These are the courses scheduled for Fall 2014 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.
73443 - COMM 350 - 001 Mass Comm/Public Policy Richard T Craig 9-10:15am MW | This course is designed to introduce students to the history and processes influencing mass media and policy in America. We will explore media's impact on government, policy making, and effect on democracy. Special attention will be given to the portrayal of policy issues and political themes in popular culture, including: film, television, radio, music, and the internet. The objective of the course is to encourage students to explore the complex relationship of influence existing between media, government, and the public. Upon completion of the course, students will be more familiar with the interactions between the media and politics in America, through exploration of: a) the philosophical underpinnings influencing the development of policy, b) significant historical events relevant to American mass media policy, and c) the ethics of influencing policy.
70335 - COMM 355 - 001 Video I: Princip and Practice 10:30am-1:15pm W David King Jr. Hall Raul Alejandro Rosado-Burgos
70336 - COMM 355 - 002 Video I: Princip and Practice 3-4:15pm TR David King Jr. Hall 1011B David J Miller
70337 - COMM 355 - 003 Video I: Princip and Practice 4:30-7:10pm T David King Jr. Hall Paul King
70343 - COMM 360 - 002 Video II: Video Editing 10:30am-1:15pm M Robinson Hall A352 Amanda Lynn Kraus
72225 - COMM 364 - 001 Videography 4:30-7:10pm W David King Jr. Hall 1011B David J Miller
73444 - COMM 380 - 001 Media Criticism 1:30-2:45pm TR Krug Hall 5 David J Miller | The course examines practical criticism of a wide variety of media texts including television programs, newspapers, articles, films, photographs, and advertisements. Introduces principles of major contemporary modes of analysis for systematically interpreting visual and verbal forms of communication.
77718 - COMM 397 - 001 Transmedia for Social Change 4:30-7:10pm T Robinson Hall A352 Giovanna Chesler | Students learn about and produce transmedia projects and engage in transmedia storytelling, with an emphasis on producing for impact and action. What is transmedia? It is a way of telling stories across media forms, for both fiction and nonfiction. And, this is nothing new! Transmedia can include a book that extends the life of a character in a television show (Laura Palmer's Diary connected to Twin Peaks). More recent examples include use of social media (twitter feeds for characters) or tumblrs (audience supplies content that informs a film project). Projects might tell stories across media forms including social media, digital filmmaking in documentary or fiction, podcasts, twitter, vine, and tumblr, to name a few. It is recommended that students have video experience, but this is not a requirement by any means. The class will benefit from a range of student experiences and specialties.
70359 - COMM 452 - 001 COMM 452 001 Media Production Practicum TBA David J Miller
72963 - ENGH 319 - 001 Film and Video Forms 10:30-11:45am MW Innovation Hall 131 Cynthia Fuchs | This course focuses on how films and videos tell stories, construct subjects and shape viewers, by creating convincing, emotionally potent "realities." Looking at how different fiction films, documentaries, and forms of TV take on similar topics, we'll consider narrative and formal conventions, as well as challenges to these conventions. We'll look at how movies and videos (including TV) establish perspectives and audience positions, and especially, how they invite viewers to feel responses, including identification or antagonism with subjects on screen. As the course investigates such structural and formal issues, it also considers contexts, differences over time and in place, and the effects of budgets, technologies, audiences, and commercial concerns on film and video. The focus will be on recent films and TV, perhaps including The Americans (FX), Dear White People, Dinosaur 13, The Missing Picture, Orphan Black, Stories We Tell, and Narco Cultura.
73677 - ENGH 362 - 001 Conflict, Terrorism, Human Rights 4:30-7:10pm R Innovation Hall 207 Jessica Scarlata | This course will look at representations of violence, protest, and questions of human rights in international film, paying particular attention to 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. For example: 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? What does it mean to consume narratives of trauma? How have filmmakers formulated alternative languages for telling traumatic stories? In studying representations of state violence, we will address the role that space (prisons, slums, plantations, border zones) and violence play in constructions of gender, class, race, and sexuality, and how these constructions work in relation to discourses of security and crisis. Screenings include (among others): Madame Satã (Brazil), The Missing Picture (Cambodia), Firaaq (India), The Magdalene Sisters (Ireland), Twelve Years a Slave (US), The Terrorist (Sri Lanka), Pan’s Labyrinth (Spain), Bamako (Mali), and Clandestinos (Cuba). (Note: countries in parentheses refer to the film’s setting.)
72966 - ENGH 372 - 001 Introduction to Film 12-1:15pm MW Robinson Hall B205 Carla Marcantonio | ENGH 372 001 film screenings will be held in MTB 1006 on Fridays from 10:30am-1:15pm
72967 - ENGH 372 - 002 Introduction to Film 9-10:15am MW Robinson Hall A106 Cynthia Fuchs | This class considers movies as economic, aesthetic, and political texts, within historical contexts. We will look at a variety of generic and genre-bending films in order to discuss varieties of representation (as films speak to and for communities and individuals) as well as cinematic production and distribution (as films are deemed independent or mainstream, by whom and to whose benefit?). Classroom discussions will focus primarily on formal analyses and cultural frameworks. Workload includes essays, quizzes, and blackboard assignments.
78256 - ENGH 472 - 001/ENGH 670 - 001 Crossing Borders 7:20-10pm T Robinson Hall A247 Jessica Scarlata | This course studies notions of globalization, migration, and transgression in cinema through different theoretical approaches in film studies. We will look at movies featuring characters who cross borders physically and metaphorically (traversing national borders as well as defying gender, class, and ethnic boundaries) and the violence with which both sets of borders are defended. The course will include films that represent bodies that circulate across borders involuntarily (through deportation, kidnapping, enslavement, and human trafficking), the spaces that restrict those bodies (prisons, detention centers, homes), and the ways such bodies are figured as threats to national, racial, and financial security. Finally, we consider the border-crossing tendencies of cinema itself, looking at questions of transnational production, genre-mixing, and international distribution. Screenings include: 12 Years a Slave, Paris is Burning, Dirty Pretty Things, Even the Rain, The Whistleblower, Sin Nombre, and Ramchand Pakistani.
73655 - FAVS 225 - 001 The History of World Cinema 3-4:15 pm MW Exploratory Hall L004 TBA | 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.
74978 - FAVS 300 - 001 Global Horror Film 4:30-7:10pm T Tommy Britt | 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.
72876 - FAVS 335 - 001 Sound and Lighting Film/Video 4:30-7:10pm R Music/Theater Building 1014 TBA
71465 - FAVS 352 - 001 Ethics of Film and Video 1:30-2:45pm TR Music/Theater Building 1004 Tommy Britt | Thios course 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.
77224 - FAVS 365 - 001 Documentary Filmmaking I 12-1:15pm MW de Laski Performing Arts Bldg A101 TBA
73884 - CHIN 320 - 001: Contemp Chinese Film 7:20-10pm T East Building 122 Carmelita Hinton
77286 - FRLN 331 - 001 International Mysteries 3-4:15pm TR Music/Theater Building 1002 Michael Jeck | Policier, Serie noire, Giallo, Krimi, Astinomika, Suiri: arguably now the most universal of genres, the mystery, cop show, detective story, thriller is one of the most flexible and accommodating, providing the opportunity for stylistic pyrotechnics by great directors, the dramatization of classic stories and characters, and a unique window into other cultures. Students will discover these films' richly cinematic values, acquire critical reading skills, and, perhaps, gain a greater facility in spotting the killer. Films will include M, The Third Man, the Russian Sherlock Holmes, High and Low, and the complete Finnish miniseries Raid.
70436 - JAPA 320 - 001 Japanese Cinema 5:55-7:10pm TR Music/Theater Building 1007 Michael Jeck | This course surveys of one of the world's richest cinemas, from the silent era to the relatively recent, touching on a wide range of genres and subjects, from lightning fast samurai action to the beautiful stillness of Ozu. Our emphasis will be on discovering the particularly filmic values to be found in the works of some of the world's greatest directors. Films will include: Late Spring, Godzilla, Samurai Rebellion, I Live in Fear, and Tampopo.
77335 - RUSS 470 - 001 (Post) Soviet Film 8:45-10pm TR Aquia Building 347 Michael Jeck | This course visits two core decades of the Russian cinema, the early Soviet period of the great silent films and early talkies, focusing on Sergei Eisenstein, and the immediate post-war and post-Thaw flowering, focusing on Andrei Tarkovsky. Students will acquire critical skills reading the works of some of the world's most distinctive and controversial directors, gaining insights the culture, history, and politics Russia's very difficult last century. Films will include Battleship Potemkin, Man with a Movie Camera, King Lear, I am Cuba, and Solaris.
74554 - SPAN 482 - 001 Revolutionary Cinema 3-4:15pm TR Aquia Building 346 Lisa Rabin | This course focuses on the range of films produced across the Latin American regions from the 1960s to the 1980s that were considered “revolutionary,” both for their engagement with social and political themes and for their departure from conventional film genres inherited from the Hollywood industry. The course will survey Latin American revolutionary film from nations across the hemisphere, including Argentina, Chile, Brazil, Bolivia, Mexico, and Cuba. The course also takes an historical perspective, situating the emergence of revolutionary film within international movements of documentary and neorealist cinema of the earlier 20th century and exploring its influence on Latin American movie-making of our own times. Students will be introduced to basic concepts of film analysis and major trends in film studies. This course is taught in Spanish. Prereq. SPAN 390 or permission of instructor, Lisa Rabin at firstname.lastname@example.org.
73181 - MUSI 301 - 001 Music in Motion Pictures 3-4:15pm TR Art and Design Building 2003 Michael Freer | This course offers intensive study and analysis of using music tracks in motion pictures to introduce the picture, set a scene, create moods, or for musical numbers. The course covers movies from the silent film scores of the 1920s to the present (including electronic music).