Courses in Film and Video Studies (Division 368)

200. Introduction to Film, Video and Television Production. (3). (CE). Laboratory fee ($50) required.

This course will provide students with a basic introduction to hands-on production in film, video, and television. Pre-production, production, and post-production (from basic script form to directing to editing) are all covered, and the differences as well as the similarities of these three related media are explored. Cost:2 WL:2 (Ching, Rayher, Sarris)

236/RC Hums. 236. The Art of the Film. (4). (HU). Lab fee ($45).

See RC Humanities 236. (Cohen)

300. Filmmaking I. Film-Video 200. (3). (Excl).

This is the introductory 16mm motion picture production course. This laboratory-workshop course is designed to give students a solid understanding of how film technique can be used to communicate ideas in narrative, documentary, and experimental expression. Working in small groups, students script, shoot and edit exercises build around these three types of film. In creating their short motion pictures, students master master-shot/coverage procedures, screen direction and continuity, and artificial and available light shooting techniques. Lectures and exercise critiques engage students in theoretical/aesthetic discussions of the relationship between film idea and film form. Evaluation: production assignments, mid-term test, final project. Text: Cinematography by Kris Malkiewicz. Cost:4 WL:2 (Beaver)

301. Video Art I. Film-Video 200. (3). (Excl).

This course is designed to introduce students to the terminology, aesthetics, and methods of single-camera video production. Using Super-VHS equipment, students will learn the techniques of single-camera videomaking including pre-production, production, and post-production. Students design and produce video projects in a variety of genres, including narrative, documentary and experimental. Evaluation will be based on production projects and scripts and participation in class discussion and critique. This course is designed to teach students to analyze the relationship between technique and content in video production and to allow students to explore the creative potential of the video medium. Limited to 20 students, with preference given to Film and Video concentrators. Cost: 2 WL:2 (Ching)

302. Television Studio I. Film-Video 200. No credit granted to those who have completed or are enrolled in Comm. 421. (3). (Excl). Laboratory fee ($35) required.

This course is designed to introduce students to the terminology, aesthetics, and methods of mulit-camera television studio production. Students will learn the techniques of multi-camera production, including scripting, directing, and practical operation of studio equipment and will gain hands-on experience in all studio crew positions. Students will be assigned a series of directing exercises with increasing complexity and will learn to direct various types of studio productions. Evaluation is based on completion of these studio projects, participation in studio and class critiques, short diagnostic quizzes, and one short paper. The goal of this course is to teach students to analyze the relationship between technique and content in the shaping of television programs. The course will meet in LS&A Television Studio, located at 400 Fourth Street. Students should plan their schedules to allow for travel time. Cost:1 WL:2 (Sarris)

310. Screenwriting. Film-Video 200. Completion of the introductory composition requirement. (3). (Excl).

This course teaches students to write a feature-length screenplay in acceptable format. Students will learn to develop an idea first into a written "concept," then into a "treatment," "step outline," and finally into a full script. The class will focus on such subjects as screenplay structure, plot and subplots, characterizations, shots, scene, sequence, dialogue, thinking visually, and soundtrack. Students will also learn the importance of rewriting their work. As part of the process, the class will study select screenplays, then view the films which were made from these scripts. Students will also read and discuss each other's work. Given this "workshop" approach, attendance is critical. Students can expect to write between five and ten pages a week. Cost:1 WL:2 (Burnstein, Briley)

350. The History of American Film. (3). (HU). Laboratory fee ($35) required.

This course is required for concentrators in the Program in Film and Video Studies, but is open to all students. The 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. Cost:3 WL:1 (Paul)

361/WS 361. Women and Film. (3). (Excl). Laboratory fee ($45) required.

An examination of films made by, for, and about women. The class will include theatrical and experimental films from the beginning years of film, through the heyday of the studio system, and into the development of alternative, specifically feminist film forms. Films will be analyzed in historical perspective to reveal how societal norms and film language construct the representation of women. In the first part of the term, attention will be paid to mainstream cinema's preoccupation with female sexuality as well as how it represents differences among women, especially differences of race, ethnicity, and class. Feminist perspectives on these issues will be emphasized, as will the critical and theoretical debates that have emerged around the cinema as a "male gaze" and the pleasures of female viewing. The remaining part of the course will be devoted to analyzing how women have used film for self-representation through both narrative and experimental filmmaking. Cost:3 WL:1 (Studlar)

370. Television History. (3). (HU). Laboratory fee ($35) required.

This course traces the development of television from the medium's historical, industrial, and technological roots in radio to the advent of new audiences, technologies and forms in the 1990s. Addressing television as a global phenomenon, we will investigate television's institutions, structures, and programming from various perspectives in order to understand television's role in mass culture of the late twentieth century. Cost:3 WL:1

400. Filmmaking II. Film-Video 300 or equivalent experience in filmmaking and permission of instructor. (3). (Excl).

This is an advanced 16mm motion picture production course. The primary goal of this course is to familiarize students with dramatic film production from interpreting the screenplay through shooting, editing, and post-production. The relationship of these activities to aesthetic development being the fundament of the course, and the basis of its connection to Film Studies. You will have access to a state-of-the-art Panaflex 16mm camera in addition to standard production equipment. Students work in small groups to produce a substantial sync-sound final project, as well as participating in a large in-class dramatic production (collaboration with Theatre and Drama students). Evaluation: participation in in-class projects, production assignments, final project. Text: Pincus and Ascher Filmmaker's Handbook. Cost:4 WL:2 (Rayher)

401. Video Art II. Film-Video 301 or equivalent experience with video production and permission of instructor. (3). (Excl).

This course covers various production strategies and concerns: building rhythm and structure, creative use of sound and its relationship to image, realizing non-linear narrative, experimental use of lighting, conceiving and distributing video in ways other than single-channel, and socio-political issues around representation. It aims to help students realize their own voices in independent videomaking within the historical context of Video Art. A/B roll editing with digital effects and various computer editing software including the AVID and Premiere will be covered. Evaluation is based on projects, reading and writing assignment, and class participation. Cost:2 WL:2 (Ching)

405. Computer Animation I. Film-Video 200. (3). (Excl).

This animation course will investigate and exercise the basic concepts of Macromedia Director. It is a hands-on beginning level course that will explore the mechanics of Computer generated 2-D animation, including the integration of sound, motion, and basic interactive programming. Fundamentals of the perception of motion over time, rotoscoping, storyboarding, and final output options of finished animations. Students should have a basic working knowledge of Macintosh illustration and paint programs. Must have permission of instructor. Cost:3 WL:2 (Farley)

406. Computer Animation II. Film-Video 405 or equivalent experience with video production, and permission of instructor. (3). (Excl).

This advanced class will cover Lingo scripting, a programming language in Macromedia Director. Non-linear presentation design, human interface concepts, and icon design will be explored to create interactive visual communications. Cost:3 WL:2 (Ault)

410. Screenwriting II. FV 310. (3). (Excl). Laboratory fee ($35) required. May be repeated for a total of 6 credits.

Students will learn to cast a critical eye on their own first drafts by first analyzing other class members' screenplays. Working in teams, students will break down screenplays in terms of structure, story logic, character development, character relationships, dialogue, visuals, and theme. Using feedback from their fellow students and instructor, students will strive to fix the problems in their own individual screenplays. A major rewrite and a polish will be required. Cost:2 WL:2 (Briley)

412/English 412. Major Directors. (3). (HU). Laboratory fee ($35) required. May be repeated for a total of nine credits.

See English 412. (Konigsberg)

413/English 413. Film Genres and Types. (3). (HU). Laboratory fee ($35) required. May be repeated for credit with department permission.

See English 413. (Bauland)

414. Film Theory and Criticism. (3). (Excl). Laboratory fee ($35) required.

This course is required for concentrators in the Program, but is open to all students with some background in film. The class will focus on a few specific areas of film theory and criticism. We will compare and contrast the viewpoints of influential thinkers on film such as Eisenstein and Bazin, as well as analyze recent commentary that takes up questions regarding film as a representation of culture, as a medium for narrating stories, as a source of psychological fascination, and as a technologically unique process. Emphasis will be given to the application of ideas to film viewings. Students will participate in several essay exams and write one paper. Cost:3 WL:1 (Nornes)

441. National Cinemas. F/V 360 or permission of instructor. (3). (Excl). Laboratory fee ($50) required. May be repeated for a total of 6 credits.

An in-depth exploration of the evolution and forms of a specific national or regional cinema in terms of its stylistic, socio-political, economic, and technological dimensions. Close study of the development of a cinema (e.g., Japanese, Eastern European, British) or of a film movement, e.g., Italian Neorealism, German Expressionism, French New Wave.

Section 001 Japanese Cinema. For Fall Term, 1997, this section is offered jointly with Japanese 475.001. (Nornes)

Section 002 German Cinema. For Fall Term, 1997, this section is offered jointly with German 330.001.

442/CAAS 442. Third World Cinema. (3). (Excl). Laboratory fee ($35) required.

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)

455. Topics in Film Studies. (3). (Excl). Laboratory fee ($35) required. May be repeated for a total of nine credits.
Section 001 Psychology and Film.
Film was born in 1895 at the same time that Freud was putting together his theory of dreams. For the past hundred years film and psychology have impacted significantly on our culture while also responding to one another instinctively and tellingly. Film criticism frequently concerns itself with an analysis of character. Film scholars and psychologists often involve themselves in the subject of creativity especially as it applies to auteur filmmakers. Perhaps most impressive has been the steady amount of theorizing on the psychological experience of the audience at the cinema. This class will examine all of these issues and through them try to understand the nature of the filmic medium. The class will explore the applicability of such schools of thought as cognitive psychology, psychoanalytic theory, social psychology, and feminist theory to the cinema. The class will read some basic theoretical texts in both film and psychology while viewing a variety of film genres and types as the basis for its study. Cost:2 WL:1 (Konigsberg)

470/CAAS 470. Cultural Issues in Cinema. (3). (HU). Laboratory fee ($35) required.

See Afroamerican and African Studies 470. (Ukadike)

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