Introduction to Film I (3)
Film study, with emphasis on
basic concepts of film analysis (narrative, editing, mise-en-scène, sound) and
the historical development of cinema as an institution.
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).
Close Readings of Cinema (3)
Formal analyses of six or
seven individual films; emphasis on visual track, soundtrack, and
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.
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.
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-scène, 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.
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.
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.
World Cinema I (3)
in French, Italian, British, Russian, and other national cinemas from 1896 to
World War II; also examines cross-influences between foreign and American
Credit not given for both this course and 01:195:320 or 01:354:320.
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.
Classics of German Cinema: From Haunted Screen to Hyperreality (3)
Canonical films of the Weimar, Nazi, and post-war period. Focuses on class, gender, nation, cultural context, and the changing sociopolitical and historical climates in which they arose. Special attention to the issue of film style and to the question of what constitutes the film
canon in particular in the case of recent works.
Credit not given for both this course and 01:470:360.
A broad overview of the Bollywood industry and its cinematic productions over the years.
Credit not given for both this course and 01:013:365.
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.
Global Horror (3)
Engaging with the horror genre both as a local and
transnational phenomenon, interrogation of a vast range of horror films from the 1930s to the present, in order to understand how the often-dismissed genre
articulates and amplifies an array of issues.
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. NOTE: This internship is for enrichment and may not be used as elective credit toward the cinema studies major or minor.
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
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.
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.