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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)

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

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 134: The Art Cinema of India (FILMSTUD 334)

India is the world's largest producer of films, and Bollywood is currently its most visible cinematic product on the festival circuit as well as university curricula. This course, probably the first of its kind in the American academic setting, will focus instead on the various art cinemas of India. From the well-known Satyajit Ray to his important contemporaries, Ritwik Ghatak and Mrinal Sen, from the social realist New Wave cinemas of the 70s and 80s to contemporary indie films, we will engage with the history of the "parallel cinema" movement. Considering the relationship of Indian art cinema to Third Cinema and to European art cinema will bring attention to transnational networks and exhibition circuits. The course will engage with scholarship on art cinema more broadly to understand how films are categorized as such through narrative, form, audience, auteurism, funding, censorship, and relationship to the nation-state.
Terms: Win | Units: 5 | UG Reqs: WAY-A-II, WAY-ED | Grading: Letter (ABCD/NP)
Instructors: Iyer, U. (PI)

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
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