Courses

Machine-Age Comedy

27410
37410
  • Graduate/Undergraduate
  • Spring
  • 2013-2014
X. Dong

Henri Bergson famously said in his 1900 essay on Laughter that the “mechanical inelasticity” of the living is the source of the comic. Taking this claim as the point of departure for our inquiry, this course looks into the ways “machine” informs our understanding of comedy in the age of technological modernity, which is significantly mediated by the cinematic apparatus. What were the new forms of comedy emerged in the twentieth century? How did filmmakers update the timeless art of comedy in the machine-age? We will review both established and recent theorizations of film comedy as we sample representative works from international cinema, including early trick films, animation, slapstick, inter-war avant-garde cinema, as well as masterpieces by the great comic minds from Charlie Chaplin and Buster Keaton to Yasujiro Ozu, Yuan Muzhi, and Jacques Tati.

Islam in the Digital Age

29500
39500
NEHC 39600, NEHC 29600, ISLM 39500
  • Graduate/Undergraduate
  • Spring
  • 2013-2014
S. Khamis

The introduction of new media, such as the Internet, satellite television and cell phones, in the Arab/Muslim world imposed new realities and invited new dynamics, whether in the political, social, cultural or communication landscapes. This course tackles the complexities and implications of this new digital age, with all its multi-faceted dimensions. In the communication arena, it pays special attention to the discourses and deliberations exchanged in cyberspace between Muslims and non-Muslims, on one hand, as well as between Muslims belonging to different sects, on the other hand. In doing so, it pays special attention to the myriad of complex factors which could be conducive, or constraining, to digital dialogue. Politically, it unveils the multiple roles played by new media in mobilizing and catalyzing resistance movements in many parts of the Muslim world, with a special emphasis on the phenomenon of “cyberactivism,” or the deployment of new media to boost socio-political change, as manifested in the “Arab Awakening” movements, in particular. Socially, it tackles the contemporary tides of social change in Muslim societies, which have been both conducive to, as well as reflective of, new patterns and forms of communication, and investigates how and why they have been closely related to each other. Culturally, it investigates the shifts in Arab and Muslim identities cross-generationally and cross-culturally, with a special emphasis on diasporic Muslim communities, in an attempt to deeply understand the interplay of different variables, including new media consumption, in shaping, as well as reflecting, the complexity of Muslim identities today.

Montage: History, Theory, Practice

67201
  • Graduate
  • Spring
  • 2013-2014
Y. Tsivian

This seminar will look at the history of editing from early attempts at multi-shot sequencing to the self-conscious experiments in “intellectual montage;” at editing techniques ranging from cross-cutting to CGI sequences; and at a variety of montage theories from Eisenstein and Pudovkin to Bazin. ,This seminar will look at the history of editing from early attempts at multi-shot sequencing to the self-conscious experiments in “intellectual montage;” at editing techniques ranging from cross-cutting to CGI sequences; and at a variety of montage theories from Eisenstein and Pudovkin to Bazin.

Poetics and Rhetoric of Cinema

67210
  • Graduate
  • Spring
  • 2013-2014
N. Steimatsky

How do rhetorical figures – metaphor, metonymy, synechdoche, allegory, among other tropes so extensively studied in the verbal arts – mediate our perception? how do they inform stylistic and even theoretical conceptions of the moving image? Do they just mimic, or translate literary devices? Do they function merely as ornaments or puns, offering occasional poetic maneuvers in ambitious films? In this seminar we shall explore ways in which tropes can be seen to deeply inform the cinema's means of articulation and the dynamic workings of the image -- the coalescing and mutation of signs, the relation of visual and narrative or expository forms, the differentiation of styles, the very consciousness of the medium with respect to traditions and conventions. Readings will include some influential texts in poetics (eg. Dante, Coleridge, Auerbach, Fletcher, Benjamin, Jakobson, De Man) as well as writings devoted to questions of cinematic figuration (Munsterberg, Eisenstein, Kracauer, Perez, Williams, Rodowick). We shall discuss these in view of films by Eisenstein, Bunuel, Bresson, Franju, Pasolini, Snow, Burnett, Ruiz, and others.

Introduction to Film

10100
ARTH 20000, ARTV 25300, ENGL 10800
  • Undergraduate
  • Autumn
  • 2012-2013
Namhee Han

This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

Course MW 1:30-2:50, C 307
Screening T 7:00-10:00, LC 201

Visual Language: On Time and Space

10300
ARTV 10300, TAPS 23400
  • Undergraduate
  • Autumn
  • 2012-2013
Karthik Pandian

Through studio work and critical discussion on four-dimensional form, this course is designed to reveal the conventions of the moving image, performance, and/or the production of digital-based media. Basic formal elements and principles of art are presented, but also put into practice to reveal perennial issues in a visual field. Form is studied as a means to communicate content. Topics as varied as but not limited to narrative, mechanical reproduction, verisimilitude, historical tableaux, time and memory, the body politic, and the role of the author can be illuminated through these primary investigations. Some sections focus solely on performance; others incorporate moving image technology. Please check the time schedule for details. Visits to museums and other fieldwork required, as is participation in studio exercises and group critiques.

American Television: From Broadcast Networks to the Internet

25951
ENGL 25951
  • Undergraduate
  • Autumn
  • 2012-2013
Patrick Jagoda

The idea of electromechanically transmitted moving images dates back to the nineteenth century and the first technological demonstration of televised moving images took place in the 1920s. While this course touches upon the early history of television, we will focus our attention on the era between the commercialization of television in the United States (in the early 1950s) and the rise of internet-based television via services such as Hulu (in the 2000s). As we will see, the history of television in these years, intersects with numerous other media, such as radio, film, video, digital games, and the novel. Alongside a study of the medium of television and its role in American culture, we will attend carefully to the form of TV narrative as it changes from an early episodic format to the complex long-form serial narratives that attained maturity in the 1990s. Through historical, formal, and cultural analyses, we will attempt to make sense of the recent renaissance of television narrative characterized by such serial programs as The Sopranos, The Wire, Breaking Bad, and Mad Men. The course combines theoretical texts with close readings of particular television shows. Requirements include engaged participation in class discussion, weekly blog entries, a mid-term paper, and a substantive final research paper. There will be no exams.

Course TR 12:00-1:20

Senior Colloquium

29800
  • Undergraduate
  • Autumn
  • 2012-2013
Jim Lastra

PQ: CMST 10100. Required of all Cinema and Media Studies majors. This seminar is designed to provide senior concentrators with a sense of the variety of methods and approaches in the field (such as formal analysis, cultural history, industrial history, reception studies, psychoanalysis). Students will present material relating to their B.A. project, which will be discussed in relation to the issues of the course.

Course R 1:30-4:20, LC 801
Screening W 3:30-6:30, LC 201

Creative Thesis Workshop

23905
33905
ARTV 23905, ARTV 33905
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Judy Hoffman

CMST 23930; CMST 23931 or 27600; departmental approval of senior creative thesis project. This seminar will focus on how to craft a creative thesis in film or video. Works-in-progress will be screened each week, and technical and structural issues relating to the work will be explored. The workshop will also develop the written portion of the creative thesis. The class is limited to seniors from CMS and DOVA, and MAPH students working on a creative thesis.

Time and location pending.

Documentary Production I

23930
33930
ARTV 23930, ARTV 33930, CMST 33930, HMRT 25106, HMRT 35106
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Judy Hoffman

This 100 unit course is taught over Winter and Spring. This course focuses on the shaping and crafting of a nonfiction video. Students are expected to write a treatment detailing their project. Production techniques focus on the handheld camera versus tripod, interviewing and microphone placement, and lighting for the interview. Postproduction covers editing techniques and distribution strategies. Students then screen final projects in a public space.

Course WF 10:00-12:30, LC 014

Czech New Wave Cinema

24401
34401
CZEC 26700, CMST 34401, CZEC 36701
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Malynne Sternstein

The insurgent film movement known as the Czech New Wave spawned such directors as the internationally acclaimed Milos Forman (The Fireman’s Ball, Loves of a Blonde), Jiri Menzel (Closely Watched Trains), Jan Kadar (The Shop on Main Street), and Vera Chytilova (Daisies), and the lesser known but nationally inspirational Evald Schorm, Jarmir Jires, Odlrich Lipsky, and Jan Nemec. The serendipitous life of the Czech New Wave is as much a subject of the course’s inquiry as close technical and semantic research of the films themselves.

Course: TR 1:30-2:50, C 425

The Martial Arts Tradition in Chinese Cinema

24613
34613
EALC 24323, EALC 34323, TAPS 28464, CMST 34613
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Judith Zeitlin

This year’s course focuses on the martial arts film in Hong Kong cinema, in conjunction with a special quarter-long series on this topic at Doc Films. We will pay particular attention to the wuxia genre, tracing the genealogy of the chivalric code in the Chinese literary and performing tradition, and examining its continuous reinvention in the films of masters like King Hu, Chang Cheh, Bruce Lee, and Tsui Hark. Recurrent issues to be examined include the representation of violence, fantasy, and nationalism; the interplay between body, film style, and technology; the performance of masculinity and femininity; and the complex interactions between the global and local in today’s trans-national film culture.

PQ: Background in Cinema or East Asia helpful but not required. Screenings in conjunction with Doc Films series on Thursdays at 9:00 p.m., attendance is mandatory.

Course TR 3:00-4:20
Screening R 9:00-10:50

Transmedia Game

25953
35953
ENGL 25953, ENGL 32311, CRWR 26003, CRWR 46003, CMST 35953, ARTV 25401, TAPS 28457
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Patrick Jagoda

This experimental course explores the emerging game genre of “transmedia” or “alternate reality” gaming. Transmedia games use the real world as their platform while incorporating text, video, audio, social media, websites, and other forms. We will approach new media theory through the history, aesthetics, and design of transmedia games. Course requirements include weekly blog entry responses to theoretical readings; an analytical midterm paper; and collaborative participation in a single narrative-based transmedia game project. No preexisting technical expertise is required but a background in any of the following areas will help: creative writing, literary or media theory, web design, visual art, computer programming, performance, and game design.

Course R 3:00-5:50

Introduction to Photography

27600
37600
ARTV 24000, ARTV 34000, CMST 37600
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Laura Letinsky

Photography is a familiar medium due to its ubiquitous presence in our visual world, including popular culture and personal usage. In this class, students learn technical procedures and basic skills related to the 35mm camera, black and white film, and print development. They also begin to establish criteria for artistic expression. We investigate photography in relation to its historical and social context in order to more consciously engage the photograph's communicative and expressive possibilities. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Field trips required.

Introduction to Film Production

28920
38920
ARTV 23850/33850
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Judy Hoffman

This intensive laboratory will be an introduction to 16mm film production, experimenting with various film stocks and basic lighting designs. The class will be organized around a series of production situations and students will work in crews. Each crew will learn to operate and maintain the 16mm Bolex film camera, tripod; Arri lights, gels, diffusion, and grip equipment. The final project will be an in camera edit. No prerequisites. Lab fee $100.

Course WF 1:00-3:30, LC 014

Methods and Issues

40000
40000
ENGL 48000, MAPH 33000
  • Graduate
  • Autumn
  • 2012-2013
Jennifer Wild

This course offers an introduction to ways of reading, writing on, and teaching film. The focus of discussion will range from methods of close analysis and basic concepts of film form, technique and style; through industrial/critical categories of genre and authorship (studios, stars, directors); through aspects of the cinema as a social institution, psycho-sexual apparatus and cultural practice; to the relationship between filmic texts and the historical horizon of production and reception. Films discussed will include works by Griffith, Lang, Hitchcock, Deren, Godard.

Course TR 1:30-2:50, C 307
Screening T 3:30-6:30, C 307

The Aesthetics of Socialist Realism

44510
  • Graduate
  • Autumn
  • 2012-2013
Robert Bird and Christina Kiaer

Socialist Realism was declared the official mode of Soviet aesthetic culture in 1934. Though it has been dismissed within the totalitarian model as propaganda or kitsch, this seminar will approach it from the perspective of its aesthetics. By this we mean not only its visual or literary styles, but also its sensory or haptic address to its audiences. Our premise is that the aesthetic system of Socialist Realism was not simply derivative or regressive, but developed novel techniques of transmission and communication; marked by a constant theoretical reflection on artistic practice, Socialist Realism redefined the relationship between artistic and other forms of knowledge, such as science. Operating in an economy of art production and consumption diametrically opposed to the Western art market, Socialist Realism challenged the basic assumptions of Western artistic discourse, including the concept of the avant-garde. It might even be said to offer an alternate model of revolutionary cultural practice, involving the chronicling and producing of a non-capitalist form of modernity. The seminar will focus on Soviet visual art, cinema and fiction during the crucial period of the 1930s under Stalin (with readings available in translation), but we welcome students with relevant research interests that extend beyond these parameters. Conducted jointly by professors Robert Bird (Slavic and Cinemaand Media Studies, University of Chicago) and Christina Kiaer, Art History, Northwestern University, course meetings will be divided evenly between the campuses of Northwestern University and the University of Chicago.

Course W 1:30-4:20

History of International Cinema, Part I: Silent Era

28500
48500
ARTH 28500/38500, CMLT 22400/32400, DOVA 26500, ENGL 29300/48700, MAPH 33600
  • Graduate/Undergraduate
  • Autumn
  • 2012-2013
Jim Lastra

This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The aim of this course is to introduce students to what was singular about the art and craft of silent film. Its general outline is chronological. We will discuss main national schools and international trends of filmmaking.

Course TR 10:30-11:50, LC 201
Screening M 3:30-6:30, LC 201
Screening W 7:00-10:00, LC 201

The Uncanny in Cinema

65202
65202
ARTH 45202
  • Graduate
  • Autumn
  • 2012-2013
Tom Gunning

The uncanny is an experience or quality that by definition remains difficult to grasp: something that is mysterious and enigmatic, yet also seems oddly familiar. To explore this term this seminar will draw largely on a tradition of commentary on the German word Das Unheimliche, usually translated as uncanny, that can be trace among Ernst Jentsch, Sigmund Freud and Martin Heidegger and it relevance to film and media studies. Freud and his disciple Otto Rank before 1920 related the uncanny to the cinema, and cinema’s ability to evoke the uncanny has been frequently observed. On the one hand, the cinema’s ability to portray uncanny events (as in Rank and Freud’s invocation of the 1913 film The Student of Prague) appears generically in films of fantasy or horror. In addition, some theorists have felt that film as a medium could be best approached via the uncanny. In this seminar we will read a series of the keys texts and try to survey the terrain of the concept of the uncanny. We will screen films that evoke the experience through their narrative and stylistics, and we will discuss the usefulness of the term for theorizing both film and electronic media, both new and old.

Course: W 1:30-4:20, C 310 Screening W 7:00-10:00, C 307

Rome in Literature and Film

23202
33202
ITAL 23203/33203
  • Graduate/Undergraduate
  • Winter
  • 2012-2013
Rebecca West

We shall analyze films and fictional works that reflect both realities and myths about the “Eternal City,” Rome. Classical Rome will not be studied; instead the focus will be on a trajectory of works, both written and cinematic, that are set in and explore late nineteenth to late twentieth-century Rome. The goal is to analyze some of the numerous diverse representations of modern Rome that portray historical, political, subjective, and/or fantastical/mythopoetic elements that have interacted over time to produce the palimpsest that is the city of Rome. Books by D’Annunzio, Moravia, Pasolini and Malerba; films by Fellini, Visconti, Rossellini, Bertolucci, Pasolini, and Moretti. Taught in English; Italian majors will read the texts in the original Italian.

Course: TR 1:30-2:50, C 310
Screening: T 3:30-6:30, C 307

Creative Thesis Workshop

23905
33905
ARTV 23905, ARTV 33905
  • Graduate/Undergraduate
  • Winter
  • 2012-2013
Judy Hoffman

PQ: CMST 23930; CMST 23931 or 27600; departmental approval of senior creative thesis project. This seminar will focus on how to craft a creative thesis in film or video. Works-in-progress will be screened each week, and technical and structural issues relating to the work will be explored. The workshop will also develop the written portion of the creative thesis. The class is limited to seniors from CMS and DOVA, and MAPH students working on a creative thesis.

Time and location pending.

Documentary Production II

23931
33931
ARTV 23931,ARTV 33931
  • Graduate/Undergraduate
  • Winter
  • 2012-2013
Judy Hoffman

PQ: CMST 23930 or ARTV 23930. This 100 unit course is taught over Autumn and Winter. This course focuses on the shaping and crafting of a nonfiction video. Students are expected to write a treatment detailing their project. Production techniques focus on the handheld camera versus tripod, interviewing and microphone placement, and lighting for the interview. Postproduction covers editing techniques and distribution strategies. Students then screen final projects in a public space.

Course: TR 10:00-12:30, location pending

Buñuel and Surrealism

26802
36802
LACS 26802/36802
  • Graduate/Undergraduate
  • Winter
  • 2012-2013
Jim Lastra

Description forthcoming.

Course: TR 10:30-11:50, LC 801
Screening: T 7:00-10:00, LC 201

Lohengrin Laboratory: Opera, Dramaturgy, and Stage Practice

28304
38304
APS 28436, MUSI 39113/29113, GRMN 39113/29113
  • Graduate/Undergraduate
  • Winter
  • 2012-2013
Majel Connery (Executive Director, Opera Cabal, NYC/Chicago) and David Levin (Germanic Studies, Theater & Performance Studies, Cinema and Media Studies, and Director of the Gray Center for Arts and Inquiry).

 

In 2014, the International Contemporary Ensemble (ICE) will stage a production of Salvatore Sciarrino's Lohengrin directed by Majel Connery, Executive Director of Opera Cabal, an experimental opera company based in New York City and Chicago. This team-taught, interdisciplinary seminar will serve as a laboratory for the production. The first half of the class explores in depth the work's genesis (Wagner's opera, *Lohengrin*) and subsequent adaptation (a short story by Symbolist poet Jules Laforgue which, in turn, is re-adapted for opera by Sciarrino). As a class we will cultivate a fluency with the theoretical stakes of these multiple *Lohengrins* (including Alain Badiou's and Adorno's writings on Wagner, Michel Poizat on voice, and Slavoj Zizek/Mladen Dolar on opera, voice and the gaze) in order, finally, to develop a suite of mini-Lohengrins-group-based scenic reflections and solutions. No previous experience staging opera is expected, although an interest in exploring the intersection of textual exegesis, conceptual analysis, and stage practice is essential.  Students with an interest in any of the following are especially welcome: contemporary music, performance theory, dramaturgy, design, and/or directing.  

Feminist Theory and Counter-Cinema

20202
40202
FREN 22213, FREN 32213, GNSE 20208, GNSE 30308
  • Graduate/Undergraduate
  • Winter
  • 2012-2013
Jennifer Wild

Feminism in Great Britain, France, and America has produced a rigorous intellectual, theoretical, and aesthetic legacy within the field of film studies. This course will explore the central debates of feminist psychoanalytic film theory (the patriarchal unconscious; Hollywood narrative; the gaze; genre; visual/female pleasure; masochism; the female spectator; resistant spectators) and criticism as we also integrate the contemporary movement of feminist historiography into our central mode of inquiry. The theoretical debates surrounding the critique of language, the question of feminine writing, cinécriture, and the female author will inform our investigation of the radical aesthetics of feminist counter cinema. Films include: Queen Christina; Orlando; Craig’s Wife; Le Bonheur; Vertigo; Hiroshima, Mon Amour; Mahogany; Salome; Fuses; Riddles of the Sphynx; Film About a Woman Who...; Jeanne Dielman; Tapage Nocturne; Sex is Comedy.

T/TH 12:00-1:20 C310 
screening: Thursday 3:30 - 6:30 C307

History of International Cinema, Part II: Sound Era to 1960

28600
48600
ARTH 28600, ARTH 38600, CMLT 22500, CMLT 32500, ENGL 29600, ENGL 48900, MAPH 33700, ARTV 26600
  • Graduate/Undergraduate
  • Winter
  • 2012-2013
Tom Gunning

The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir.

Course: MW 1:30-2:50, LC 201
Screening: M 7:00-10:00, LC 201

Neo-Avant-Wave: Post-War Film Experiment in France

63701
63701
FREN 43713, ARTH 43701
  • Graduate
  • Winter
  • 2012-2013
Jennifer Wild

The New Wave. The Neo-Avant Garde. Rarely have these film and art movements been placed into an explicit historical or theoretical dialog or dialectic. It will be the task of this seminar to do just that. We will begin our study with a brief look into the pre-WWII situation of radical art and film movements, and classic theories of the avant-garde and neo-avant-garde. Turning our attention to the rise of Lettrism within the context of post-war film and art culture, we will subsequently evaluate the conditions that surrounded the emergence of New Wave filmmaking and criticism, and that include the Situationist International and Nouveau Réalisme. As we move toward and beyond the events of May 1968, we will bring our study of social documentary, politically militant forms, collective film and art practices, and historiography to bear on purportedly stable understandings of the New Wave, its art historical forebearers, and its heirs. Reading knowledge of French is required. While some of our texts will appear in English translation, many will not. The seminar will be conducted in English, but the last thirty minutes of each session will be conducted in French. This component is intended to improve students’ oral proficiency, but it will not be used in student evaluation. Screenings are mandatory. With some possible exceptions, films will be subtitled. Students enrolled in FREN 43713 will be required to complete all reading and writing in French.

Friday 1:30 - 4:20 C310
screening: Tues 3:30- 6:30 LC201

Theory, Media, and the Moving Image in Japan

64903
64903
  • Graduate
  • Winter
  • 2012-2013
Phil Kaffen

This course sets out to explore the history and present of film and media theory in Japan. To that end, we will engage close readings of translated writings spanning the 20th century and into the 21st. The course is most centrally focused on cinema as the predominant moving image art or technology for much of the 20th century. We will explore its relationship to sociological issues such as economy, technology, and mass consumption, as well as philosophical and aesthetic issues of subjectivity, time and space, mediation, and representation. At the same time, we will attempt to situate such writings within a broader constellation of writings on literature, philosophy, photography, animation, and new media in Japan, and when possible, Western film and media theory. The emphasis in the class is on readings, but there will be a screening component as well. No Japanese language ability is required.

Course: MW 1:30-2:50, C 310
Screening: M 3:30-6:30, C 307

Classical Film Theory

67200
67200
ENGL 68600
  • Graduate
  • Winter
  • 2012-2013
Jim Lastra

This course examines major texts in film theory from Vachel Lindsay and Hugo Münsterberg in the 1910s through André Bazin's writings in the 1940s and 1950s. We will devote special attention to the emergence of issues that continue to be of major importance, such as the film/language analogy, film semiotics, spectatorship, realism, montage, the modernism/mass culture debate, and the relationship between film history and film style. We will concentrate on the major theoretical writings of Münsterberg, Rudolf Arnheim, Jean Epstein, Sergei Eisenstein, Siegfried Kracauer, Bela Balazs, Bazin, as well as writings by Walter Benjamin, Germaine Dulac, Maya Deren, Jean Mitry, Vsevolod Pudovkin, and others.

Course: W 3:00-5:50, LC 801
Screening: W 7:00-10:00, LC 201

Introduction to Film

10100
ARTH 20000, ARTV 25300, ENGL 10800
  • Undergraduate
  • Spring
  • 2012-2013
Dong Liang

This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

Course: MW 1:30-2:50, LC 201
Screening: T 7:00-10:00, C 307

Introduction to Film

10100
ARTH 20000, ARTV 25300, ENGL 10800
  • Undergraduate
  • Spring
  • 2012-2013
Clint Froehlich

This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles.

Course: TR 10:30-11:50, C 307
Screening: T 7:00-10:00, C 307

Advanced Editing

33940
23940
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Jerry Blumenthal and Jim Morrissette

 

This course, taught by film professionals, is designed to move video projects that are already shot or in rough cut form, to completion, or to have made significant enough progress to earn a grade.  It will focus on the techniques of editing all genres of media.  Students will learn advanced editing techniques on Final Cut Pro 7, including media management, sound sweetening, color correction, and prepping for distribution.  Attention will be paid to integrating the theory and practice of montage.  Students should be prepared on the first day of class, to screen 10 minutes of footage and discuss their projects, in order to demonstrate their readiness to be in the class.  Students will be expected to have their own hard drives.  Prerequisites include junior, senior or graduate status, and a working knowledge of Final Cut Pro.  Cinema and Media Studies and Visual Arts students will be given priority for enrollment.

Fridays 10am to 1:30pm

Comparative Media Poetics: Cinema and Videogames

29003
29003
  • Undergraduate
  • Spring
  • 2012-2013
Ian Jones

Cinema and videogames are two moving-image-based media, and, especially over the past two decades, each has been credited with influencing the other. But how deep do their similarities actually go? This course will investigate the raw materials and basic forms at the disposal of videogame developers and filmmakers, and analyze how these materials and forms shape viewer and player responses. In what way do the possibilities available to game developers differ from those available to filmmakers? How does each medium segment and present space, time, and action? What aesthetic effects are open to games that are not open to cinema, and vice versa? What have practitioners in each medium learned from those of the other, and have some of these lessons perhaps been misapplied? All of these questions and more will be fair game for the investigations ahead, which will consist of an examination of films alongside games—including entries from the Uncharted franchise, the Half-Life franchise, and with a special focus on horror games (especially the Resident Evil and Silent Hill series).

Course: MW 1:30-2:50, LC 028
Screening: M 7:00-10:00, LC 201

Women Mystery Writers: From Page to Screen

20101
30101
GNDR 20202
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Rebecca West

Many distinguished filmmakers have found inspiration in mystery novels written by women. In this course we shall read novels by Patricia Highsmith (Strangers on a Train, The Talented Mr. Ripley, Ripley's Game), Ruth Rendell (Tree of Hands, The Bridesmaid, Live Flesh), and, time permitting, Laura by Vera Caspary, Bunny Lake is Missing by Evelyn Piper, and Mischief by Charlotte Armstrong, and we shall analyze the films based on these novels, directed by such luminaries as Hitchcock. Chabrol, Caviani, Clément, Wenders, Almodóvar, Preminger, and others. Among topics of particular interest are: techniques of film adaptation; transnational dislocations from page to screen; the problematics of gender; and the transformations of "voice" understood both literally and mediatically.

Course: TR 1:30-2:50, C 310
Screening: T 3:30-6:30, C 425

From Post-war to Post-wall: A History of Polish Film

24404
34404
POLI 22400/32400
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Kinga Kosmala

This course will explore post-World War II film from Poland – approaching the works both as examples of the cinematic art in the region, and as a lens through which to view developments and transformations in East European culture. We will view ten films by most renowned directors from Poland. The course will assess what the end of World War II, followed by joining the Eastern Bloc, the fall of communism, and finally by the entry into post-Soviet Europe have meant for the film culture and the Polish national film tradition. We will also consider how Eastern European cinematic discourse is undergoing – or should undergo – revision, viewing it as an increasingly transnational phenomenon, rather than the example of a national film industry. The films will be viewed in the original language with English subtitles. 

 

class: TU/TH 10:30 - 11:50am, C425
scr:  WE 3:30 - 6:30, C307

Making Sense of a Moving World: Japanese Cinema Through 1945

24913
34913
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Phil Kaffen

The aim of this course is to explore a variety of filmmaking practices in relation to historical and cultural trends in Japan from the 1910s to the end of the Second World War. While we will watch films of the great auteurs such as Mizoguchi, Ozu, and Naruse, the increasing number of subtitled films and DVDs of prewar Japanese cinema allows for unprecedented access to a wide variety of filmmaking practices. Hence, in addition to auteur films, we will watch old-school period films and adaptations from popular literature, high speed nihilistic action films, socialist “tendency” films, critical documentaries, melodramas, experimental film and animation, and wartime propaganda. Along with the films, we will read writings on film by a range of thinkers and artists to engage with a variety of issues, including gender, realism, modernism, propaganda, human/animal, violence, and mass culture. We will look at the ways cinema, as both a participant in and a unique reflection on modernity, fundamentally transformed the relationship of Japan to the world.

Course: TR 12:00-1:20, LC 201
Screening: W 7:00-10:00, LC 201

Hitchcock: The Language of Narrative Desire

26501
36501
GNSE 26503
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Tom Gunning

No single filmmaker has equaled Alfred Hitchcock’s combination of popular success, critical commentary and widespread influence on other filmmakers. Currently, his work is so familiar it threatens to be taken for granted. This course will reveal Hitchcock as the filmmaker who systematically used the stylistics of late silent film to forge a dialectical approach to the so-called Classical Style. Hitchcock devised a relation among narrative, spectator and character point of view, yielding a configuration of suspense, sensation and perception. Tracing Hitchcock’s career chronologically, we will follow his intertwining of sexual desire and gender politics, and his reshaping of melodrama according to Freudian concepts of repression, memory, interpretation and abreaction, as he navigates from silent film to sound and from Great Britain to Hollywood. Students must have taken Introduction to Film, and preferably Film History 1.

Course: TR 1:30-2:50, LC 201
Screening: T 3:30-6:30, LC 201

Non-Fiction Film: Representation and Performance

28200
38200
HMRT 25101,ARTV 25100,ARTV 35100,HMRT 35101
  • Graduate/Undergraduate
  • Spring
  • 2012-2013
Judy Hoffman

We will attempt to define Non-Fiction cinema by examining its major modes. These include the Documentary, Essay, Ethnographic, and Political/Agit-prop film, as well as personal/autobiographical and Experimental works that are less easily classifiable. We will explore some of the theoretical discourses that surround this most philosophical of film genres, such as the ethics and politics of representation, and the shifting lines between fact and fiction, truth and reality. The relationship between the Documentary and the State will be examined in light of the genre’s tendency to inform and instruct. We will consider the tensions of filmmaking and the performative aspects in front of the lens, as well as the performance of the camera itself. Finally, we will look at the ways in which distribution and television effect the production and content of Non-fiction film.

Course: MW 1:30-2:50, C 425
Screening: M 7:00-10:00, C 307

The Face on Film

63002
ARTH 43002, CMLT 43002
  • Graduate
  • Spring
  • 2012-2013
Noa Steimatsky

The seminar will discuss the workings of the face –as figure of subjectivity, as imprint of identity, as privileged object of representation, as mode and ethic of address – through film theory and practice. How has cinema responded to the mythic and iconic charge of the face, to the portrait’s exploration of model and likeness, identity and identification, the revelatory and masking play of expression, the symbolic and social registers informing the human countenance? At this intersection of archaic desires and contemporary anxieties, the face will serve as our medium by which to reconsider, in the cinematic arena, some of the oldest questions on the image. Among the filmmakers and writers who will inform our discussion are Balázs, Epstein, Kuleshov, Dreyer, Pasolini, Hitchcock, Warhol, Bresson, Bazin, Barthes, Doane, Aumont, Didi-Huberman, and others.

Course: W 10:30-1:20, C 310
Screening: M 3:30-6:30, LC 201

Introduction to Film Analysis

10100
ARTH 20000,ENGL 10800,ARTV 25300
  • Undergraduate
  • Autumn
  • 2011-2012
J. Lastra

Required of students majoring in Cinema and Media Studies This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles

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