50:354:191
Laboratory in Diversity in United States (0-1)
Corequisite associated with specific courses so that
students receive credit for meeting the general education U.S. in the world (USW)
requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
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50:354:192
Laboratory in Engaged Civic Learning (0-1)
Corequisite associated with specific courses so that
students receive credit for meeting the general education engaged civic learning (ECL)
requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
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50:354:193
Laboratory in Writing-Intensive Practice (0-1)
Corequisite associated with specific courses so that students receive credit for meeting the general education writing (WRI)
requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
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50:354:194
Laboratory in Experiential Learning (0-1)
Corequisite associated with specific courses so that students receive credit for meeting the general education experiential learning (XPL)
requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
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50:354:195
Laboratory in Diversity (0-1)
Corequisite associated with specific courses so that
students receive credit for meeting the general education diversity (DIV)
requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
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50:354:196
Laboratory in Engaged Civic Learning (0,1)
The Engaged Civic Learning Lab is a 0- or 1-credit addition to a course or a section of a course that indicates that specific course or course section will satisfy the learning goals for the cross-cutting category of Engaged Civic Learning. This means that students taking this course or section should expect to engage in discussions, learning activities, and critical reflections that involve a community-focused, participatory component.
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50:354:197
Laboratory in Experiential Learning (0,1)
The Experiential Learning Lab is a 0- or 1-credit addition to a course or a section of a course that indicates that specific course or course section will satisfy the learning goals for the cross-cutting category of Experiential Learning. This means that students taking this course or section should expect to engage in direct experience with using the language and forms of film and its applications in practice.
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50:354:198
Laboratory in Writing-Intensive Practice (0,1)
The Writing Intensive Lab is a 0- or 1-credit addition to a course or a section of a course that indicates that specific course or course section will satisfy the learning goals for the cross-cutting category of Writing Intensive practice. This means that students taking this course or section should expect to engage in a significant amount of discussion about and practice with writing and that at least 30 percent of the course grade will be based on writing assignments.
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50:354:201
The Art of Film (3)
Covers the skills necessary for the critical study of film, including an
overview of the different aspects of film form--story, mise-en-scene,
cinematography, editing, and sound--and how the principles allow us to analyze
and study film as an art form.
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50:354:210
Literature and Film: Issues of Adaptation (3)
An introductory discussion of film adaptations of literary works that examines how
cinematic techniques change works.
Discussion of the adaptation process: what is lost, and what gained, by the transformation? Considers various works of art, both historical and contemporary.
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50:354:211,212
Special Topics in Film (3,3)
Introductory
courses which use films, along with selected readings, to highlight issues in
culture such as race, ethnicity, and historical contexts. Examples: From Jacobs to Django:
American Slavery, The Middle Ages in the Movies, and
Shakespeare on Film.
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50:354:213
Blockbusters and Disability (3)
Explores the principles and
imperatives of disability studies by way of an investigation of Hollywood
blockbuster films. It simultaneously
understands disability as a social construction even while recognizing people
with disabilities as a political minority that deserve similar consideration as
interconnected and overlapping groups, such as people of color, women, and
members of various LGBTQ communities.
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50:354:214
Images of the City in Literature and Film (3)
In this course we will use a variety of text--film, books, audio--to examine the city as a setting
and subject. In particular, we will discuss urban life both within and across racial lines.
How are figures from African-American, Latina-American, and Asian-American communities portrayed in literature and film? What, if any, is their interaction with one another? Authors whose work we are likely to read include James Baldwin, Sandra Cisneros, Jamaal May, and Lauryn Hill. Filmmakers likely to include Thomas A. Edison, Ridley Scott, Spike Lee, Dave Chappelle, and Grace Lee.
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50:354:215
Romantic Comedy (3)
An examination of the romantic comedy from the 1930's
through the present, with an emphasis on shifting cultural assumptions about
couplehood, marriage, and sexuality.
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50:354:216
International Film of the 1960s and 1970s (3)
The 1960s and 1970s were a time of upheaval in politics, and American cinema was hugely influential globally. American films also responded to innovations
from European and other filmmakers. This course will track the process of
cross-fertilization over a particularly important period.
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50:354:217
Introduction to Documentary Film (3)
This course is an introduction to the history and theory of documentary film. Through readings and screenings, students will review and analyze the evolution of the documentary film genre and its modes. The course will also explore concepts that are central in documentary filmmaking, including ethical, legal, and artistic issues that are critical in nonfiction filmmaking.
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50:354:218
Shakespeare and Film (3)
This course aims to give you an introduction both to some of Shakespeare's leading plays, studied in their original context, and to some of the most remarkable and brilliant film versions of these dramas in modern times, which are works of art in their own right, and radiate fresh dimensions of meaning.
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50:354:295
Laboratory II in Diversity (0-1)
Corequisite associated with specific courses so
that students receive credit for meeting the general education diversity (DIV)
requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
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50:354:296
Laboratory II in Engaged Civic Learning (0-1)
Corequisite associated with specific courses so
that students receive credit for meeting the general education engaged civic learning (ECL)
requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
|
50:354:297
Laboratory II in Experiential Learning (0-1)
Corequisite associated with specific courses so
that students receive credit for meeting the general education experiential learning (XPL) requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
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50:354:298
Laboratory II in Writing (0-1)
Corequisite associated with specific courses so
that students receive credit for meeting the general education writing (WRI)
requirement. Students are not required to attend a lab in addition to the
associated course unless otherwise noted.
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50:354:300
History of Film I (3)
The development of major film movements, with particular attention to the technical and stylistic contributions of major directors.
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50:354:301
History of Film II (3)
1945 through the rise of conglomeration in the
1980s, including film noir, Neorealism, Japan's Golden Age, the New Wave, the
arrival of TV, the end of the Hollywood studio system, the rise of personal
cinema, and the blockbuster. Second part of required course in support of the
English department's new track in film and media studies.
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50:354:302
History of Film III (3)
Contemporary cinema, covering the globalization of
film, the influence of Hong Kong and South Korea, the rise of Third World
cinema, as well as the arrival of visual effects and the proliferation of
animation, independent cinema, and the end of film and the transition to
digital cinema.
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50:354:310
Literature and Film (3)
Adaptations from other narrative and dramatic forms; relations between literary and film conventions; special problems in adapting literary works to film.
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50:354:311
Film Theory (3)
Introduction to critical methods for discussing film and film history, which
will examine methods for discussing film biography, production, and other
historical issues. Students will get an
overview of influential critical approaches, including structuralism,
psychoanalysis, and narratology.
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50:354:312
Women in Film (3)
Examines women as subjects
and objects in films, as well as highlighting influential female
filmmakers. Feminist film theory will
be used to examine both Hollywood and independent films. Emphasis will be placed on analyzing films
for constructions of gender, but issues of sexual orientation, race, and class
will also be discussed.
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50:354:313
Hitchcock (3)
An overview of the career of Alfred Hitchcock,
which will showcase his most important films and also discuss his influence on
contemporary filmmaking.
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50:354:314
Special Topics in Animation (3)
This course covers a range of topics in animation history, production, reception, style, aesthetics, and expression. Courses may include a broad survey of innovative animators from around the world; specialty courses such as children's animation, female animators, puppets and claymation, or anime; or signature studios such as Disney or Ghibli.
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50:354:315
American Film (3)
The American film from the silent period to the present; concentrated study of several major directors such as Ford, Hawks, and Welles.
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50:354:316
The Journalist in and on Film (3)
For many, our understanding
of what journalists do has been shaped by popular culture, more specifically,
by how reporters, editors, and media moguls are portrayed in film. From the
hapless bumbler to the crusader, the hard-bitten cynic to the power-hungry
megalomaniac, the ambitious scoundrel to the intrepid investigator, cinema's
depictions of journalists, real or fictional, have both reinforced stereotypes
and provided keen insights. This course will offer a comprehensive look at how
the news, and those who produce the news, are portrayed in movies and how that
impacts our perceptions of the media. We will view and discuss films focused on
journalists from over the last 80 years, including His Girl Friday, Citizen
Kane, Superman, All the President's Men, Good Night and Good Luck, Fear and
Loathing in Las Vegas, Shattered Glass, Anchorman, Truth, and 2016's Best
Picture Oscar winner, Spotlight. Graded assignments will include a film viewing
journal blog, a movie critique, and a researched, analytical magazine style
article.
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50:354:317
Rich and Poor in Western Cinema (3)
This course will screen a dozen films, European and American, representing rich and poor lifestyles, from the Middle Ages on. We will also read ethical works on economic progress and polarization, from Adam Smith and Karl Marx through William F. Buckley, Roger Scruton, and Gustavo Gutierrez.
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50:354:320
World Cinema (3)
Major developments and achievements in French, Italian, British, Russian, and other national cinemas; cross-influences between foreign and American cinema.
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50:354:350
Major Filmmakers (G) (3)
The viewing, analysis, and discussion of selected films by such directors as Griffith, Eisenstein, Ford, Huston, Welles, Bergman, Fellini, Buñuel, and Kurosawa.
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50:354:389
Independent Study in Film (3)
An opportunity for advanced students to work individually
with an instructor on a self-determined course of study.
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50:354:391,392,393,394
Special Topics in Film (3,3,3,3)
A course in a specially selected topic.
Primarily, but not exclusively, for advanced students. Courses with different topics may be repeated for credit.
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50:354:395
Screenwriting (3)
Instruction and practice in preparing screenplays for production.
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50:354:396,397,398,399
Studies in Film Genres (3,3,3,3)
Intensive study of a particular genre of film, including the musical, the western, the crime drama, the comedy, or science fiction film.
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50:354:401
Advanced Screenwriting (3)
An advanced course in screenwriting for students who have already mastered the basics of screenplay structure and writing.
Prerequisite: 50:354:395 or permission of instructor.
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50:354:410
Senior Seminar in Film Study (3)
Allows students to do intensive research
and critical writing on a major figure, movement, or issue in film studies.
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