CINE 200. Topics in Film and History

Topic: India through Film
The image of India presented through a series of films -- old and new, realistic, romantic and fantastical -- from studios in Hollywood, Bollywood (Bombay), Calcutta, and England. Class will view a film on Tuesday and discuss it in its artistic, historical, and sociological contexts on Thursday. Viewing will be informed through reading assignments and some thoughtful essays will be required during the semester. 3 Hours. (Tu: 10:00-11:50, Th: 10; 331 Gregory Hall)  Instructor: Blair Kling.  Call Number: 02387  [Same as HIST 200.]

CINE 261. Survey of World Cinema, I: The Beginnings through the Coming of Sound

Consideration of filmmaking trends established in the silent era and their incorporation into the sound film. Types of filmmaking covered include the Hollywood studio film, German Expressionism, Soviet montage, French avant-garde, and the birth of documentary filmmaking. Coverage of these styles and movements will include some attention to social, cultural, and political backgrounds. Directors studied will include important figures such as Griffith, Chaplin, Keaton, Eisenstein, and Murnau. 3 Hours. Students must receive authorization by contacting the Assistant Director of the Unit for Cinema Studies. (MW: 1:00-2:50 p.m.; 66 Library)  Instructor: STAFF.  Call Number: 02388

CINE 319. Russian and East European Cinema

Study and analysis of major filmmakers, genres, trends, and theories, including the 1920's Soviet avant-garde, and the Polish and Czech "New Wave" since 1953; lectures, discussions, screenings, term paper. No reading knowledge of Russian required, except for majors in Slavic Languages and Literatures. Prerequisite: RUSS 119; or a college-level course in Russian/East-European studies or in Cinema Studies; or consent of instructor. 3 Hours, or 0.75 Unit. (MW: 10:00 a.m., F: 10:00-11:50 a.m.; G-48 FLB)  Instructor: Steven P. Hill  Call Number: 02389  [Same as SLAV 319, COMM 319, SPCOM 319.]

CINE 388. French and Comparative Cinema, I

Course is in English. Knowledge of French not required. Course covers films from several nations but its core is French cinema 1895-1950, even later if time permits. Includes early animation and special effects, serials, avant-garde, surrealism, "poetic realism," fantasy, etc. Stresses 1930's "classic" French films. Among filmmakers studied: Lumiere, Melies, Gance, Feuillade, Rene Clair, Salvador Dali, Luis Bunuel, Jean Renoir, Jean Vigo, Jean Cocteau, Marcel Carne, Julien Duvivier,Max Ophuls, H. G. Clouzot, et al. Historical, sociopolitical, aesthetic, technical aspects are discussed. In-depth "decoupage" analysis of selected films. Open-ended structure with freewheeling discussions and dialogue rather than formal lectures. Student input and initiative are crucial. Written work may include reviews and/or brief reports. Examinations: both preannounced tests and unannounced quizzes. No midterm. Prerequisite: one or more college-level Cinema Studies course or consent of instructor. 4 Hours, or 1 Unit. (MWF: 3:00-4:50 p.m., G-13 FLB)  Instructor: Edwin Jahiel.  Call Number: 02390  [Same as FR 388, C LIT 388, HUMAN 388.]

CINE 390. The Films of Ingmar Bergman

After a brief introduction to Bergman's early films (Summer Interlude, Monica, Sawdust and Tinsel, A Lesson in Love, Dreams), the main focus will be on his major films of the late 1950s and 60s: Smiles of a Summer Night, The Seventh Seal, Wild Strawberries, The Magician, Through a Glass Darkly, Winter Light, The Silence, Persona, Hour of the Wolf, Cries and Whispers. Besides viewing the films, students will read screenplays and criticism. Course requirements include three short papers and a final exam. Knowledge of Swedish not necessary. 3 hours or 0.75 unit. (Tu: 3:00-4:50, FLB; Th: 3:00-4:50, 66 Library)  Instructor: Rochelle Wright.  Call Number: 02391  [Same as SCAN 390.]

ANTH 266. African Film and African Society

A course based on recent feature films produced in African countries and recipients of prestigious international film awards. These films are considered as aesthetic products and as documents on social questions in contemporary Africa. One film per week. Weekly writing assignments. 3 Hours. (TU & TH: 1:00-2:50; 313 Gregory Hall) Instructor: Mahir Saul  Call Number: 00468  [Same as AFRST 266.]

ENGL 104. Introduction to Film

The goal of the course is to develop students' abilities to view films critically and to deepen their understanding of the film experience. The first section of the course involves the study of narrative strategies, shot properties, mise-en-scene, editing, acting, and the use of sound in films, especially classical Hollywood movies. The second section of the course takes up the study of different genres and styles of films, including documentaries, feminist films, westerns, musicals, and melodramas in terms of how they present ideological points of view and/or fulfill certain wishes of the spectator. The course presents one film program with a feature film per week, shown in a required film lab on Mondays or Tuesdays. Each section then meets for two lecture-discussion sessions per week. All sections use an introductory textbook, Bordwell and Thompson's Film Art (5th edition, 1997), and additional reading assignments (essays or book chapters) available on the library reserve shelf or a photocopy reader. Section sizes are kept small enough so that each student can participate vigorously in the discussions. The minimum formal assignments are 12-15 pages of expository writing; a one hour midterm test; and a two-to-three hour final exam. Some instructors also give quizzes in addition to the tests. 3 Hours. MULTIPLE SECTIONS

ENGL 273. Intermediate Film Studies: Directors, Genres, Themes

English 273 is an intermediate film course which provides in-depth study of a small number of major topics. Typically, the coverage involves one unit each on a director, a genre, and a movement or theme. Tentative topics for Fall semester are: Hitchcock, The Comedic, and Contemporary American Cinema. One feature film is seen and discussed each week, along with about 30 pages of outside readings and an additional outside film. The textbook is a customized photocopy reader. A midterm (or equivalent), final, and 15 pages of writing are required. The course meets in small discussion sections of around 30 students each. The prerequisite is English 104 or a college level course in literature or film. English 273 typically builds on skills acquired in English 104 or a similar course. 3 Hours. MULTIPLE SECTIONS.

ENGL 373. Special Topics in Film Studies

Topic: Film in the Age of New Media
Cinema consistently overwhelms the narrow moment of theatrical projection, lately by pushing into new media and reinventing itself within virtual technologies. Movies have long existed as photograph, promotional art, radio, TV, novel(ization), but they now populate video, graphic novel, CD-ROM, DVD, virtual game, and web page. This course unpacks film as multimedia: (1) the influence of one medium on another; (2) the transposition of narrative and style across media; (3) the endless iterations of the modern blockbuster. We will challenge deeply ingrained cultural assumptions that film is, should, or can be constrained to theatrical, celluloid-based events. Consequently, many of our "film screenings" will take place through new media, including DVD and web page. Ultimately, this far-flung analysis of film in the age of new media will be grounded on the concept of space, holding that the spectator's experience of film is foremost an imaginative blending of embodied cognition with the spatial illusions of diverse media (virtuality). Students need no previous experience with new media or computer technology, but should be eager to explore new media environments on their own and with others. Besides written analyses, students may choose to contribute to the class through group presentations, reviews of new media, and by creating original works of new media.Possible Texts, Films, Scenes: http://www.afionline.org; Titanic (the songs); A Night to Remember (the Voyager CD-ROM); Brian's Song; The Crow; M*A*S*H; Hitchcock Presents; Twilight Zone; StarWars; Toy Story; Scott McCloud's Understanding Comics; Virtuosity; Strange Days; A Brief History of Time; Salt of the Earth (the Voyager CD-ROM); Alien; Wing Commander II; Myst; Riven; Maus; Wired; a few of Rick Prelinger's Ephemeral Films; New Voices New Visions 1994 & 1995 (CD-ROM collections of independent, alternative, and feminist uses of multimedia); and an extensive on-line collection of essays. 3 Hours, or 1 Unit. (TU & TH: 3-5; 59A English)  Instructor: Robert Baird.  Call Number: 03535

ENGL 478. Seminar in the Relation of Other Disciplines to the Study of Literature

Topic: New American Cinema
Somewhere in the course of the 1960s the old Hollywood movie was supplanted by the new American cinema. The transformation was facilitated by a general shift to decentered film practice after World War II, and the most discernible traits of "N.A.C.", in its early phase, were an impulse to align itself with radical politics, a visual stylistic derived from French New Wave, the displacement of black and white by color as a "reality-norm," and greatly increased location shooting. In its second phase, "N.A.C." was co-opted by Film School Generation practice, which retained the methodological shell but abandoned the politics and became increasingly genrefied in order to appeal to a younger demographic. While there is a sizable body of literature on individual directors, genres, motifs, and themes of new Hollywood, it has not yet been sufficiently addressed in terms of the latent ideologies of its institutional practice-the kind of thing Bordwell, Staiger and Thompson do so remarkably for pre-1960 in The Classical Hollywood Cinema. To begin thinking in such terms--at least in regard to the early phases, that is, up to Close Encounters--will be the work of the seminar. The seminar will be divided into three segments of roughly equal duration: "formations" (especially, the visual phenomenology of color-versus black and white-and of location shooting, and the influence of Godard); "towards a radical stylistic" (representative works by Wexler, Penn, Nichols, Cassavetes, and Altman); and early Film School Generation (as represented by Spielberg and Scorsese). The principal texts are New American Cinema (coming from Duke in the summer 1998) and a voluminous photocopy reader, plus numerous films (hence the extra session on Tuesday, for film screenings). 1 Unit. (TU: 1:00-2:50, 59A English; Th: 1:00-2:50, 69 English)  Instructor: Robert Carringer.  Call Number: 03550

FR 452. Studies in French and Comparative Cinema

Historical, aesthetic, social, and technical studies of the French cinema; its development and relation to world cinema and to literature. Course relies on the film screenings in FR 388 but requires additional work in terms of readings, writing, and outside viewings. Please see the corresponding description of FR 388 [CINE 388] for an indication of the emphasis for this semester. May be repeated to a maximum of 3 units credit. 1 Unit. (MWF: 3:00-4:40, G-13 FLB)  Instructor: Edwin Jahiel.  Call Number: 03754  [Same as C LIT 472.]

SP COM 207.Analysis of Screen Genre

Topic: The Fantastic
Oftentimes set within a recognizably real world, Fantasy films speak to concerns within the human soul that cut across national and temporal boundaries. Less frequently, Fantasy films create alternate worlds little resembling our own, offering fresh visions of possible or impossible realities. Conceiving of Fantasy as a broad genre, this course will examine fantastic themes and motifs as they appear in a range of world cinema situations, with examples of films from Brazil, France, Hong Kong, Germany, Great Britain, Japan, and the US. Topics will include Fantasy and the fairy tale (e.g., Destiny, Beauty and the Beast, The Fisher King); Fantasy and Martial Arts (e.g., Lone Wolf with Child, The Bride with White Hair); defeating time and death (Brigadoon, Ghost); and Magical Realism and the cinema (e.g., Erendira, Field of Dreams). Weekly screenings, readings, and papers. 3 Hours. (TU & TH: 2:00-4:20, 116 Lincoln)  Instructor: David Desser.  Call Number: 07748

SP COM 208. Ideology and the Rhetoric of Film

Examines how, at different historical moments, U. S. cinema has been an industry, an audience, and a narrative or cultural form that togther have produced myths and ideologies of history, geography, nationhood, race, gender, class, and other social relations. Prerequisite: Sophomore standing and one course in Speech Communication or film. 3 Hours. Priority registration in this course will be given to students majoring in Speech Communication. (TU & TH: 10:00-12:20, 102 Lincoln)  Instructor: David Desser.  Call Number: 07749

SP COM 438. Seminar in Rhetorical Theory

Section 1. Topic: Cultural Theory and Cinema Studies
This course is organized around several issues concerning the relation of cinema studies and cultural studies. In part, this seminar examines some of the ways that cinema has figured into social, aesthetic, and scientific discourses about culture and it considers how discourses about cinema have made certain assumptions about or have conceptualized culture. Readings in this course address a wide historical range of discursive formations--from eighteenth and nineteenth century conceptualizations of observational technologies to the most recent modes of theorizing and analyzing cinema and other screen media. We will devote considerable attention to the emergence of the cinematic as formation central to Modernity in the Western cultures. We will also consider however the implications of Western cinema and theory in a global context. Some of the specific issues we will address include race and ethnicity, youth, gender and sexuality, technology, cultural policy and cultural politics, modernity and postmodernity, industry analysis, narrative and genre analysis, spectator theory and audience analysis, theories of film and ideology, studies about film, nationhood and empire, studies about time, memory, and historiography, studies about space, architecture, and geography, and studies about travel and tourism. The seminar examines a variety of film modes and contexts, e.g, silent and sound film, Classical and New Hollywood as well as other national, commercial cinemas, various forms of documentary film, the ethnographic film, the "home movie," pornography, the "experimental" and "art" film. 1 Unit. (M: 3:00-6:00, 116 Lincoln)  Instructor: James Hay.  Call Number: 07822

ARTCI 180. Introduction to Cinematography
ARTCI 181. Screenplay Writing for Motion Pictures - Basic
ARTCI 291. Individual Cinematography Problems
ARTCI 380. Cinematography
ARTCI 480. Cinematography Studio
ARTCI 491. Special Problems in Cinematography