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1 - 10 of 22 results for: FILMSTUD ; Currently searching winter courses. You can expand your search to include all quarters

FILMSTUD 100B: History of World Cinema II, 1930-1959 (FILMSTUD 300B)

This course will explore the history of cinema in the sound era. Specifically, the focus of our aesthetic/formal and contextual (industrial, socio-political, cultural) study will be on European cinema in the post-WWII era, and the proliferation of the so-called New Waves in the cinemas of Italy, France, Germany, Poland, Great Britain, Czechoslowakia, and more.
Terms: Win | Units: 5 | UG Reqs: GER:DB-Hum, WAY-A-II
Instructors: Levi, P. (PI)

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: 3-4 | UG Reqs: GER:DB-Hum, WAY-A-II | Repeatable for credit

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. Film screenings Monday 6:00-8:30pm.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-CE
Instructors: Alduy, C. (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
Instructors: Levi, P. (PI)

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: Win | Units: 4 | UG Reqs: WAY-A-II
Instructors: Kessler, E. (PI)

FILMSTUD 173: Digital and Interactive Media

This course introduces a variety of ways of thinking about digital and interactive media. As examples, we will think about the impact of algorithmic processes on cinema and other moving-image media; we will consider the relation of narrative to interactivity in video games and related forms; and we will look carefully at the perceptual and embodied relations of human users to computational systems of various sorts. Engaging with a wide range of historical and contemporary media forms (including those used for entertainment, artistic expression, social interaction, politics, work, play, and other things in between), this course hopes to illuminate the transformative roles that digital and interactive media play in our lives.
Terms: Win | Units: 3-5
Instructors: Denson, S. (PI)

FILMSTUD 178: Film and History of Latin American Revolutions and Counterrevolutions (HISTORY 78, HISTORY 178, ILAC 178)

Note: Students who have completed HISTORY 78N or 78Q should not enroll in this course. In this course we will watch and critique films made about Latin America's 20th century revolutions focusing on the Cuban, Chilean and Mexican revolutions. We will analyze the films as both social and political commentaries and as aesthetic and cultural works, alongside archivally-based histories of these revolutions.
Terms: Win | Units: 3-5 | UG Reqs: WAY-A-II, WAY-SI
Instructors: Wolfe, M. (PI)

FILMSTUD 223: How to Watch TV

¿How to watch TV¿ may seem like the most obvious thing in the world. Yet when we look at the historical development of television as a technological, social, and cultural form, we find that people have engaged with it in a variety of different ways. There is not, in other words, a single right way to watch TV. This is because television itself has undergone transformations on all of these levels: Technologically, changes such as those from black-and-white to color, analog to digital, standard to high-definition, and broadcast to cable to interactive all play a role in changing our relation to what ¿television¿ is. Socially, changes in television¿s integration in corporate and industrial structures, its mediation of political realities, and its ability to reflect and shape our interactions with one another all play a role in transforming who ¿we¿ as viewers are. And culturally, varieties of programming including live broadcasting, prerecorded content, and on-demand streaming of news, movies, sit-coms, and prestige dramas series all indicate differences and distinctions in what it means to ¿watch¿ TV. In this course, we will engage with these and other aspects of television as a medium in order to rethink not only how but why we watch TV.
Terms: Win | Units: 3-5
Instructors: Denson, S. (PI)

FILMSTUD 280: Curricular Practical Training

CPT course required for international students completing degree.
Terms: Aut, Win, Spr, Sum | Units: 1-3 | Repeatable for credit
Instructors: Iyer, U. (PI)

FILMSTUD 295: Films & Media Studies Internship

Professional experience in a field related to the cinematic arts (film, television, media) for six to ten weeks. Internships may include work for production companies, producers, studios, networks, films, television series, directors, screenwriters, non-profit organizations, academic publications and related workplaces. Students arrange the internship, provide a confirmation letter from the hosting institution, and must receive consent from the faculty coordinator to enroll in units. Students submit weekly self-assessments, and evaluations from the student and the supervisor are submitted at the end of the internship. Summer internships may be credited in fall quarter. Restricted to declared majors and minors. May be repeated for credit.
Terms: Win, Spr, Sum | Units: 1-3 | Repeatable for credit
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