These are the courses scheduled for Summer 2013 that count toward the Film & Media Studies minor. To determine whether other courses may count toward FAMS, please contact the director.
This information is provided by the Film & Media Studies program and is subject to change. For the official and most up-to-date schedule information, see the Schedule of Classes on the website of the Office of the Registrar.
40068 COMM 302-A01: Foundation Mass Communications | Cindy Lont email@example.com | 9:30-11:45am MTWR Planetary Hall (formerly Science & Tech I) 127
41439 COMM 380-A01 Media Criticism | David Miller firstname.lastname@example.org | 12-2:15pm MTWR IN 132
40753 ENGH 319-A01: Cell Phone Cultures | Stephen Groening email@example.com | 12-2:15pm MTWR Innovation Hall 209 | This course considers the cultural and social significance of the cellular phone. Beginning with a historical look at some of the technological predecessors to the cellular phone, we will explore issues such as the nature of talk and mediated conversation, the use of cell phones in social movements, cell phones as markers of
identity and style, and the use of cell phones in schools, prisons, and the military. Many of the course assignments are completed using cell phones, including photo essays, digital videos, texting during class, and organizing a flash mob.
40770 ENGH 362-A01 & 41528 ENGH 670-A01 World Cinema: Conflict, Terrorism, Human Rights | Jessica Scarlata firstname.lastname@example.org | Both 7-10:05pm MWF Robinson A412 | This course will look at representations of violence, protest, and questions of human rights in international film, paying particular attention to the geography of power and violence—how space is contested, claimed, and imagined. Covering state and anti-state violence as well as non-violent resistance, we will consider the relationship between the cultural and political complexity of most conflicts on the one hand, and the narrative demands of commercial fiction film on the other. What effect does the use of heroic and/or melodramatic frameworks have on a film’s portrayal of occupation, resistance, torture, terrorism, guerrilla warfare, and civil disobedience? How have filmmakers formulated alternative languages for telling traumatic stories? In studying representations of state violence, we will address the roles that constructions of gender, class, race, and sexuality play in how violence is enacted against specific bodies and specific populations. Screenings include NO (Chile), Rendition (US), Five Minutes of Heaven (Ireland), Kaya Taran (India), The Time that Remains (Palestine),The Apple (Iran), Even the Rain (Spain/Mexico), and Django Unchained (US).
40958 FAVS 225-B01 The History of World Cinema | TBA | DISTANCE | This course is a survey of the history of cinema. It explores the development of world cinema from its beginnings in the late nineteenth century to the present day. Emphasis is placed on major directors, films and movements that contributed to the development of narrative cinema. The course will investigate several major film movements and individual films, focusing on their aesthetic, historical, technological and ideological contributions to the evolution of the art form. In doing so, the principles of narrative construction in film will be considered. The course will enable students to comprehend the evolution of the history and language of cinema in order to connect the art of filmmaking with the “outside forces” (i.e., the economic institutions, key figures, historical events and social issues) that profoundly shape and influence it.
41683 FAVS 300-A01 Global Horror Film | Tommy Britt email@example.com | 7-10:05pm MWF 7-10:05pm Robinson B203
41073 JAPA 320-A01 Films of Akira Kurosawa | Michael Jeck firstname.lastname@example.org | 7-10:05pm MWF Nguyen Engineering Building 1107 | We will study films by one of the world’s greatest directors, from early works to late period spectacles, from samurai to business suits, from the classics to unsung, little-known works. Emphasized will be the specifically cinematic means the master used to dramatize his message of Promethean heroes at odds with their environment, acquiring critical skill re film along the way. This class requires no background in film studies, or in Japanese language, culture, history, but it can’t hurt. All films will have English subtitles.