Courses in Film and Video Studies (Division 368)

236/RC Humanities 236. The Art of the Film. (4). (HU). A fee is assessed to help defray the costs of film rentals.

See RC Humanities 236. (Cohen)

300(200). Techniques of Film. Film and Video 236 recommended. (3). (Excl). A fee is assessed to cover costs of camera maintenance.

This course is required for concentrators in the Program in Film and Video Studies and is designed to give students a basic intellectual understanding of film techniques and how they are used to create individual works of film art. Techniques demonstrated and discussed include lighting, lighting effects, cameras, lenses and lens effects, color, film stocks and processing effects, camera angles, special effects and sound. On the completion of the course students should have the necessary technical knowledge for aesthetic analysis of film. The structure of the course is a combination of lecture, discussion, and slides especially created for the course. There will be pertinent assigned readings, three short projects, and a midterm examination. Because of equipment restraints this course is limited to twenty students with preference given to Film and Video concentrators; overrides are required for registration and must be obtained at 2512 Frieze Bldg. Attendance at first three meetings is essential.

301(201). Techniques of Video. (3). (Excl).

A required course with priority given to film/video concentrators designed to provide an introduction to the history, aesthetics, technology and uses of video. Areas discussed are the history of video art and its major artists, video aesthetics, as well as hands-on introduction to use of video tools. Because of equipment limitations, the course is limited to twenty students with preference given to Film and Video concentrators. Overrides are obtained at 2512 Frieze Bldg.

360. The History of World Film (3). (HU).

This course is required for concentrators in the Program in Film and Video Studies, but is open to all students. The course examines the rich contribution of nations other than the United States to world cinema, understanding their films as both responses to the dominant American film industry but also as expressions of their own national cultures. The influences of these national films on one another as well as on the American film will also be discussed. The course will survey the history of world cinema from the earliest explorations of the film medium by the Lumière brothers and Melies in France to the contemporary third-world cinema. Such groups of films as German Expressionism, Italian Neorealism, French New Wave, and contemporary South American cinema are likely to be included. As well as focusing on fictional films the class will also be concerned with avant-garde cinema, the documentary, and animation. Students will attend three hours of lectures and discussions as well as view two or three hours of film each week. They will either write a midterm and final paper or a series of short papers; and will take both a midterm and final examination.

412/English 412. Major Directors. (3). (HU). May be repeated for credit with department permission.

See English 412.

414. Film Theory and Criticism. (3). (Excl).

This course is required for concentrators in the Program of Film and Video Studies, but is open to all students with some background in film or critical theory. The course will examine the development of film theory and criticism from the days of silent motion pictures to the present, paralleling theoretical discussions with the screening of relevant films. The class will read selections from such early theoreticians as Arnheim, Kracauer, Balazs, and Bazin as well as important pieces by the Russian film directors Eisenstein and Pudovkin in order to develop a basic understanding of the origins of contemporary film theory and much of the present language of discourse. The class will then spend the second half of the term reading intensely in such contemporary schools of theory as Marxism, psychoanalysis, feminism, structuralism, post-structuralism, and semiotics in order to understand and engage in the current theoretical and critical debate about film. The class will be concerned with avant-garde cinema and the documentary as well as the commercial film. Reading theoreticians from a number of nations, it will apply its developing theoretical knowledge to the films of diverse cultures. Students will keep a journal about the various theoretical writings; write both a midterm and a final paper, each about ten pages; and take a final examination.

OTHER FILM-VIDEO COURSES. The following will be offered through other departments in the Fall Term, 1989 and are among those which can be used as part of a concentration plan in Film-Video Studies. For more information about these courses consult this GUIDE: Culture 490, American Film Genre 320, Film Analysis 421, Introduction to Radio and TV 427, Preparation of Radio and TV Continuity 428, Writing Drama for Radio and TV 527, Radio-TV Management 530, Telecommunication Arts Workshop 330, German Cinema

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