300. Filmmaking I. (3). (Excl). Laboratory fee ($38) required.
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. The formal strategies of narrative, documentary, animation, and experimental filmmaking are discussed, and students do exercises in each of these forms. Aspects of production demonstrated and discussed are: preparation of the script (including synopsis, treatment, story board, shooting script); shooting; 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. Evaluation: production assignments and final production, with written justification. Text: Filmmaker's Handbook. Cost:4 WL:2 (Rayher)
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 (Kier)
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 these films both as responses to the dominant American film industry and as unique expressions of their own national cultures. The influence of national cinemas on one another will be considered as well. The course will survey the history of world cinema from the earliest explorations of the film medium in Europe to contemporary Latin American, Asian and African cinema. Topics will include the early work of the Lumiere brothers and Georges Mélies, Soviet montage cinema, German Expressionism, Italian neorealism, the French New Wave, post-war Polish cinema, Japanese cinema, the Czech New Wave, Latin American cinema of the 1970s, Russian glasnost cinema, and recent cinema in China and in West Africa. Cost:2 WL:1 (Eagle)
401. Video Art II. Film and Video 301 or equivalent experience with video production and permission of instructor. (3). (Excl).
An intermediate course in video production which allows students to apply their skills to various video forms including experimental, documentary, installation and media-critical work as well as group projects such as the Video Magazine. The emphasis of the course is on the various artistic possibilities of the medium. Advanced equipment (A & B roll editing, sophisticated cameras) and techniques will be demonstrated and utilized. Emphasis will be placed on the appropriate global integration of video technology with aesthetic and ideational content. Evaluation is based on the production assignments and the final project, which includes a written justification. Limited to 20. Cost:2 WL:2 (Rayher)
406. Computer Animation II. Film and Video 301 or equivalent experience with video production and permission of instructor. (3). (Excl).
A hands-on intermediate level course that will combine the skills from animation 405 and extend the scope of learning into computer generated 3D cell animation, including the fundamentals of wireframe modeling, animation, lighting effects, storyboarding, and final output for displaying finished animation. Students should have a strong working knowledge of Macromedia Director and Macintosh illustration and paint programs. (Butler)
412/English 412. Major Directors. (3).
(HU). May be repeated for a total of nine credits.
Section 001 – The Films of Ingmar Bergman. The Swedish film director Ingmar Bergman has made during the past 35 years a group of films that remain one of the most impressive artistic achievements of our time. His films are more than films: they are explorations into psychology and society, examinations of values and beliefs, and expressions of our culture's anguish and confusion. Yet his films are strong statements about endurance and survival, passion and love. Bergman creates a distinct cinematic style to convey his vision, utilizing the techniques of the medium in striking and sometimes innovative ways. This class studies the career and achievements of Ingmar Bergman by examining the following films: The Naked Night, Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, The Magician, The Virgin Spring, Through a Glass Darkly, Winter Light, The Silence, Persona, Hour of the Wolf, Cries and Whispers, and Fanny and Alexander. The class will proceed by lecture and discussion, examining the films in some detail and also discussing some relevant critical texts. Students will write a midterm and final paper and examination. Cost:2 WL:1 (Konigsberg)
Section 002 – Chaplin, Keaton, and Company. This course will explore the brief tradition of silent comedy developed by Charles Chaplin, Buster Keaton, and Harold Lloyd, among others, which had a lasting impact on Hollywood comedy in general. We will pay attention to how the early short films, dedicated to sight gags and belly laughs, could evolve into the rich narrative art of the Chaplin and Keaton features. Challenges offered to the silent tradition by such verbal comics as Jack Benny and the Marx Brothers will be set against the sound films of Chaplin and Lloyd. Films shown will include The Gold Rush, The General, Sherlock Jr., Safety Last, Modern Times, The Milky Way, Duck Soup, The Great Dictator, and To Be Or Not To Be. There will be some theoretical reading on comedy. Cost:2 WL:1 (Paul)
414. Film Theory and Criticism. (3). (Excl).
This course is required for concentrators in the Program in Film/Video Studies, but is open to all students with some background in film. Instead of surveying the entire history of film theory and criticism this term, the class will focus on a few specific areas of the subject, trying to understand the nature of the filmic medium, but relating such an understanding to the filmmaker's choices in creating a motion picture and to the viewer's responses to that work. The class will be concerned with film in its relation to other art forms but also in terms of its own uniqueness. To achieve these goals, the class will read some primary texts by figures such as Munsterberg, Eisenstein, and Bazin, some recent feminist and psychological essays, and some important contemporary writings on the new technology. The class will also view some relevant films such as October, The Magnificient Ambersons, Shane, Vertigo, and Blade Runner, to help focus its discussions. Students will write a series of short papers and take a final examination. Cost:3 WL:1 (Konigsberg)
442/CAAS 442. Third World Cinema. (3). (Excl).
Section 001 – The Cinema of Resistance. For the Winter Term, 1995, this section is offered jointly with Communication 500.002. (Ukadike)
451/Amer. Cult. 490. American Film Genres. Junior standing. (4). (HU). Laboratory fee (approximately $30.00).
See American Culture 490. (De la Vega-Hurtado)
455. Topics in Film Studies. (3). (Excl).
May be repeated for a total of nine credits.
Section 001 – Cinema in India. This course is a historical survey of the ideological function of cinema in India during colonial and neo-colonial regimes. Even though filmic practice in India began as an outgrowth of innumerable folk performance traditions, it became a means of cultivating a national consciousness under British occupation. A colonial censorship policy which restricted the representation of sex and politics, forced Indian cinema to develop certain narrative and visual conventions which could encode these taboo subjects. These stylized conventions have survived in post-colonial filmic practice to become the hallmarks of mainstream "Indian" cinema. We will study how this ostensibly free and largest film industry in the world has been exploited by the neo-colonial Indian State to construct a cohesive, albeit shifting, national identity and culture. The course will read films that affect a melodramatic resolution of such societal conflicts as caste and religious strife, urbanization, the entry of women into the professional work force and the challenge of capitalist democracy to feudal norms. Screenings, readings journal, and final paper required. Cost:2 WL:1 (Arora)
Section 002 – Third World Women Filmmakers. This course will delineate how women filmmakers in the Third World have developed alternative feminist perspectives from that of the First World on economic underdevelopment, oppressive traditions, high illiteracy, poverty, environmental degradation, religious fanaticism, transnational demographic shifts, and the reproductive rights of women in the "overpopulated" countries of Asia, Africa, and Latin America. Often circumventing the literacy barrier, and the control of media by institutionalized patriarchy, the use of film and video technologies have given 3rd World women access to such forums as the U.N., the World Bank, and the I.M.F., and non-governmental organizations that are committed to a more egalitarian redistribution of resources in the developing world. Even though the course will begin with an introduction to the principles of Euro-American feminist film theory it will challenge some of the basic tenets of this theory by arguing that the male gaze may be barricaded and the female gaze empowered through the veiling practices and the cinematic equivalents of these in certain cultural contexts. The film to be screened include: Warrior Marks (Alice Walker, Pratibha Parmar), Shooting for the Contents (Trinh Minh Ha), A Song of Ceylon (Laleen Jayamanne), Permissible Dreams (Attiat El Abnoud), Hidden Faces (Safaa Fathay), Sidet, Forced Exile (Salem Mekuria), From Here From This Side (Gloria Ribe), Salaam Bombay! (Mira Nair), and Parama (Aparna Sen). Screenings, readings, journal, and final paper required. Cost:2 WL:1 (Arora)
Section 003 – The American Western. For Winter Term, 1995, this section is offered jointly with RC Humanities 333.004. (H.Cohen)
460. Technology and the Moving Image. Film-Video 236. (3). (Excl).
Throughout its history, the projected motion picture has represented a distinctive confluence of technology, commerce, narrative, and spectacle. These separate components are never held in perfect balance, nor do they necessarily determine each other. While technology, for example, might have marked cinema as the most modern of arts, the narrative strategies of American popular film, rooted in the 19th Century theater, could make it seem distinctly old-fashioned, a retrograde hold-out against moderninst trends in other arts. Nevertheless, technological developments inevitably led to changes in the handling of narrative: the introduction of synchronous sound, for example, made dialogue an attraction in itself and introduced new performance styles. This course will examine the complex interplay of art and technology in the commercial motion picture by looking at the major innovations in film history: the initial development of the cinematic apparatus, the deployment of trick photography and special effects; the sound track; color cinematography; the widescreen revolution achieved by special lenses (CinemaScope) or 70mm film; and 3-D. Three papers required. Cost:2 WL:1 (Paul)
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