winter 2018 | Units: 4 | UG Reqs: GER:DB-SocSci, WAY-A-II | 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, WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Petrovic, T. (PI)

FILMSTUD 131: Cinemato-graph (FILMSTUD 331, SLAVIC 185, SLAVIC 285)

The term cinematography, which literally means "inscribing motion," tends to lose the "graphic" part in modern use. However, several influential film-makers not only practiced the art of "inscribing motion" but also wrote texts discussing the aesthetic premises of cinematographic art. This course explores theories of cinema as propagated by the following film-makers: Vertov, Eisenstein, Godard, Bresson, Antonioni, Pasolini, Tarkovsky, Greenaway, and Lynch. Selected key texts will be supplemented by screenings of classic films, indicative of each director's work. NOTE: This course must be taken for a minimum of 3 units to be eligible for Ways credit.
Terms: Aut | Units: 1-5 | UG Reqs: WAY-A-II | Grading: Letter (ABCD/NP)

FILMSTUD 132A: Indian Cinema (FILMSTUD 332A)

This course will provide an overview of cinema from India, the world's largest producer of films. We will trace the history of Indian cinema from the silent era, through the studio period, to state-funded art filmmaking to the contemporary production of Bollywood films as well as the more unconventional multiplex cinema. We will examine narrative conventions, stylistic techniques, and film production and consumption practices in popular Hindi language films from the Bombay film industry as well as commercial and art films in other languages. This outline of different cinematic modes will throw light on the social, political, and economic transformations in the nation-state over the last century.
Terms: not given this year, last offered Spring 2018 | Units: 5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
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