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21 - 30 of 30 results for: bukatman

FILMSTUD 319: Science Fiction: Cyborgs & Human Simulacra in the Cinema (AMSTUD 119, FILMSTUD 119)

The human simulacrum has a long history in mythology, fairy tales and children¿s stories, as well as in the genres of horror and science fiction. This course explores synthetic human narratives in the cinema. Stories of artificially created life, living statues, automata, body snatchers, robots, cyborgs and electronic simulations all direct our attention to our assumed definitions of the human.The fantasies and anxieties that undergird these stories engage with such issues as labor, gender, sexuality, death, emotion, rationality, embodiment, consumerism, reproductive technologies, and power relations. Attention will also be given the relation of cinema¿s human simulacra to changing cinematic technologies. Films will include Metropolis, Pinocchio, Robocop, Bride of Frankenstein, The Golem, A.I., My Fair Lady, Her, Blade Runner, and the HBO iteration of Westworld. Readings will include essays, as well as some fiction and possibly comics.
Terms: Aut | Units: 4 | Grading: Letter (ABCD/NP)
Instructors: Bukatman, S. (PI)

FILMSTUD 329: Animation and the Animated Film (AMSTUD 129, FILMSTUD 129)

The fantasy of an image coming to life is ancient, but not until the cinema was this fantasy actualized. The history of the movies begins with optical toys, and contemporary cinema is dominated by films that rely on computer animation. This course considers the underlying fantasies of animation in art and lit, its phenomenologies, its relation to the uncanny, its status as a pure cinema, and its place in film theory. Different modes of production and style to be explored include realist animation, abstract animation; animistic animation; animated drawings, objects, and puppets; CGI, motion capture, and live/animation hybrids.
Terms: Aut | Units: 4 | Grading: Letter or Credit/No Credit
Instructors: Bukatman, S. (PI)

FILMSTUD 490: Movies and Methods: FILMS OF BURT LANCASTER (FILMSTUD 290)

The acting career of Burt Lancaster extended from 1946 to 1991. He began as a contract player within the Hollywood studio system, but, like many stars of the time, he founded his own production company in the 1950s. A tremendously physical actor, he entered film history as a brooding (if hunky) presence in film noir before becoming an exuberant swashbuckler in westerns and adventure films and, still later, a thoughtful, magisterial figure in works by a number of European auteurs.nnnThis course will have a dual grounding. Lancaster will be considered as a case study in film acting/performance. Acting is a fundament of narrative cinema and an undeniable source of cinematic pleasure, yet it represents a blind spot in film studies. The class will propose that the work Lancaster produced demonstrates coherence, consistency, and performative richness worthy of close examination. The class will also posit Burt Lancaster as an iconic screen figure whose long and manifold career may also be app more »
The acting career of Burt Lancaster extended from 1946 to 1991. He began as a contract player within the Hollywood studio system, but, like many stars of the time, he founded his own production company in the 1950s. A tremendously physical actor, he entered film history as a brooding (if hunky) presence in film noir before becoming an exuberant swashbuckler in westerns and adventure films and, still later, a thoughtful, magisterial figure in works by a number of European auteurs.nnnThis course will have a dual grounding. Lancaster will be considered as a case study in film acting/performance. Acting is a fundament of narrative cinema and an undeniable source of cinematic pleasure, yet it represents a blind spot in film studies. The class will propose that the work Lancaster produced demonstrates coherence, consistency, and performative richness worthy of close examination. The class will also posit Burt Lancaster as an iconic screen figure whose long and manifold career may also be approached through a variety of other methodological frameworks, including genre (film noir, western, war film, spy thriller, etc.), national cinemas (American, Italian, French, co-productions), and authorship.nnnEach class will be divided between critical engagement with assigned readings, close analysis of Lancaster's performances, and careful attention to the stylistic and formal properties of the chosen films. The screening list will be supplemented with ample clips from additional films.
Terms: Spr | Units: 5 | Grading: Letter (ABCD/NP)

FILMSTUD 660: Independent Study

For graduate students only. Approved independent research projects with individual faculty members.
Terms: Aut, Win, Spr, Sum | Units: 1-15 | Repeatable for credit | Grading: Letter (ABCD/NP)

FILMSTUD 660E: Extended Seminar

May be repeated for credit. (Staff)
Terms: Aut, Win, Spr | Units: 4 | Repeatable for credit | Grading: Letter (ABCD/NP)

MTL 390: Qualifying Paper

Preparation and writing of the qualifying paper for the Ph.D. in Modern Thought and Literature. nn (Staff)
Terms: Aut, Win, Spr, Sum | Units: 1-5 | Repeatable for credit | Grading: Satisfactory/No Credit

MTL 398: Graduate Independent Study

Students pursue a special subject of investigation under supervision of a member of the committee or another faculty member. May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 1-15 | Repeatable for credit | Grading: Letter or Credit/No Credit

MTL 399: Reading for Orals

Reading in preparation for the University Oral Examination. May be repeated for credit.
Terms: Aut, Win, Spr, Sum | Units: 1-15 | Repeatable for credit | Grading: Satisfactory/No Credit

MTL 802: TGR Dissertation

Terms: Aut, Win, Spr, Sum | Units: 0 | Repeatable for credit | Grading: TGR

URBANST 199: Senior Honors Thesis

Terms: Aut, Win, Spr | Units: 1-10 | Repeatable for credit | Grading: Letter (ABCD/NP)
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