300. Filmmaking I. (3). (Excl).
This course is required for Film and Video concentrators and is designed to give students a basic understanding of the language of film and how its repertoire can be used to create individual works of film as means of personal expression. Aspects of production demonstrated and discussed are: preparation of the script (including synopsis, treatment, story board, shooting script); shooting, mainly under daylight conditions; cinematographic principles of camera, projector and lenses; film stock and processing; and editing. On completion of this course, students should have the basic knowledge for formal aesthetic analysis of film. Limited to 20 students, with preference given to Film and Video concentrators. [Cost:2] [WL:2] (Dobele)
301. Video Art I. (3). (Excl).
This course is required for Film and Video concentrators. It is designed to provide students with an introduction to the aesthetics, technology, and uses of video as an art media. The course concentrates on hands-on use of Super-VHS equipment for shooting and editing. Students work in groups of 3-5 to design and produce their video projects under supervision of the instructor. Limited to 20 students, with preference given to Film and Video concentrators. [Cost:1] [WL:2] (Dobele)
310. Screenwriting. Introductory composition. (3). (Excl).
This course teaches students to write a feature-length screenplay in acceptable format. Students will study script models from the classic Hollywood cinema, but also from European, third-world, and independent cinema. Students will learn to develop an idea first into a written "concept," then into a "treatment," and finally into a full script. Students will focus on such subjects as the opening scene, script structure, plots and subplots, characterization, shots, scene, sequence, dialogue, thinking visually, and soundtrack. The class will also view several films and analyze them from both the perspective of the screen play and also in terms of convention and innovation, genre and audience. The class will function very much as a participatory workshop with students reading and discussing each other's work. For this reason attendance is critical. Students will write, on the average, at least five pages a week for their treatment, script, or for an analysis of a script. Cost:2 WL:2 (Horton)
350. The History of American Film. (3). (HU).
This course is required for concentrators in the Program in Film and Video Studies but is open to all students. This course will trace the history of American film from the earliest days of the kinematograph and the Nickelodeon to movies in the age of video, with concerns both for the contributions of individual filmmakers as well as the determining contexts of modes of production and distribution. The primary emphasis will be on the Hollywood narrative film, but some attention will be paid to independent cinema movements. The course aims to develop a sense of the continuing evolution of American film, in its internal development, in its incorporation of new technologies, and in its responses to other national cinemas. Films by the following directors, among others, will be screened: D. W. Griffith, King Vidor, Buster Keaton, Ernst Lubitsch, Howard Hawks, Orson Welles, Alfred Hitchcock, John Ford, Blake Edwards, and John Cassavetes. Students will attend three hours of lectures and discussion as well as view two or three hours of film each week. They will write a series of short papers and take a midterm and final examination. Lab fee. [Cost:2] [WL:1] (Paul)
405. Computer Animation I. Film and Video 301 or equivalent experience with video production and permission of instructor. (3). (Excl).
A comprehensive course offering practical experience in creating computer animation on the Apple Macintosh II. Students use two-dimensional animation software to create still and animated images with the computer and then record them on videotape. Students develop a basic storyboard drawn or painted by hand and transfer this idea into a computer generated product, bringing to bear all the advantages a program based on traditional animation can offer. Students should be familiar with basic Macintosh skills and have some experience with computer paint programs such as MacPaint. Cost:1 WL:2, 3 (Kober)
413/English 413. Film Genres and Types. (3). (HU). May be repeated for credit with department permission.
SECTION 001. INTERIOR VISION: THE SUBJECTIVE CAMERA IN NARRATIVE FILM: (see English 413 for description). (Bauland)
SECTION 002 – AVANT GARDE FILM. Film as art has a 70 year history, changing from the abstract animation of the 20's to the structural film of the 60's to the expanded cinema and video art of the 70's and 80's. This class takes a close look at the art film, which has also been referred to as the "non-narrative film." It discusses their aesthetic and innovative aspects as well as placing them in the larger context of art history. In the early 20's, art films were mostly abstract, any reflection of reality would have belittled the new medium's claim of being "absolute." As early as 1926, Hans Richter was one of the first artists to use images of objects from reality in his work "Filmstudie." 37 years later, Stan Brakhage pasted moth wings and blossoms onto blank film for his "Mothlight." Objects themselves, not their photographed images, were turned into a structural experience. Students will take a midterm and final examination and write a term paper. Students with experience in production may work on a film or video project instead of submitting the paper. Lab fee. Cost:2 WL:2, 3 (Kober)
414. Film Theory and Criticism. (3). (Excl).
This course is required for concentrators in the Program in 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 the discussions with the screening of relevant films. One of the key aims of this course is to provide a historical overview of film theory and criticism, ranging from the earliest explanations of the new phenomenon of motion pictures, seen as distinct from all other forms of art, to the most recent attempts at viewing film through theoretical perspectives taken from the other arts. The project of the course is epistemological as well as historical: history, to explore how knowledge about the nature of film may be arrived at. To this end, the selection of readings will aim at comprehensiveness, moving from some of the earliest writings on film to some of the most recent, from Vachel Lindsay and Sergei Eisenstein to contemporary structuralist, Marxist and feminist authors. Students will write frequent papers and take a final examination. Lab fee. Cost:2 WL:1 (Paul)
442/CAAS 442. Third World Cinema. (3). (Excl).
This course surveys the cinematic practices of the Third World, a term which, under United Nations parlance, is commonly used to describe the developing nations of Africa, Asia, Latin America and the Middle East. This filmic practice, at once revolutionary and ideological, has not only produced some of the world's most striking filmic innovations, but is now recognized as having initiated a new phase and expanded definitions of the art of cinema. Despite this accomplishment, such films remain virtually unknown in the United States. Our purpose will be to study some of these rarely seen narrative/fictional and documentary films in order to provide a historical, theoretical, and comparable analysis of a wide variety of styles and themes found in contemporary Third World cinema. The issues to be addressed include: the development of a national cinema, the commonalities and differences in modes of production, the relationship of film to the society's values and cultures (ideology), the impact of politics on film style and the role of cinema as a mediation of history. The films to be screened include: COURAGE OF THE PEOPLE (Bolivia), RODRIGO D: NO FUTURE (Columbia), COFFEE COLORED CHILDREN (Nigeria), LA VIE EST BELLE (LIFE IS ROSY) (Zaire), and HOW TASTY WAS MY LITTLE FRENCHMAN (Brazil). Screenings, readings, journals and final paper required. Cost:4 WL:3,4 (Ukadike)
470/CAAS 470. Cultural Issues in Cinema. (3). (Excl).
This course is designed to explore developments in the cross- cultural use of media – from Hollywood feature films to ethnographic documentaries, from Caribbean liberationist literature to African allegories of colonialism, from indigenous use of film and video to Black Diasporan "oppositional" film practice. This course, at once theoretical, historical, and metacritical in its focus, is divided into two parts. The first deals with dominant Western paradigms (Hollywood and ethnographic films) and the representation of ethnic minorities and other cultures, while the second part will profile recent productions revealing counterimages that call into question many of the assumptions that shape conventional film history. The "reading" of films from various perspectives will help us to comprehend the manner in which "positive" or "stereotypical" images of the "other" are constructed enabling us to penetrate beneath the surface of the film into its structure, thereby uncovering the source of its effects. In considering the theoretical, methodological, cultural, and political issues responsible for the production, distribution, exhibition, and consumption of such media, we will foreground recent debates concerning Afrocentrism, Eurocentrism, multi-culturism, racism, sexism, and class bias as reflected in films and discourse about films. Some of the films screened include: IMITATION OF LIFE, UNCLE MOSES, THE SEARCHERS, PASSION OF REMEMBERENCE, FACES OF WOMEN, SHE'S GOTTA HAVE IT and NICE COLORED GIRLS. Readings, screening and written assignments required. Cost:4 WL:3,4 (Ukadike)
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