70363 COMM 355:001 Video Principles and Practice | David Miller 1:30 -2:45pm TR David King Jr. Hall 1011B
70364 COMM 355-002 | TBA | 4:30-7:10pm T David King Jr. Hall 1011B
70365 COMM 355-003 | Paul King | 4:30-7:10pm W David King Jr. Hall 1011B
70368 COMM 358:001 Producing and Directing | David Miller | 1:30-4:15pm W David King Jr. Hall 1011B
70371 COMM 360:002 Video Editing | Amanda Kraus | 10:30am-1:15pm M Robinson Hall A352
77465 COMM 364:001 Videography | David Miller | 4:30-7:10pm M David King Jr. Hall 1011B
74079 COMM 380:002 Media Criticism | Tim Gibson | 10:30-11:45am TR Innovation Hall 206
80082 COMM 399-003: Transmedia Production for Social Change | Giovanna Chesler | 1:30- 04:15pm M David King Hall 1011B | The course explores transmedia storytelling strategies while considering historical models where media helped impact social change. The students pick their own subjects and make fiction, documentary, and cross-genre work that moves across platforms.
73427 English 319:001 Film and Video Forms | Cynthia Fuchs | email@example.com | 9-10:15am TR Robinson Hall B205 | This course focuses on how films and videos tell stories, how they construct subjects and position viewers, by creating convincing, emotionally potent "realities." Looking at how fiction films, documentaries, and television take on similar topics, we'll examine narrative and formal conventions, political and historical contexts, and the effects of budgets, technologies, and commercial cultures. Screenings may include The Americans (FX), The Bling Ring, The Bridge (FX), Chronicle, Haywire, The Imposter, El Sicario, World War Z, and Zero Dark Thirty.
74532 ENGH 362:001 and ITAL 320 Neorealism & Global Cinema | Carla Marcantonio | firstname.lastname@example.org | Kristina Olson | email@example.com | 4:30-7:10pm T Blue Ridge Hall 129 | This course seeks to study neorealism as an aesthetic movement whose influence extends beyond national boundaries. It investigates the transnational origins and afterlives of this distinctively national cinematic aesthetic, and thus, to broaden the ways in which we view national cinemas in their global contexts. In this way, this course seeks to challenge the limitations of a nationalist approach to global cinematic trends by means of an investigation of film history that is informed by historical contexts and cinematic theory. Students are expected to expand the ways in which they analyze cinematic texts within national and transnational frameworks that bridge film and history. They will become familiar with the transcendent nature of a neorealist film language, a transnational cinematic style that began -– and continues -– with an attention to the local and material realities of socioeconomics. Note: Taken as ITAL 320, this course satisfies the General Education requirement in Literature.
77881 ENGH 371:002 Television Studies | Stephen Groening | firstname.lastname@example.org | 1:30-2:45 pm TR Innovation Hall 207 | Television calls into question many long-held ideas regarding aesthetics, ontology, and epistemology, terms normally reserved for philosophy, not the mass media. Television can also be conceived as mindless, entertaining, and superficial even as it creates communities, national imaginaries and seems to bring the world into our homes. We will explore what television is, what television does, and how television shapes our fundamental assumptions about space, time, image and sound. This course will emphasize television’s place in a larger historical context of other media forms, consumerism, and modernity.
73434 ENGH 372:002 Introduction to Film | Jessica Scarlata | email@example.com | 4:30-7:10pm R Robinson Hall B201
77107 ENGH 470-001: Homeland Insecurity | Jessica Scarlata | firstname.lastname@example.org | 7:20-10pm M Robinson Hall B111 | While questions of “national security” have risen to the forefront of popular culture in recent years, the fear of threats to an imagined homeland is hardly new. This course will take an in-depth look at films that engage with questions of domestic security, understanding “domestic” to refer to both the nation and the home. Studying films from a variety of national contexts, we will address issues of “family values,” epidemics, states of emergency, revolutions, and catastrophe. The course will pay close attention to the representation of surveillance, incarceration, and violence, and we will examine cinema’s contribution and resistance to a sense of national crisis and the construction of specific populations as threatening. Screenings include: Django Unchained (US), The Lives of Others (Germany), Hunger (Ireland), The Host (Korea), This is Not a Film (Iran), and Rendition (US).
74491 FAVS 225:001 History of World Cinema | Michael Jeck | email@example.com | 3-4:15pm MW Robinson Hall B111 | This course offers a general survey of world cinema, focused through discussions of national cinemas and particular periods. It views each film within its own national, cultural, and historical contexts, such that students examine the particular formal filmic values in some of the world's most famous films and acquire critical skills.
74490 FAVS 225:DL1 History of World Cinema | Benjamin Steger | firstname.lastname@example.org | Distance | This survey of the history of cinema explores the development of world cinema from its beginnings in the late 19th century to the present day. We will investigate major film movements and individual films, focusing on their aesthetic, historical, technological, and ideological contributions to the art form. The course considers the evolution of the history and language of cinema in order to connect the art of filmmaking with economic institutions, key figures, historical events, and social issues that shape them.
77583 FAVS 300:001 Global Horror Films | Thomas Britt | email@example.com | 7:20-10pm T Robinson Hall B208 | This course is an introduction to the horror film, its causes and effects. Taking an historical approach, the course begins with the genre’s literary and theatrical origins and traces its development into a modern (and postmodern) form of universal storytelling. Students will be asked to consider the evolution of the artistic, commercial, and sociopolitical aspects of the horror film. The course identifies how specific horrors arise from certain places and times and helps students to think critically about how horror texts both reflect and influence social and political circumstances across the world.
73300 FAVS 335:001 Sound and Lighting | Benjamin Steger | firstname.lastname@example.org | 4:30-7:10pm R David King Jr. Hall 1011B
71585 FAVS 352:001 Ethics of Film & Video | Thomas Britt | email@example.com | 1:30-2:45pm TR Music Theater Building 1002 | Examines the relationship between ethics and the arts, focuses on the theory and practice of media authorship, and increases comprehension of how technological and social developments intersect with ethics. Students develop heightened media literacy through an analysis of representative work and revisit creative projects in order to assess and demonstrate growth in modes of thought and production.
73226 FAVS 365:001 Documentary Film Production | Benjamin Steger | firstname.lastname@example.org | 3-4:15 pm TR David King Jr. Hall 1011B
77213 FAVS 399:003 Contemporary Chinese Film | Carma Hinton | email@example.com | 7:20-10pm T East 122 | This course provides a historical overview of Chinese language cinema, focusing on productions from Mainland China. The story of Chinese cinema is closely entwined with the turbulent history of 20th century China. Since its beginnings in the early 1900s – during the final years of the last imperial dynasty – Chinese cinema has embodied and responded to the profound challenges brought about by a rapidly changing world. In exploring this story, we will study the works of a number of key directors and examine moments of dramatic shifts in cinematic style within a broader social and political context. We will pay particular attention to issues of national, cultural, and gender identities, the relationship between art and politics, and cross-cultural communication.
80087 FAVS 399:004 Webisodes: Creative TV for Web | Susan Kehoe | firstname.lastname@example.org | 3-4:15pm MW Robinson Hall A352
80165 WMST 300:004 Queer Cinema | Rachel Lewis | email@example.com | MW 10:30–11:45am Robinson Hall A412 | This course will provide an introduction to the interdisciplinary field of queer cinema studies, with an emphasis on contemporary and transnational queer cinemas and media cultures. The course will be organized around five key areas: (1) New Queer Cinema (2) Lesbian Independent Cinema (3) Black Queer Cinema (4) Transgender and Intersex Representation and (5) Transnational Queer Cinema. We will employ a case-study approach to each theme, and look at visual and theoretical texts, as well as related historical, legal, sociological, and anthropological interpretations. Possible films will include: The Celluloid Closet, Velvet Goldmine, Tongues Untied, Brokeback Mountain, Go Fish, Watermelon Woman, Pariah, Boys Don’t Cry, XXY, Bad Education, Let’s Love Hong Kong, and Unveiled.