14165 AVT 377-001 Cyberpunk | 1:30-4:10 pm MW Thompson Hall 1018 | Mark Cooley firstname.lastname@example.org | The course traces the ways that cinema, music, fiction, cultural theory, visual art, television, theater, and performance have embraced and been shaped by cyberpunk and cyberculture. Includes readings, writings, discussion, screenings, guest speakers, and research projects.
12065 CLAS 390-001 The Trojan War in Myth and Film | TR 10:30-11:45 | Martin Winkler email@example.com
10388 COMM 355-001 Video I: Principles and Practice | 3-4:15pm TR David King Jr. Hall 1011B | David Miller firstname.lastname@example.org
10389 COMM 355-002 Video I: Principles and Practice | 7:20-10pm W David King Jr. Hall 1011B | TBA
15355 COMM 355-004 Video I: Principles and Practice | 1:30 pm - 2:45 pm TR David King Jr. Hall 1011B | David Miller email@example.com
17932 COMM 358-003 Video II: Producing and Directing | 4:30p-7:10pm W David King Jr. Hall 1011B | David Miller firstname.lastname@example.org
12005 COMM 360-001 Video II: Video Editing | 1:30-4:15pm M Robinson Hall A352 | Amanda Lynn Kraus email@example.com
10405 COMM 380-001 Media Criticism | 10:30-11:45am TR Robinson Hall B220 | Tim Gibson firstname.lastname@example.org
14403 ENGH 370-001 Introduction to Documentary | 9-10:15am MW Robinson Hall A106 | Cynthia Fuchs email@example.com | This introduction to the study of documentary considers fundamental concepts of form, style, and subject matter, as well as aesthetic, political, and ethical issues. We will conduct close analyses of a series of representative films to ask these questions: how are documentaries like or unlike news or reality TV or YouTube? How are documentaries personal or political? How are they objective or persuasive? How do they manipulate story, create knowledge or convey truth? How do they tell stories, for whom and about whom? Films may include Born Into Brothels, Cutie and the Boxer, Grizzly Man, Leviathan, Narco Cultura, and The Square.
11497 ENGH 372-001 Introduction to Film | 10:30-11:45am MW Robinson Hall A106 | Cynthia Fuchs firstname.lastname@example.org | 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 concepts of representation and expression, as well as cinematic/video/digital production and distribution. Discussions will focus primarily on formal analyses and cultural frameworks. Films may include The Bling Ring, Fruitvale Station, A Separation, 12 Years a Slave, and Wadjda.
17073 ENGH 372-002 Introduction to Film | 10:30-11:45 am TR Planetary Hall 120 | Carla Marcantonio email@example.com
17501 ENGH 470-001/14812 ENGH 670-001 Bollywood and Beyond | 4:30-7:10pm R Krug Hall 5 | Jessica Scarlata firstname.lastname@example.org
17500 ENGH 472-001/14815 ENGH 670-002 Film and Cultural Theory | 4:30-7:10pm T Enterprise Hall 275 | Jessica Scarlata email@example.com
13371 ENGH 474-001 Cinema and Biopolitics | 1:30-2:45pm TR Robinson Hall B222 | Carla Marcantonio firstname.lastname@example.org | "Biopolitics" describes the ways in which political power permeates life and the body, even to the cellular level. It is often the subject of dystopian science fiction, especially in narratives that address the sociopolitical consequences of the revolution in biotechnology. The biocybernetic revolution, through this lens, is understood not as advancement for humanity, but as the increasing permeation of power and its control over aspects of life that we otherwise consider intimate and personal. Films might include Metropolis (Fritz Lang, 1927), Eyes Without a Face (Georges Franju, 1960), The Boys From Brazil (Franklin J. Schaffner, 1978), Blade Runner (Ridley Scott 1982/1992/2007), Outbreak (Wolfgang Petersen, 1995), Gatttaca (Andrew Niccol, 1997), The Island (Michael Bay, 2005), The Host (Bong Joon-ho, 2006), Time (Kim Ki-duk, 2006), Never Let Me Go (Mark Romanek, 2010), Contagion (Steven Soderbergh, 2011), The Skin I Live In (Pedro Almodovar, 2011).
14198 FAVS 335-001 Sound and Lighting Film/Video | 4:30 -7:10pm W de Laski Performing Arts Bldg A101 | Ben Steger email@example.com
14782 FAVS 375-001 Fiction Film Directing | 1:30-4:15pm W David King Jr. Hall 1011B | Tommy Britt firstname.lastname@example.org
16796 FAVS 460-001 Advanced Video Editing | 4:30-7:10pm R Robinson Hall A352 | Ben Steger email@example.com and Amanda Lynn Kraus firstname.lastname@example.org
12908 FRLN 331-001 International Mysteries | 3-4:15pm TR Planetary Hall 212 | Michael Jeck email@example.com | Policier, serie noire, giallo, krimi, astinomika, suiri: arguably now the most universal of genres, the mystery, cop show, detective story, or thriller is also 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 specific 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.
16993 FRLN 331-002 War & International Film | 8:45-10pm TR Planetary Hall 127 | Michael Jeck
firstname.lastname@example.org | The depiction of war is especially fitted to film, with its capacity for full-scale, real time, physical reenaction. This course aims to follow its depiction in movies from around the world, from early silents to present day spectacles, and from ancient warfare to the US war in Vietnam, discussing each film in the context of the time when it was made and the time it depicts. Our aim will be to gain a basic understanding of military history (via fiction films) as well as and critical reading skills. Films will include Alexander Nevsky, Kagemusha, Glory, Stalingrad, and Platoon.
17736 FRLN 331-003 North African Film | 7:20-10pm R Aquia Building 347 | TBA
14263 JAPA 320–001 Japanese Cinema | 5:55-7:10pm TR Engineering 1103 | Michael Jeck email@example.com | This course surveys of one of the world’s richest cinemas, from the silent era to recent releases, touching on a range of genres and subjects, from lightning fast samurai action to the beautiful stillness of Ozu. It is also a course on film, and not on Japanese culture through film: 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 include Late Spring, Godzilla, Samurai Rebellion, I Live in Fear, and Tampopo.
12193 MUSI 301-001 Music in Motion Pictures |3-4:15pm TR Planetary Hall 131 | Jeremy Michael Freer firstname.lastname@example.org | This class is a study of music encountered in motion pictures. We will explore distinct uses of music and its effect on the viewer, including its ability to inﬂuence or introduce a mood or idea, to set a scene, or to contribute to a characterization. Techniques for expanding listening skills are developed through the study of musical elements, styles, and materials as they have emerged in the art of motion pictures. Instruction will be principally conducted by lectures and discussions, including frequent reference to media resources.
17018 SPAN 335-001 Latin American Film | 7:20-10pm M Aquia Building 346 | Lisa Marie Rabin email@example.com | This course serves as an introduction to the study of film as an art form and to the academic discipline of film studies as they relate to the Spanish-speaking world. Conducted entirely in Spanish, the course focuses on the principles of film form -- basic elements as film narrative, mise-en-scène, and editing --and analysis of discrete films and film genres of significance within the 20th and 21st centuries. This section concentrates on Latin America, with the musical, comedies and the Mexican and Brazilian “western” of the mid-20th century and the “new cinema” of documentary and socially engaged film of the 1960s and 1970s receiving special emphasis as film genres in the course. In addition to studying film as an art form we will also tackle prominent issues in contemporary film studies, such as film theory, historical film reception, and the role of cinema as a form of mass media.