01:175:265 American Experimental Film and Video (3) Survey course focusing on the history and development of the various American experimental cinema movements from its beginnings to the present. In-depth analyses of the structure and content of films by Andy Warhol, Maya Deren, Stan Brakhage, Sidney Peterson, Kenneth Anger, Bruce Baillie, Yoko Ono, and others. Credit not given for both this course and 01:050:265.

01:175:266 Cult Films in American Culture (3) The cult film from its origins in the 1920s to its evolution in American culture. Close analyses of cult films paired with readings by J. Hoberman and Jonathan Rosenbaum, Sigmund Freud, and others. Credit not given for both this course and 01:050:266.

01:175:267 American Film Directors (3) In-depth analyses of the structure and content of films of Stanley Kubrick, Orson Welles, John Frankenheimer, David Lynch, Val Lewton, Andy Warhol, and others. Emphasis on the� mise-en-sc�ne, narrative form, set design, sound, and special effects in the films of these celebrated filmmakers. Credit not given for both this course and 01:050:267.

01:175:268 David Lynch and the American Film Avant-Garde (3) Focuses on the surreal films of David Lynch and the American Film Avant-Garde. Includes in-depth analyses of the structure and content of many of Lynch's bizarre and unique films including Eraserhead, Mulholland Drive, and Blue Velvet. Credit not given for both this course and 01:050:268.

01:175:306 Modern French Cinema (in English) (3) Survey of the development of French cinema from World War II to the present day. Emphasis on the historical, sociopolitical, and aesthetic context of films screened. Credit not given for both this course and 01:420:306.

01:175:320 World Cinema I (3) Developments in French, Italian, British, Russian, and other national cinemas from 1896 to World War II; also examines cross-influences between foreign and American cinema. Credit not given for both this course and 01:195:320 or 01:354:320.

01:175:321 World Cinema II (3) Major developments in global filmmaking from the 1950s to the present, with an emphasis on specific national and transnational cultures and their industrial and artistic practices. Credit not given for both this course and 01:195:321 or 01:354:321.

01:175:377 Topics in World Cinema (3) Study of a particular region, time period, movement, or theme in world cinema.
Credit not given for both this course and 01:195:377. May be taken more than once, if content is different.

01:175:398 Internship in Cinema Studies (3) Professional, supervised work in an approved organization or agency; an appropriately designed academic project required. Prerequisite: Permission of the program before registration.

01:175:425 Senior Seminar in Cinema Studies (3) One or more topics selected for their relevance to the interdisciplinary study of film. Emphasis on advanced problems and issues together with methodology and theory. Extended research paper required on a topic chosen in consultation with the instructor.
Prerequisite: Permission of program director.

01:175:477 Advanced Topics in World Cinema (3) Intensive study of a particular issue in world cinema, with special attention paid to theoretical approaches. Specific topic announced at preregistration time. Prerequisite: Permission of instructor. Credit not given for both this course and 01:195:477. May be taken more than once, if content is different.

01:354:201 Introduction to Film I (3) Film study, with emphasis on basic concepts of film analysis (narrative, editing, mise-en-sc�ne, sound) and the historical development of cinema as an institution.

01:354:202 Introduction to Film II (3) Film study, with emphasis on commercial cinema as an institution (genres, directors, stars) and on nonnarrative types of film (documentary, experimental).

01:354:210 Close Reading of Cinema (3) Formal analyses of six or seven individual films; emphasis on visual track, soundtrack, and scenario-narrative construction.

01:354:420 Seminar: Film Theory (3) Major developments in film theory from the silent era to the present; writings on film by Eisenstein, Kracauer, Bazin, Metz, Barthes, and others; practice in different methods to analyze films.