Cinema and Media Studies

How does war affect art? Over the past decade, Ukrainian artists have been raising this question in their work, alongside questions about personal and collective identity, authority and authenticity, language and imperial violence, epistemic injustice and decolonization. In this course, we will examine art, literature, and film arising out of the war-triggered crises, whether political, aesthetic, ethical, or existential, focusing on the artists’ creative engagement with different kinds of documentary and source material, experiments with form, and intermodal and inter-genre dialogue. Readings may include work by Stanislav Aseyev, Yevgenia Belorusets, Artem Chekh, Andrey Kurkov, Olena Stiazhkina, Natalya Vorozhbit, and Serhiy Zhadan. We will also consider films, cartoons, and a range of audiovisual sources. Students can expect to engage with the newest cutting-edge work from Ukraine; to develop individual research projects in collaboration with their peers; and to write a final paper.

This course will address historical and contemporary arcs in the expansive field of Black feminism by centering on representations by and of Black women on screen. The central pursuit of this course will be to elevate the theories of Black feminism that exist within and outside of film studies to anticipate future ruptures in creative output and emerging epistemologies. The course will center around such topics as performance, refusal, aesthetics, transness, and girlhood.

The term algorithm has existed for centuries. However as technical systems, algorithms have only more recently started to shape contemporary social relations. From PredPol to ChatGPT, algorithms have inserted themselves into human knowledge and social experience across global information systems. In doing so, they have become the new site of culture insofar as they modulate human experiences and construct normative ways of meaning-making by correlating new relations among data, optimizing outputs, and automating decisions. Through the lens of digital media studies, this class will track how algorithms have reshaped culture relations by reconfiguring received frameworks of objectivity, identity, and power. Beginning with historical and technical accounts of algorithms, we will explore their impact through key issues including: personalization, discrimination, violence, labor, infrastructure, and the environment. The course will conclude by examining how algorithms open up new paths for resistance and sovereignty. Along the way, we will engage algorithms through vectors of social identity, including race, gender, class, and sexuality.

As algorithms are a complex and multifaceted concept, our study of it will be interdisciplinary. In addition to foundational texts in digital media studies, we will engage a variety of materials from computer science, critical race studies, social sciences, queer and feminist studies, history, communications, and more.

Individually directed video shorts will be produced in this intensive studio course. Experimental and improvised approaches to animation and motion picture art will focus on analog and material techniques, with basic digital post-production also being introduced. Early and experimental cinema, puppetry, and contemporary low-tech animation will be presented as formal and technical examples.

Italian cinema is widely known and appreciated, especially thanks to the masterpieces of Neorealism and some authors and actors capable of imposing themselves on an international scale. But Italian cinema is also made up of unforgettable places, mountains, volcanoes, rivers or trees that have taken on repeatedly the role of anonymous protagonists. Italian cinema is thus closely linked to means of transportation and all those infrastructures that have made and make possible the internal migration and viability along the Peninsula. This course rethinks the history and present of Italiancinema in relation to geography. Through the analysis of different films, the course examines the ability of filmmakers to document and, at the same time, participate in the physical, cultural, and social aspects of Italy, and how these depictions have changed over time. We will ask how Italian cinema has contributed to building a recognizable and shared image of a country characterized by profound landscape, economic and cultural differences. But we will also ask how the landscapes themselves have influenced and still influence the choices of directors and the aesthetic orientations of our gazes.

Filmmaker Andrei Tarkovsky (1932-1986) is widely considered to be one of Soviet cinema’s great auteurs, a fiercely independent creative artist and thinker. Known for his long takes, visual imagery, intertextuality, and philosophical self-reflectiveness, Tarkovsky has profoundly shaped the evolution of modern art cinema over the past fifty years and his legacy is still very much alive in both the Slavic world and the west. In this course, we will study Tarkovsky’s major films focusing particularly on their aesthetic characteristics, spiritual and philosophical dimensions, and cultural and political context.

The images and experiences offered by photography and film have, from the very beginning, been described as uncanny. Whether early photographers describing photographs as produced by nature, the sun, the objects depicted themselves, or by a machine, photography and the cinema have been understood to emerge from an "elsewhere" and not strictly from human production. Photography's defining uncanniness, it seems, took two general forms in the nineteenth century: forms of spectrality (ghostliness, shadowiness, production by occulted means) and forms of confusion between the human and the non-human. Corollary to uncertain boundaries between the human and the machine, the ghost, the object, and the animal there emerged a sustained epistemological debate about the nature and meaning of mediated sense experience: a debate about how technologically secured sense forms refer to the world they depict. This class argues that many of the most persistent instances of theoretical debate within media history are grounded in these issues. So rather than a narrowing view of film and related media, the term "uncanny" is meant to open up onto myriad questions and media, including acoustic, digital, traditional, and prosthetic forms of experience. Finally, this course embraces the belief that intuitive descriptions and accounts of media are rarely "wrong," but rather register disruptions in knowledge and practice, and grasp for new forms of thought to account for them.

Though often overlooked, the act of projection is at the heart of cinema (the act or process of causing a picture to appear on a surface). This studio course focuses on the creation of moving image-based work, exploring how time and space are used as materials to create form and inspire content within the contemporary film genre known as expanded cinema. The technical, historical and political aspects of the projected image will be studied in order to re-think cinema as a group and investigate how the projected image can find meaning outside the black box of theaters or the white cube of galleries. Two personal experimental video projects will lead to a third final collective video installation that will use the environment within the vicinity of UChicago’s campus to inspire the work while also become the location of the final outdoor projection event.

The highest-grossing films of the twenty-first century are, without exception, showcases for special effects. How did special effects become so central to mass-audience movies? What are the consequences of this shift? In this course, we will track the historical and stylistic development of contemporary effects-driven filmmaking, bridging practitioner discourse by effects industry workers with the theories of cinema and media scholars. While our screenings will primarily comprise narrative feature films, we will also explore how special effects draw upon diverse media forms and practices, including experimental cinema, installation art, amusement parks, television advertising, and, above all, digital technologies. Screenings will include Hollywood blockbusters (e.g., The Matrix [1999]), “failed” blockbusters (e.g., Final Fantasy: The Spirits Within [2001]), and effects-driven films from other national/regional cinemas (e.g., The Mermaid [China, 2016]).

With case studies that include fiction films, documentaries, and personal filmmaking by presently or formerly incarcerated filmmakers, this course examines the relationship between cinema and the carceral state. Major animating questions include: How do the fantasies of incarceration presented in fictional films emerge from and feed into societal-wide ideologies around mass incarceration? How can the relationship between cinematic technologies and surveillance society best be interrogated? Can documentary filmmaking affect radical change around issues of incarceration—and how can incarcerated people tell their own stories and represent their own lives?