236/RC Hums. 236. The Art of the Film. (4). (HU).
See Residential College Humanities 236. (Cohen)
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 as a means to create individual works of personal expression. Students will learn the following aspects of production: preparation of the script, including treatment, storyboard and shooting script; shooting under daylight conditions and with artificial light; basic principles of cinematography that explore the technical aspects of the camera and lenses; film stock and processing; editing. On the completion of this course, students will have gained the basic knowledge necessary form a formal aesthetic analysis of film. Limited to 20 students, with preference given to Film and Video Concentrators. Cost:2 WL:2
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:2] [WL:2]
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, Amy Heckerling, and Maya Deren. 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] (White)
400. Filmmaking II. Film and Video 300 or equivalent experience in filmmaking and permission of instructor. (3). (Excl).
Filmmaking II focuses on experimental and artistic forms of filmic expression as well as traditional movie-making techniques, using 16mm equipment. Working on exercises in small groups, students will explore the expressive possibilities of cinematography, lighting and editing. In order to learn a flexible and economic means of translating ideas into cinematic form, students will prepare a shot-by-shot storyboard or a scene-by-scene exposition of their films. There will be in-class analysis and critique of student work at all stages of production. Class discussion will involve some consideration of theoretical issues in order to help students understand the goals of their filmmaking. Students are required to produce a film script, a storyboard and a complete five-minute sound film. Cost:5 WL:2,3
405. Computer Animation I. Film and Video 301 or equivalent experience with video production and permission of instructor. (3). (Excl).
This is a comprehensive course of computer animation techniques that will offer students the practical experience of creating computer animation on the Apple Macintosh II. Students will use two-dimensional animation software to create still and animated images on the computer that they can record on videotape. Using a program based on traditional animation, students will transform a storyboard drawn or painted by hand into a computer generated image. Students should be familiar with basic Macintosh skills and have some experience with computer drawing/painting programs like MacPaint. Cost:1 WL:2,3
412/English 412. Major Directors. (3). (HU). May be repeated for a total of nine credits.
See English 412.
413/English 413. Film Genres
and Types. (3). (HU). May be repeated for credit
with department permission.
Section 001: Gunsels, Private Dicks, and the Hardboiled Blonde: Gender in Film Noir During the early 1940's, while war raged in Europe and the Pacific, another, more insidious homefront conflict held men and women in its web of suspicion, desire, and mistrust of the institutions of American society. This course will examine the gender politics of film noir, a genre that painted men as existential drifters and women as flinty, treacherous, and visually riveting. We will screen films by the European directors, including Fritz Lang and Marcel Carne, whose work spawned the look and thematics of film noir, as we develop a theoretical matrix for the analysis of gender representations. Films such as The Postman Always Rings Twice, Double Indemnity, and Gilda will show Hollywood at its aesthetic apogee and draw us into the twisted world of the femme fatale (Lana Turner, Barbara Stanwyck, Rita Hayworth). We will track the noir careers of Edward G. Robinson and Humphrey Bogart through films such as The Maltese Falcon and Woman in the Window. And we will confront the (literally) explosive climax of the genre in Kiss Me Deadly, Touch of Evil, and Body Heat. (Film titles may vary according to availability.) Along the way students will learn the fundamentals of film aesthetics and feminist film criticism. Although you need not be knowledgeable about film, serious application to the material will be imperative for success in this course. The readings are demanding and the course will require at least two substantial papers, as well as quizzes, a midterm, and a final exam. Cost:2 WL:1 (White)
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 screenings 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 other arts and intellectual disciplines. Another important aim is to help students develop a theoretical context for their own thinking and writing about film. 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, feminist, and psychoanalytic authors. Students will write frequent papers and take a midterm and final examination. Cost:3 WL:1 (Konigsberg)
420. Documentary Film. (3). (Excl).
This course will study the full range of the non-fiction film, from the 1920's to the present, from newsreels and propaganda films to ethnographic studies of foreign cultures. By focusing on changing conceptions of the documentary film throughout its history as well as the differing filmmaking practices, the course will explore the theoretical and social issues raised by the documentary film: What is truth? What is fact? What is objectivity? Students will keep journals consisting of short essays on assigned topics. In addition, they will write a ten-page final paper. There will be weekly film screenings as well as theoretical and critical readings on documentary film. Cost:2 WL:1 (Ukadike)
455. Topics in Film Studies. (3). (Excl).
May be repeated for a total of nine credits.
Section 001: Latinos in Film. See American Culture 310.002 (Hurtado)
Section 002: Sex and Ideology: The Films of Fassbinder. For Fall Term, 1992. This course is jointly offered with German 441. (Bahti)
470/CAAS 470. Cultural Issues in Cinema. (3). (Excl).
See Afroamerican and African Studies 470. (Ukadike)
480. Internship. Concentration in Film and Video Studies. (2). (Excl). Offered mandatory credit/no credit. (EXPERIENTIAL). May be repeated for a total of six credits.
This course is restricted to Film/Video concentrators who work, under careful supervision, in some part of the film or video industry. Students will work in some aspect of preproduction, production, or postproduction, in the creative or business areas of film and video, documenting their experiences and learning in a journal that must be submitted for final credit.
490. Senior Honors Research. Acceptance as an Honors Candidate in Film and Video Studies. (1-4). (Excl). (INDEPENDENT). May be repeated for a total of 4 credits.
This course is restricted to students taking Honors in the Program in Film and Video Studies. Students work independently with a faculty member in the Program on a thesis or on a film or video project during their senior year.
500. Directed Study in Film and Video. Permission of instructor. (1-4). (Excl). (INDEPENDENT). May be repeated for a total of six credits.
Advanced course permitting intensive study of film and/or video subject under supervision of a Film/Video faculty member.
OTHER FILM-VIDEO COURSES. The following will be offered through
other departments in the Fall Term, 1992, 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
American Culture 490, American Film Genre.
Communication 320, Film Analysis.
Communication 421, Introduction to Radio and TV.
Communication 427, Preparation of Radio and TV Continuity.
Communication 428, Writing Drama for Radio and TV.
Communication 527, Radio-TV Management.
Communication 530, Telecommunication Arts Workshop.
German 330, German Cinema.
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