Upcoming Courses

Now Enrolling for Fall 2018


CHIN 1088 - New Chinese Cinema

This course focuses on how film lends itself to visually capturing distinct cultural ethos, social customs and personal psychology bounding the greater China region (mainland and Taiwan) in the global era. Well-known Chinese directors such as Chen Kaige, Zhang Yimou, Hou Hsiao-hsien and Edward Yang will be studied through the 1990's "New Wave Cinemas." We will also study the distinct techniques and styles of the rising "Sixth Generation" directors (such as Wang Xiaoshuai, Jiang Wen, Jia Zhangke) to see how key values of traditional Chinese Culture and society have been contested and reinvented under the global conditions. To that end, we will study the newly revived genre of "martial arts legends."
Mo 12pm-3:55pm with Kun Qian
Category I, National Cinemas and Filmmakers

ENGFLM 0530 - Film Analysis

This course introduces students to the art of the cinema, and to the techniques for its formal and iconographic analysis.  It examines the nature of shot composition and visual framing, the use of color, the role of lighting as a pictorial element, the potentials of camera movement, the modes of editing and the nature of image/sound montage.  It also introduces students to dominant cinema forms--narrative, experimental, documentary, etc.--And connects the cinema to visual arts (like painting and sculpture).
We 1pm-4:50pm with Liz Reich, plus recitation Fr 2pm-2:50pm with TA
Required Film and Media Studies course

ENGFLM 0570 - Intro to New Media

Over the past two decades, so-called "new media" have begun to supplant the social and cultural prominence of film and other traditional media. This course will provide an introduction to a critical approach to new media. We will look at computer programming, CGI, virtual reality, video games, the Internet, and mobile technologies, and examine how these media function, evolve, and transform broader media culture and society at large. The course will also provide some basic training in media production, and students will learn how to use some simple digital tools to conduct a creative practice to express their critical thoughts on new media.
Mo 1pm-4:50pm with Jinying Li
Category II, Themes, Genres, and Theory

ENGFLM 0585 - Technologies of the Body

This course considers the treatment of the body in cinema and television. In addition to analyzing media examples, students will experiment with low-tech and high-tech adaptations of protocinematic (flipbooks, camera obscura, camera lucida, magic lanterns, zoetropes), early cinema,  and rapid rate photography to explore how movement and the body have been imagined in science and entertainment. Students will also explore theoretically and practically the visualization practices evident in sports, animation, motion capture, fiction film, documentary film, gaming, touchscreen technologies, and 360 degree video with virtual reality technologies.
MoWe 11am-12:50pm with Dana Och
Category III, Film/Photo/Video Production

ENGFLM 0590 - Filmmaking: Production and Criticism

This course introduces to filmmaking as related to cinematic expression, aesthetics, criticism, and ethics. Working in groups, students will produce short film projects. These projects are designed to foster a reflexive stance toward filmmaking practices and support students in the effort of developing a cinematic voice that is critically and historically informed. All aspects of production are viewed as a creative extension and continuation of the film writing, directing, and producing process. Through lectures and a range of readings, the class will explore craft, aesthetic, production and storytelling issues.
Th 9am-12:50pm with Robert Clift
Category III, Film/Photo/Video Production

ENGFLM 1492 - Hitchcock's Films

This course will look at the development of Hitchcock's cinema as a way of touching upon issues central to the study of film as a cultural force; the relationship between art and entertainment; the social origins of suspense and fear; the role of the director in creating a film's meaning; the role and function of genre and cross-generic influence.  We will closely look at films from all phases of Hitchcock's career and examine what their style, tone, and subject matter reveal about the powers of cinema and Hitchcock's influence on a new generation of directors.
Th 1pm-4:50pm with Julie Nakama
Category I, National Cinemas and Filmmakers

ENGFLM 1696 - Film Noir

This course will explore the notion of 'film noir' in a trans-national and trans-medial context. We will examine the classic films noir of the period 1941-1958 (e.g. Double Indemnity, The Killers and The Naked City), the films considered to be 'neo-noir' since the 1970s (e.g. Taxi Driver, Blade Runner, Fight Club and Memento), and the international films described as 'global noir' from Japan, Hong Kong, Europe, and many other places throughout the world (e.g. Better Tomorrow, Branded to Kill, Sonatine, and Oldboy).  We will also explore how the generic modes and conventions of film noir have been incorporated into other media such as comics, animations, and video games (e.g. Ghost in the Shell, Cowboy Bebop, LA Noir and Heavy Rain). We will look at these films and media objects from the perspective of film art and history, of their relationship to wider socio-cultural contexts, and of their exploration of gender and sexuality.  The course will explore debates as to whether film noir is a style, a genre, an idea in criticism, or a marketing category.  We will examine the roots of film noir in German expressionism and hard-boiled detective fiction.  We will examine the work of significant directors of these films, in both Hollywood and beyond, including Billy Wilder, Robert Siodmak, Fritz Lang, Orson Welles, Nicholas Ray, Guy Ritchie, Takashi Beat, Seijun Suzuki, John Woo, Johnnie To, and Park Chang-wook.
Tu 6pm-9:50pm with Jinying Li
Category II, Themes, Genres, and Theory

ENGFLM 1760 - Cinema and Video Games

This course introduces a comparative study of cinema and video games, exploring the historical, cultural, aesthetic, technological and industrial intersections between these two media forms. Combining film screenings with game plays, we will try to understand how cinema and video games inform, influence and converge with each other, as well as how the interrelations between these two media may have affected visual cultures at large. We will focus on race, gender, and ethical issues of visual representations in both cinema and video games, discussing the political questions of identity, power and representation in popular culture. The class also intends to provide students with analytical frameworks in film and media studies to guide their critical interpretations of the technology, history, and forms of video games. Through writings of game designers, film scholars and media theorists, we will consider the foundational role of the discipline of film studies in the formation of critical game studies. Students will be introduced to some key theoretical questions and concepts, such as realism, affect, hypertext, interactivity, post-humanism, media convergence and participatory culture, which are crucial for understanding the technological, cultural and social conditions of both cinema and video games in the digital age.
We 1pm-4:50pm with Jedd Hakimi
Category II, Themes, Genres, and Theory

ENGFLM 1920 - Advanced Seminar in Film Studies

This course is designed for film majors and can be taken only when all other major requirements are satisfied.  It will focus on issues of film history (either as an historical survey or through an examination of particular themes and/or problems that have arisen in the critical literature).  The class will be organized as a seminar, and will involve considerable writing and/or class presentation on the part of students.
Th 1pm-4:50pm with Neepa Majumdar
Capstone course; Satisfies Writing Gen-Ed

FILMST 0001 - Filmmaking 1: Fundamentals

Filmmaking is a creative process that combines art, science, craft, and collaboration. This course is a hands-on introduction to the process, starting with the building blocks of motion pictures: light and cameras, composition, editing, and visual storytelling. You will complete two short videos over the course of the semester, shooting video with DSLR cameras and editing using Adobe Premiere Pro. In-class exercises will provide a deeper understanding of making moving images.  All enrolled students will be responsible for paying a course fee for the use of equipment.
Mo 2pm-5pm with Katie Bird
Mo 6pm-9pm
Th 2pm-5pm with Katie Bird
Fr 10:30am-1:30pm
Category III, Film/Photo/Video Production

FILMST 0601 - Filmmaking 2: Sight and Sound

In this hands-on course, you will continue to acquire the skills required to design, shoot and edit HD video. Demonstrations and in-class exercises introduce more professional camera operation, lighting, sound, special effects, and editing workflows. You will apply this new knowledge and facility to several out-of-class assignments of increasing sophistication over the course of the semester. All enrolled students will be responsible for paying a course fee for the use of equipment.
Tu 2pm-5pm with John Cantine
We 6pm-9pm
Category III, Film/Photo/Video Production

FILMST 1132 - Elements of Screenwriting

In this hands-on course, you will continue to acquire the skills required to design, shoot and edit HD video. Demonstrations and in-class exercises introduce more professional camera operation, lighting, sound, special effects, and editing workflows. You will apply this new knowledge and facility to several out-of-class assignments of increasing sophistication over the course of the semester. All enrolled students will be responsible for paying a course fee for the use of equipment.
We 2pm-5pm with Kevin Smith
Th 6pm-9pm with Carl Kurlander
Category III, Film/Photo/Video Production

FILMST 1600- Filmmaking 3: Story to Screen

Building on your experiences in Filmmaking 1 and 2, you will continue to develop your style as a filmmaker while creating more ambitious work and improving your technical skills. Demonstrations cover HD video cameras and lenses, advanced lighting and sound techniques, creating a pre-production binder, and advanced post-production workflows using Adobe Creative Cloud software. In addition to creating short projects in class, significant outside work is required, as you will take a short film from concept to a polished final version.  All enrolled students will be responsible for paying a course fee for the use of equipment.
Tu 6pm-9pm with John Cantine
Category III, Film/Photo/Video Production

FILMST 1921 - Filmmaking 4: Capstone

This is a capstone course in motion picture production. You should arrive with a script for a short film which you will work on throughout the semester. The film can be any genre, and should represent the culmination of your studies in filmmaking, meeting high standards of technical and aesthetic quality. Through script workshops, pre-production reviews, and critique of rough cuts, your instructor will mentor you through the filmmaking process.  All enrolled students will be responsible for paying a course fee for the use of equipment.
We 6pm-9pm with John Cantine
Category III, Film/Photo/Video Production

GER 1548 - New German Cinema

Devastated after World War II, starting in the 1960s a number of German directors like Herzog, Fassbinder, Wenders, Kluge, Annders-Abrahms managed to bring international attention back to German cinema. They competed against the film industry of Hollywood under difficult conditions of production, and in many instances made the difficult transition out of the art house and into the mainstream movie theater.  Yet these names only represent a small portion of those directors active in the new German cinema.  This class will examine the aesthetic and technical contributions of new German cinema as well as the historical and social context of its production. The technological, financial, and intellectual destruction caused by the experience of national socialism and World War II required creative responses that have led to a solid and symbolically rich body of work.  In examining the themes and experimental forms of various filmmakers, students will gain insight into the issues that occupied the German public sphere from the 1960s onward.
MoWe 6pm-7:15pm, screenings Tu 6pm-9pm, with Uwe Stender
Category I, National Cinemas and Filmmakers

HAA 1806 - American Independent Film

This course examines the development in the U.S. Of independently produced film as an art form, and the filmmaker as an artist, from World War II to the present.  Filmmakers to be considered include Maya Deren, Kenneth Anger, Stan Brakhage, Bruce Baillie, Hollis Frampton and others.  An examination will be made of the relationships between the films studied and other forms of modern art, such as "abstract expressionism", "structuralism" and "postmodernism".  This course does not include "independent" Hollywood and other commercial feature filmmaking.
Mo 6pm-9:50pm with Bill Judson
Category I, National Cinemas and Filmmakers, or Category II, Themes, Genres, and Theory