printer friendly pageFILMSTUD 100A: History of World Cinema I, 1895-1929 (FILMSTUD 300A)
From cinema's precursors to the advent of synchronized sound.
Terms: Aut
|
Units: 4
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Grading: Letter (ABCD/NP)
Instructors:
Bukatman, S. (PI)
;
Levavy, S. (TA)
FILMSTUD 101: Fundamentals of Cinematic Analysis (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: Aut
|
Units: 4
|
UG Reqs: GER:DBHum
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Repeatable for credit
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Grading: Letter (ABCD/NP)
Instructors:
Ma, J. (PI)
;
Pang, H. (TA)
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
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Units: 4
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UG Reqs: GER:DBHum
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Grading: Letter or Credit/No Credit
Instructors:
Meltzer, J. (PI)
FILMSTUD 141: Music Across Media: Music Video to Postclassical Cinema (FILMSTUD 341, MUSIC 185, MUSIC 385)
What makes music videos, YouTube clips and musical numbers in today's films engaging? What makes them tick? This course emphasizes aesthetics and close reading. We will try to figure out how music videos and its related forms work. To do so, we consider uses of the body, how visual iconography operates, what lyrics and dialogue can do, how and what music can say, and how it can work with other media. We will be concerned with questions of representation ¿ how class, ethnicity, gender, race and nationality function. The course also examines viewership and industry practices.
Terms: Aut
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Units: 4
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UG Reqs: GER:DBHum
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Grading: Letter or Credit/No Credit
Instructors:
Vernallis, C. (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: Aut
|
Units: 4
|
UG Reqs: GER:DBHum
|
Grading: Letter (ABCD/NP)
Instructors:
Levi, P. (PI)
;
Pei, E. (PI)
Levi, P. (PI)
;
Pei, E. (PI)
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: Aut
|
Units: 4
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UG Reqs: GER:DBHum
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Grading: Letter or Credit/No Credit
Instructors:
Kessler, E. (PI)
FILMSTUD 208D: Technology and Religion in South Asia (RELIGST 108D)
The history of technology (depending on how we choose to define the term) in South Asia is deeply connected to the history of colonialism and the practice of religion. In this class we will trace the arrival of the printing press, cinematic technology and television in the subcontinent and look at the impact it had on the practice of religion, national identity and consumption. This seminar is inter-disciplinary in approach and will study the intertwining of Hinduism and visual culture through Indian literary texts, sculpture, painting, dance, theatre and film¿with a focus on the visual and the modern. No attempt will be made to comprehensively survey all related modes and texts; rather the seminar will focus on specific forms based on their relation to contemporary themes of technology, the self, the popular, divinity and power. Each body of material will be placed within its specific socio-economic, historical, religious and artistic context.
Terms: Aut
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Units: 3-5
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UG Reqs: GER:DBHum
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Grading: Letter or Credit/No Credit
Instructors:
Tiwari, B. (PI)
FILMSTUD 297: Honors Thesis Writing
May be repeated for credit.
Terms: Aut, Win, Spr
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Units: 1-5
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Repeatable for credit
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Grading: Letter (ABCD/NP)
Instructors:
Bukatman, S. (PI)
FILMSTUD 299: Independent Study: Film and Media Studies
May be repeated for credit.
Terms: Aut, Win, Spr, Sum
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Units: 1-15
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Repeatable for credit
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Grading: Letter or Credit/No Credit
Instructors:
Bukatman, S. (PI)
;
Krawitz, J. (PI)
;
Levi, P. (PI)
;
Ma, J. (PI)
...
more instructors for FILMSTUD 299 »
Levi, P. (PI)
;
Ma, J. (PI)
...
more instructors for FILMSTUD 299 »
Instructors:
Bukatman, S. (PI)
;
Krawitz, J. (PI)
;
Levi, P. (PI)
;
Ma, J. (PI)
;
Meltzer, J. (PI)
;
Samuelson, K. (PI)
;
Tobin, A. (PI)
Levi, P. (PI)
;
Ma, J. (PI)
;
Meltzer, J. (PI)
;
Samuelson, K. (PI)
;
Tobin, A. (PI)
FILMSTUD 300A: History of World Cinema I, 1895-1929 (FILMSTUD 100A)
From cinema's precursors to the advent of synchronized sound.
Terms: Aut
|
Units: 4
|
Grading: Letter (ABCD/NP)
Instructors:
Bukatman, S. (PI)
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