Spring

COVA 23800 A production course geared towards non-broadcast forms in video, including installation. We will be looking at relevant material, including recent work by Harrison & Wood, Fischli & Weiss, Martin Kersels, Jane & Louise Wilson, Halflifers, Douglas Gordon and others.Ê Discussions and readings will address rapidly changing technology, non-narrative strategies, and viable approaches to producing video art in a world already full of video images.

This course examines how globalization and the emergence of new digital technologies have affected Hollywood's organization of production, distribution, and exhibition, as well as the aesthetics of film image, sound, and narration. The course also pays attention to the varying national and international modes of resistance to Hollywood's hegemony and how the industry has responded to these modern challenges.

ARTV 10100 or 10200 or consent of instructor. Course offers introduction to the expression of content through the medium of video. Students develop sources and scripts for works that are exchanged and produced and then exchanged again and edited. Basics of camera operation, lighting and non-linear editing are covered throughout the quarter. Lab Fee $70.

CMST 10100. This is the second part of the international survey history of film covering the sound era up to 1960. It is strongly recommended that students take the first section first. This course focuses on industrial practices and aesthetics during Hollywood s studio era (1927 to 1960) and alternatives to the Hollywood film, including French poetic realism, Italian neorealism, and Japanese cinema. We will also consider the important political, economic, social and cultural forces, which influenced Hollywood and other cinemas during this period, particularly the rise of fascism in the 1930s, WWII, Hollywood s postwar economic struggles, and various national new wave cinemas. Screenings will include films by Berkeley, Renoir, Huston, Welles, De Sica, Ozu, Hitchcock and Godard.

This course explores the political documentary film, its intersection with historical and cultural events, and its opposition to Hollywood and traditional media.  We will examine various documentary modes of production, from films with a social message, to advocacy and activist film, to counter-media and agit-prop.  We will also consider the relationship between the filmmaker, film subject and audience, and how political documentaries are disseminated and, most importantly, part of political struggle. 

This seminar-style course surveys the cultural and literary theory of critics including Roman Jakobson, the Russian Formalists, Jan Mukarovsky, the Prague School, Mikhail Bakhtin, Tzvetan Todorov, Julie Kristeva, Mikhail Epstein, Slavoj Zizek, and the Slovenian Lacanians. 

Consent of instructor. Please register by faculty section.

PQ: Consent of instructor. Students are required to submit the College Reading and Research Form. This course may not be counted toward distribution requirements for the concentration, but may be counted as a free-elective credit.

Consent of faculty adviser and Director of Undergraduate Studies. Students are required to submit the College Reading and Research Course Form. This course may be used to satisfy distribution requirements for Cinema and Media Studies concentrators.

This class covers the production of American horror films from the 1960s to the present, and combines aesthetic and narrative analysis with the history of the genre. Our analysis draws from Marxist, psychoanalytical, feminist, and reception theories. The historical portion of the course examines horror’s growing commercial viability, the proliferation of subgenres, the relaxing of censorship, and the growing attention of academics. Topics include gender politics, representations of sexuality, and political commentary and allegory. The screening list features Psycho, Rosemary’s Baby, Night of the Living Dead, Jaws, Halloween, Poltergeist and Scream, among others.