Department of Film and Media Studies
Division of Humanities and Fine Arts
Ellison Hall 1720
Telephone: (805) 893-2347
E-mail: admin@filmandmedia.ucsb.edu
Website: www.filmandmedia.ucsb.edu
Department Chair: Anna Everett
Contents:
Allison Anders, B.A., UC Los Angeles, Professor, independent filmmaker
Peter Bloom, Ph.D, UC Los Angeles, Assistant Professor (pre-cinema, post-colonial, pre-cinema, francophone studies, and media archaeology)
Edward Branigan, Ph.D., J.D., University of Wisconsin, Madison, Professor (film theory, aesthetics, narrative, point-of-view, analysis)
Nathan Kwame Braun, M.F.A., New York University, Lecturer (digital production)
Anna Brusutti, Laurea, University of Padua, Italy, Lecturer (Italian cinema)
Dana Driskel, M.F.A., University of Southern California, Studio Professor (film production, animation)
Anna Everett, Ph.D., University of Southern California, Professor (film and television history and theory, black film, digital media technologies)
Cynthia Felando, Ph.D., UC Los Angeles, Lecturer (youth culture, film violence)
Richard Hebdige, M.A., Center for Contemporary Cultural Studies, University of Birmingham, U.K., Professor (film, cultural, and media studies)
Jennifer Holt, Ph.D., UC Los Angeles, Assistant Professor (media industries, television studios, regulation and policy, film history)
Nancy Kawalek, B.S., Northwestern University, Studio Professor; Director, Professional Artists Lab (creating and performing for stage and screen)
Lisa Parks, Ph.D., University of Wisconsin, Madison, Associate Professor (global media and broadcast history, cultural studies)
Constance Penley, Ph.D., UC Berkeley, Professor (film history and theory, media studies, literary and rhetorical studies, cultural studies, feminist theory, science and technology studies, contemporary art)
Paul Portuges, Ph.D., UC Berkeley, Lecturer (screenwriting)
Bhaskar Sarkar, Ph.D., University of Southern California, Associate Professor (globalization and culture, post-colonial media theory, Indian cinema, Chinese cinema, social trauma and film)
Greg Siegel, Ph.D., University of North Carolina, Chapel Hill, Assistant Professor (media studies, cultural studies, science and technology studies)
Cristina Venegas, Ph.D, University of Southern California, Assistant Professor, (Latin American and Latino media, international cinema, and digital media technologies)
Janet Walker, Ph.D., UC Los Angeles, Professor (documentary, historiography, women and film)
Charles Wolfe, Ph.D., Columbia University, Professor (international film history, American film and cultural history, comedy, documentary, film and media archives)
Naomi Greene, Ph.D., New York University, Professor Emerita (French and Italian film)
Alexander Sesonske, Ph.D., UC Los Angeles, Professor Emeritus (silent comedy, Russian cinema, Jean Renoir)
Jacqueline Bobo, Ph.D. (Women’s Studies)
Kip Fulbeck, M.F.A. (Art)
Suzanne Jill Levine, Ph.D. (Spanish and Portuguese)
Laurence A. Rickels, Ph.D. (Germanic, Slavic, and Semitic Studies)
Colin Gardner, Ph.D. (Art)
Celine Shimizu, Ph.D. (Asian American Studies)
William Warner, Ph.D. (English)
The Department of Film and Media Studies is a vibrant, rapidly growing department whose faculty members include specialists from across the field of contemporary media studies. The department’s strengths are fiction and nonfiction film history and theory, television and broadcasting, digital media, the Internet, video art and activism, cultural studies, political economies, and media globalization. Interdisciplinarity is encouraged by coordinating courses and program research projects with other departments such as as Art, Communication,
Environmental Studies, Sociology, Black Studies, Women’s Studies, and Anthropology, History, History of Art and Architecture, Comparitve Literature. Production is not emphasized, but all majors become familiar with the basic tools of filmmaking. Interested students may also take courses in screenwriting and advanced film production.
With a strong base in the liberal arts, the film and media studies major is designed to prepare students for careers in the media industry and media education, as well as archival preservation and research, entertainment law, publishing, and journalism.
Additional language courses are recommended for students interested in spending their junior or senior year with the Education Abroad Program. Students may consider studies from more than 150 programs in 33 countries.
Beyond the core requirements of the film and media studies major, the student may develop an individual program centered around special interests and goals. Students who wish to know more about the film and media studies major are invited to talk with an advisor in the film and media studies office.
Students with a bachelor’s degree in film and media studies who are interested in pursuing a California Teaching Credential should contact the credential advisor in the Gevirtz Graduate School of Education as soon as possible.
Several universitywide fellowships, awards, and prizes are available to the undergraduate film and media studies major: the President’s Undergraduate Fellowship, the May Company Fellowship, the Samuel Goldwyn Writing Awards, UCSB Foundation Honors Awards, and Genesis Research Awards provide grants for students working on projects with anticipated expenses in excess of $300.
Students are also eligible for department-sponsored awards. The Paul N. and Elinor T. Lazarus Endowed Scholarship in Film Studies is awarded annually to a film and media studies major of exceptional enthusiasm, dedication, accomplishment, and demonstrated talent and promise in film or television writing covering partial registration fees. The Alexander Sesonke Prize is given annually for the best scholarly essays on film and media history, criticism, or theory, with prizes up to $1,000. The Dorothy and Sherrill C. Corwin Awards are given annually for best screenplay short film in awards up to $1,300. The David F. Siegel Award is made annually to a film and media studies major who has demonstrated drive, tenacity, and courage in the face of adversity, in the amount of $1500. The Dorothy and Sherrill C. Corwin Screenwriting Award for Best Short Screenplay is given annually, with prizes up to $500. The Santa Barbara International Film Festival Award presents $500 in recognition of work in short films.
Graduation with Distinction in Film and Media Studies (The Senior Honors Program)
The honors program in film and media studies provides the opportunity for qualified majors to undertake advanced film research or creative written work. Through successful completion of the honors program, a student will achieve the degree award of Distinction in the Major.
Majors who have completed two quarters of the junior year with a minimum grade-point average of 3.30 will be invited by the Department of Film and Media Studies to apply for admission to the honors program. The application includes: (1) a 500-word prospectus, outlining the nature and scope of the project and the plan for carrying it out; (2) An endorsement by the faculty member who will supervise and evaluate the project. Applications are due no later than the tenth week of classes for admission to the program in the following quarter.
The project is a research or critical essay of not fewer than 40 pages or a completed, feature-length screenplay, accompanied by a critical self-assessment of the project. The program is comprised of two related courses (4 units each) to be taken in two quarters of the senior year. These must be taken consecutively. The first course is Independent Studies (Film Studies 199), which must be taken for a letter grade and will not count as a film and media studies elective. During the quarter the student, guided by the sponsoring faculty member, completes the required research and submits for formal evaluation a draft of the essay or creative work. The second course is a senior honors seminar (Film Studies 196) during which the student completes the honors project.
Students can acquire valuable experience during their study at UCSB. They may find work with Instructional Resources, a campus service department where film and video equipment is used daily. Also, students are often able to intern at local commercial or cable television stations, production companies, the Santa Barbara International Film Festival, the CineMedia Festival, and the county film commission office. Summer internship opportunities in the Los Angeles area are plentiful. Academic credit of 2 units is normally granted for intern work. Undergraduate research assistantships with faculty are also available.
The film and media studies journal, Focus Media Journal, an annual publication by and for undergraduate film and media studies students, publishes exceptional work including student writing on film, interviews with filmmakers, and book reviews.
Camera Obscura: Feminism, Culture, and Media Studies, the only English-language publication devoted to the study of women and representation in the visual media and arts, is considered to be a foremost journal of film and cultural theory and offers editorial internship opportunities. Based in the Department of Film and Media Studies, the journal is edited by Constance Penley (UCSB).
The department also houses Screening Noir, the publication of the African and African-American caucus of the Society for Cinema Studies under the editorship of Anna Everett (UCSB) and the American Film Institute Film Reader Series under the editorship of Edward Branigan and Charles Wolfe.
Career Opportunities. Career opportunities go beyond the motion picture industry (production, distribution, and exhibition). The expansion and interrelation of media industries opens up other areas: home entertainment, including television writing and production, interactive media, game design, commercials, industrial films, trailers, and mixed media. Nonprofit and educational media are yet other career paths.
Undergraduate Program
Bachelor of Arts - Film and Media Studies
Preparation for the major. Required: Film Studies 46, 70 and 96. One literature course chosen from Asian American Studies 5; Black Studies 38A-B; Comparative Literature 35; English 21, 25, 50; French 50AX-BX-CX; German 31, 43A. One history or culture course chosen from Asian American Studies 1, 2, 3, 4; Black Studies 1, 3, 5, 6, 7, 60A-B; Chicana/o Studies 1A-B-C; German 43C; History 2C, 4C, 7, 8, 17B, 17C, 46, 49B, 80, 87; Philosophy 1, 3, 4, 6, 12, 20C; Religious Studies 1, 7, 9, 15, 80C. One visual or performing arts course chosen from Art Studio 1A-B, 7A; Art History 6C-F-G, 45MC; Black Studies 14, 45; Dance 35; Music 15, 17.
Upper-division major. Required: Forty-nine upper-division units including (1) Film Studies 101A-B and 101C or 101T (each course is worth 5 units); one production course chosen from Film Studies 104F, 104TV, 104NM, 107; 192A and 192B (each worth five units); and (2) 20 additional upper-division units chosen from the following, with at least 4 units each from A, B, and C.
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Seminars in Theory and Analysis: Film Studies 187AA-ZZ, 189AA-ZZ, 190AA-ZZ, 191, 193, 194.
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National/Transnational Approaches: Black Studies 162, 171; Chinese 141, Film Studies 120, 121, 122AA-ZZ, 123, 124, 124V, 126, 127, 132, 133, 134, 136, 139; French 175X, 178AX, 190X; German 180Z; Italian 180Z; Japanese 159; Slavic 119, 167C; Spanish 126.
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Social Issues: Black Studies 161, 170, 172; Chicana/o Studies 143, 147, 185; Film Studies 125A-B, 140, 161, 163, 165, 166AA-ZZ, 175, 183; French 191X; Sociology 151; Women’s Studies 141, 142, 143, 144, 186JS, 186SC; Religious Studies 113.
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Other Electives: Art 126; Communications 101; Directors - Film Studies 155AA-ZZ; English 147AA-ZZ, 149; Genre - Film Studies 107, 113AU, 128A-B, 130, 142, 143, 144, 147, 150AA-ZZ, 169, 170, 175, 180; Film 113AU, 188A-B-C-TV; French 138X, 178Z; German 183. Screenwriting - Film Studies 113AU, 188A-B-C-TV. Other - Film Studies 113AA-ZZ, 148AA-ZZ, 151A-AA-ZZ, 184, French 138X, 178CX; Theory-French 178BX.
Undergraduate Offerings in Film and Media Studies Grouped by Subject Matter:
I. Core Courses
- 46. Introduction to Cinema
- 70. Introduction to Media Studies
- 96. Advanced Analysis
- 101A-B-C-T. Film and Media History
- 192A-B. Film Theory
II. Production
- 102. Acting and Directing Workshop
- 103. Project Development for the Short Film
- 104F. Film Technology
- 104TV. Video Technology
- 104NM. New Media
- 106A-B. Crew Production
- 107. Introduction to Animation
- 107S. Contemporary Animation
- 108. Individual Production
- 109AA-ZZ. Special Topics in Film Production
- 114A. Creating and Performing for Stage and Screen
- 114B Advanced Creating and Performing for Stage and Screen
- 115. Sound Production
- 116. Editing
- 118. Sponsored Campus Production
- 188A. Basic Screenwriting
- 188B. Advanced Screenwriting
- 188C. Writing Short Films
- 188D. Master Class in Writing: Telling the Story
- 188SS. Story Structure
- 188TV. Writing for Television
III. History
- 54. Hollywood: Anatomy of an Industry
- 62. Professional Artist’s Lab: Actors and Directors in Focus
- 101A. History of Cinema: The Silent Film
- 101B. History of Cinema: The Development of Sound Film
- 101C. History of Cinema: New Waves and Beyond
- 101T. History of Television
- 110. The Hollywood Studio
- 187PR. Pre-Cinema
IV. Television, Video, and Digital Media
- 70. Media/Culture/Society
- 101T. History of Television
- 124V. Modern Indian Visual Culture
- 166AA-ZZ. Media/Culture/Society
- 187CY. Cyborg Culture
- 187FT. Film and Television of the 60s
- 187GM. Global Media
- 187NM. New Media
- 187RC. Revolutionary Media Culture
- 187TN. Melodrama in Latin American Film and TV
- 190DT. Digital Technologies
- 190PC. Popular Culture
- 190VA. Video Art and Activism
V. National Cinemas
- 120. Japanese Cinema
- 121. Chinese Cinema
- 122AA-ZZ. Topics in National Cinemas
- 122IT. Italian Cinema
- 123. German Cinema
- 124. Indian Cinema
- 126. Cuban Cinema
- 127. Latin American Cinema
- 127M. Mexican Film and Television
- 132. French New Wave Cinema
- 133. Soviet Cinema, 1917 to 1945
- 136. British Cinema
- 151AA-ZZ American Cinema
VI. Directors
- 154. European Directors in Hollywood
- 155AA-ZZ. Directors
VII. Documentary/Social Reality
- 125A-B. Documentary Film
- 140. The Western
- 142. The War Film
- 161. “Third World” Cinema
- 163. Women and Film: Feminist Perspectives
- 165. Film and Social Reality
- 183. Films of the Natural and Human Environment
- 187WM. War and Media
VIII. Genre
- 107. Animation
- 128. Silent Film Comedy
- 130. Sound Film Comedy
- 140. The Western
- 142. The War Film
- 143. Science Fiction Film
- 144. The Horror Film
- 147. The Thriller
- 150AA-ZZ. Topics in Film Genre
- 169. Film Noir
- 175. Experimental Film
IX. Analysis and Criticism
- 46. Introduction to Cinema
- 96. Advanced Analysis
- 101. Communicatons
- 148AA-ZZ. Topics in Film Aesthetics
- 184. Film Music
- 187AA-ZZ. Special Topics in Film and Television Analysis
- 187PR. Pre-Cinema
- 190AA-ZZ. Studies in Film and the Other Arts
- 191. Film Criticism
- 193. Film Narrative
X. Theory
- 178Z. Technology and Cinema
- 187DP. Cinemas of Displacement
- 187NT. Theories of National Cinema
- 187PC. Post-Colonial Media Theory
- 189AA-ZZ. Topics in Contemporary Film Theory
- 192A. Classical Film Theory
- 192B. Contemporary Film and Media Theory
XI. Advanced and Individual Studies
- 99. Independent Studies
- 194. Advanced Readings
- 195I. Internship in Film/Television
- 196. Senior Honors Seminar
- 199. Independent Studies
- 199RA. Independent Research Assistance in Film Studies
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Graduate Program
The graduate curriculum in film and media studies is composed of two parts: a set of seven core courses together with supplemental/elective courses designed to make the program strongly disciplinary, interdisciplinary, and international.
Admission
In addition to departmental requirements for graduate admission, applicants must fulfill university requirements described in the section "Graduate Education at UCSB." The deadline for postmarked applications is December 1.
To be considered for admission to the film and media studies M.A./Ph.D. graduate program, a student must show a strong aptitude for scholarly work and demonstrate intellectual maturity. Students who are admitted will be required to attain a basic level of competence in the discipline in conjunction with their specific program of study. Many of the students admitted to the program will have achieved such a base level of competence by having completed an undergraduate major in film and media studies or taken film and media studies courses while majoring in a closely related humanities, arts, or social science discipline (such as literature, dramatic arts, philosophy, history, or women’s studies) with an emphasis on critical thinking and writing.
Admission to the program is based on five criteria: (1) a writing sample that demonstrates a high level of ability to write theory, criticism, or historical narrative; (2) a statement of purpose describing reasons for wishing to earn a Ph.D. in film and media studies; (3) three letters of recommendation; (4) GRE scores; and (5) two sets of official transcripts. In addition, departmental policy mandates that international students whose native language is not English will be required to obtain a minimum score of 600 on the Test of English as a Foreign Language (TOEFL) prior to admission. An exception to the TOEFL requirement will be considered for those students who have earned an undergraduate or graduate degree at an institution whose primary language of instruction is English.
Master of Arts - Film and Media Studies
Degree Requirements
Although the department does not admit students who seek only an M.A. degree, this degree must be successfully completed before moving on to the Ph.D. program. The normative time for the M.A. is two years. Students who lack a background in the discipline may be required to complete one or more additional upper-division undergraduate courses in film and media studies prior to conferral of the M.A.
In the first two years, the student must complete seven graduate core curriculum courses and five graduate elective courses for a total of twelve courses (out of the eighteen required for the Ph.D.)
By the end of the second year, the student must pass an oral M.A. exam administered by the student’s M.A. committee based on two research papers written and revised by the student during the first two years of the program. Students who complete the M.A. graduate work and pass the oral exam with sufficient distinction will be invited to continue working toward the Ph.D.
Doctor of Philosophy - Film and Media Studies
Degree Requirements
Students entering from another institution or with an M.A. or M.F.A. in another discipline may be required to complete all or part of the M.A. requirements of the Department of Film and Media Studies M.A. requirements prior to the end of the first year of the Ph.D. program.
The student must, sometime between the second and third years, investigate and possibly visit potential locations for off-campus research. In the third year, the student must complete six graduate courses, some or all of which will contribute to the development of the student’s emerging research program. By the end of the third year, each student will have taken and passed a total of eighteen courses. (With the approval of the department’s director of graduate studies, in the first three years up to five elective courses may be taken in other departments.)
By the end of spring quarter of the third year, the student must form a dissertation committee, and select a dissertation topic and three areas of specialization relating to the dissertation topic developed in consultation with the committee. At this time the student should also have passed an examination or completed course work as approved by the department that establishes reading knowledge in at least one foreign language.
By the end of the fall quarter of the fourth year, the student must pass a written exam administered by the dissertation committee covering the three areas of specialization and pass an oral defense of a written prospectus. The student will then file for advancement to candidacy. During the remainder of the fourth year the student will be encouraged to study at a research site abroad or in the U.S. for a period of between three and six months. In the fifth, sixth, and, if necessary, the seventh year, the student will complete the writing of the dissertation based on original research and then successfully defend it orally before the dissertation committee at a forum open to the public.
Core Courses. The core courses will focus on fundamental areas of competence in history, theory, analysis, and cultural studies. A single course providing hands-on experience in film or video production also will be required (FS 210). The core courses are listed below.
In lieu of a single research and methods course, the core curriculum distributes methodological training across a series of courses involved with concrete research topics in order to offer a working sense of how one approaches a media object of study from a variety of perspectives. The six critical studies core courses are designed for in-depth study at the graduate level and are entirely separate from undergraduate course offerings. Instruction in media production (Film Studies 210) will be taught as an extension of the existing production courses offered by the department.
I. Core Courses
- 210. Media Production
- 220. Textual Analysis
- 230. The Philosophy of History
- 231. Media Historiographies
- 240. Film Theory
- 241. Television and New Media Theory
- 250. Cultural Theory
II. Production and Screenwriting
- 210. Media Production
- 213. Autobiographical Screenwriting
III. Critical and Analytical Practices
- 200. Theories of Popular Culture
- 201. Film and Ethnography: Critical Perspective
- 202. Film and Historiography
- 220. Textual Analysis
- 222AA-ZZ. Special Topics in Film Analysis
- 223. Black Film Criticism
- 224. Genre Analysis
- 225. Film and Media Authorship
- 226. National Cinemas
IV. History and Historiography
- 230. The Philosophy of History
- 231. Media Historiographies
- 232AA-ZZ. Special Topics in Film and Media History
- 233. Histories of Film Style
- 234. History, Memory and Media
- 235. (Auto)biographical Documentary
- 236. Historicizing New Media: From Plato’s Cave and the Kinetograph to Wireless Communication
V. Theory
- 240. Film Theory
- 241. Television and New Media Theory
- 242AA-ZZ. Special Topics in Film and Media Theory
- 243AA-ZZ. Special Topics in Critical Thinkers
- 244. Rhetoric of Film Theories
- 245. Narrative Theory and Memory
- 246. Television Theory
- 247. Feminism and Media Theory
- 248. Digital Media Theory and Practices
- 249. Postcolonial Media Theory
VI. Cultural Studies
- 250. Cultural Theory
- 251. Theory and Practice of Popular Culture
- 252AA-ZZ. Special Topics in Cultural Studies
- 253. Psychoanalysis and Cultural Studies
- 254. The Inhuman and Posthuman in Digital Culture
- 255. Gaming Culture
- 256. Latin American Popular Culture and Media
VII. Globalization and Media
- 260. Film and Ethnography
- 262AA-ZZ. Special Topics in Film and/or Media Globalization
- 263. Cultural Translation
- 264. Media Geographies
- 265. Race and Gender in Cyberculture
- 266. Political Economy of Global Media
- 267. Media Law and Regulation
- 268. Paradigms of Globalization
- 501. Research and Instruction Practice
- 596AA-ZZ. Research Practice
Film and Media Studies Courses
A list of film courses with descriptions will be posted outside the film studies office before the beginning of each new quarter, as close to the start of registration as possible. Students are urged to consult this list before registering.
46. Introduction to Cinema
(4) Staff
Recommended preparation: Concurrent enrollment in Film Studies 46MS is highly recommended for film majors.
An introduction to the study of film as an aesthetic and social phenomenon, and to various methods of critical analysis. (F,W,S)
46MS. Major Seminar
(2) Staff
Prerequisite: concurrent enrollment in Film Studies 46.
Designed for film studies majors and students contemplating a major or concentration in film. An intensive introduction to the study of film and to various methods of critical analysis.
54. Hollywood: Anatomy of an Industry
(2) Staff
May be repeated for credit to a maximum of 6 units.
In-depth analysis of the changing world of the motion picture and television industries through dialogues with major Hollywood players and distinguished guests. A range of areas such as directing, producing, screenwriting, acting, etc. are covered.
62. Professional Artists Lab: Actors and Directors in Focus
(2) Kawalek
May be repeated for credit to a maximum of 6 units.
Dynamic dialogues, demonstrations, and instruction offered by accomplished Hollywood actors and directors. Course offers unique insight into the artistic and business aspects of these professions. Of interest to anyone considering a career on screen, stage, and/or behind the scenes.
70. Introduction to Media Studies
(4) Staff
Provides students with the analytical tools required for a critical understanding of the interrelationship between media, culture, and society in America. Special attention is given to how social structures shape media and how media products in return affect our cultural practices and patterns.
75. Introduction to Environmental Media
(4) Staff
Open to non-majors.
What are all the ways media and the environment influence, structure and inhabit each other? How are environmental issues figured in documentary and feature films, advertising, and the internet? How does media affect the environment, e.g., the problem of e-debris?
95. Internships in Film/Television
(2) Chair
Prerequisite: film studies majors only.
An opportunity for training, career sampling, and contacts in the film or television industry. Required are approximately 100 hours of work a quarter, a final five-page report, and a supervisor’s letter of verification.
96. Advanced Film Analysis
(5) Staff
Prerequisite: Film Studies 46 with a minimum grade of C.
A study of the basic formal dimensions of cinema: narration, causality, space, time, and sound.
99. Independent Studies
(1-4) Staff
Prerequisites: consent of instructor and department.
Students must have a minimum 3.0 cumulative grade-point average. May be repeated for credit to a maximum of 8 units. Students are limited 5 units per quarter and 30 units total in all 98/99/198/199/199AA-ZZ courses combined. No unit credit allowed toward the major.
Selected research under the direction of a faculty member.
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100. Video Technique for Fieldwork and Research
(4) Staff
Prerequisites: a proposal for a small-scale video research project and consent of instructor.
An introduction to documentary video technique for research in the social sciences. Students learn pre-production, camera work, sound, and editing, through workshops and exercises, while executing individual projects.
101A. History of Cinema: The Silent Film
(5) Staff
Prerequisites: Film Studies 46 with a minimum grade of C; open to film studies majors only.
International film history from the camera obscura to the close of the silent era in the late 1920’s. Historical accounts of film as an aesthetic form, a social force, an economic institution, and a technology are considered. (F)
101B. History of Cinema: The Development of Sound Film
(5) Staff
Prerequisites: Film Studies 46 with a minimum grade of C; open to film studies majors only.
International film history from the advent of talkies through the late 1950s. Historical accounts of film as an aesthetic form, a social force, an economic institution, and a technology are considered. (W)
101C. History of Cinema: New Waves and Beyond
(5) Staff
Prerequisites: Film Studies 46 with a minimum grade of C; open to film studies majors only.
International film history since 1959. Historical accounts of film as an aesthetic form, a social force, an economic institution, and a technology is considered. (S)
101T. History of Television
(5) Staff
Prerequisites: Film Studies 46 with a minimum grade of C; open to film studies majors only.
Surveys the history of television from 1945 to the present. Analysis of this fifty year old important cultural institution, helping students to understand the interconnected relationships between programming, industry, audiences, social contexts, and technology.
102. Acting and Directing Workshop
(4) Staff
Prerequisites: Film Studies 46; consent of instructor; open to upper-division film majors only.
Designed as an introduction to the fundamentals and interaction of acting and directing in the creative process of producing a film or video. Every student will write, perform in, direct, and record on video a short work.
103. Project Development for the Short Film
(4) Driskel
Prerequisites: Film Studies 46; and, Film Studies 104 or 106A-B; and consent of instructor.
A workshop approach to the development of a short film project. Course covers writing, budget, preparation, and preproduction, with particular attention to final distribution needs.
104F. Film Technology
(4) Staff
Prerequisite: Film Studies 46; open to film majors only.
Not open for credit to students who have completed Film Studies 104
This lecture-based course addresses the fundamentals of moving image production and technology from the perspective of 16mm and 35mm film practices. Historical and contemporary methods and breakthroughs are examined. Workshop exercises in 16mm are included.
104NM. New Media Production
(4) Staff
Prerequisite: Film Studies 46; open to film majors only.
This lecture-based course addresses the fundamentals of moving image production and technology from the perspective of entertainment mediums which seek to attract audience through the uniqueness of the medium itself and the medium’s potential to create a “new” experience. Historical and contemporary methods and breakthroughs are examined. Workshop exercises are included.
104TV. Video Technology
(4) Staff
Prerequisite: Film Studies 46; open to film majors only.
Not open for credit to students who have completed Film Studies 105.
This lecture-based course addresses the fundamentals of moving image production and technology from the perspective of television and video practices. Historical and contemporary methods and breakthroughs are examined. Workshop exercises in digital video are included.
106A-B. Crew Production
(5-5) Driskel
Prerequisites: Film Studies 46; and, Film Studies 102 or 104 or 107; consent of instructor.
Instruction in the basic techniques of 16mm filmmaking via the production of crew projects over two consecutive quarters.
A. Pre-production through principal photography.
B. Post-production through composite print.
107. Animation
(4) Driskel
Prerequisites: Film Studies 46; open to film majors only.
A look at the techniques and history of animation with emphasis on the major styles and methods of production, including cel, direct, photo, three-dimensional, and computer. Close examination of significant films combined with production of a 16mm class project.
107S. Contemporary Animation
(4) Driskel
Prerequisite: Film Studies 107.
Covers the basics of both film and computer animation from a theoretical point of view. Field trips will be taken.
108. 16mm Production
(4) Staff
Prerequisites: Film Studies 46; and, Film Studies 104 or 107; consent of instructor; open to film studies majors only.
A workshop approach to the production of individual short 16mm film projects. Each student produces a double system, non-dialogue project for public screening at the end of the quarter. Admission to this course is determined by creative portfolio.
109AA-ZZ Special Topics in Film Production
(4) Staff
Prerequisites: Film Studies 46 and consent of instructor.
May be repeated for credit provided letter designations are different.
Focus on one or more aspects of film production, such as music, writing, directing, design, acting, independent filmmaking, cinematography, producing. Topics will vary.
111A. The Business of Movies: The Hollywood Studio System
(4) Staff
Prerequisite: Film Studies 46.
Not open for credit to students who have completed Film Studies 111.
A seminar covering all phases of the contemporary film industry, including development, production, distribution, exhibition, and international and ancillary rights.
111B. The Business of Movies: The Independents
(4) Staff
Prerequisite: Film Studies 46.
Examines the creative marketing and distribution strategies of the Independents, from the role of film festivals and beyond. Topics include financing, production, exposure, and limited screen space.
112. Lighting for the Moving Image
(4) Staff
Prerequisites: Film Studies 104; and consent of instructor.
A workshop/seminar approach to explorations in how lighting affects the moving image, from theater to film to the computer.
113AA-ZZ. Special Topics in Film and Media Studies
(4) Staff
Prerequisites: Film Studies 46 or upper-division standing.
May be repeated for credit to a maximum of 12 units, but only 8 units count toward major.
Topics in a special area of interest to film and media students.
114A. Creating and Performing for Stage and Screen
(4) Kawalek
Prerequisites: Film Studies 46; open to film majors only; consent of instructor.
Focuses on learning to act, to direct actors, and to write compelling characters and truthful dialogue through rehearsal/performance of monologues, scenes, and/or student-created adaptations (e.g., of novels, diaries, interviews). Culminates in performance, screening, or completion of an actor’s “demo” tape.
115. Sound Production
(4) Staff
Prerequisites: Film Studies 104 or 105; and consent of instructor.
A workshop approach to explorations of sound recording, editing, and mixing in project production.
116. Editing
(4) Staff
Prerequisites: Film Studies 104 or 105; and consent of instructor.
A workshop exploration of the methodologies for post-production.
117. Three Camera Television Production
(4) Staff
Prerequisites: Film Studies 105; consent of instructor.
A television group production workshop. Students work as crew to produce a multi-camera project. Project is picked through student submissions.
118. Sponsored Campus Production
(4) Staff
Prerequisites: Film Studies 105; consent of instructor.
May be repeated for credit to a maximum of 12 units.
An interface with campus “clients” who provide the budget and goals for crew projects.
119. Film Festivals
(4) Staff
Prerequisites: Film Studies 46 or upper-division standing.
Course to be held during a film festival. Students attend screenings, lectures, and Q&A sessions. Writing assignments include: reviews, journals, and expository prose. Prepatory and debriefing meetings and discussion sessions are also part of the course requirements.
120. Japanese Cinema
(4) Staff
Prerequisite: upper-division standing.
Same course as Japanese 159.
An introductory scrutiny of major Japanese directors: Mizoguchi, Ozu, Oshima, and Kurosawa. Close attention to their film composition, choices of subject and character, their ideas of the cinematic, and the relationship of cinema to Japanese culture and society.
121. Chinese Cinema
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
An introduction to major Chinese directors from the People’s Republic of China, the Republic of China (Taiwan), and Hong Kong. Film composition, choices of subject and character, ideas of the cinematic, and relationship of cinema to Chinese culture and society.
122AA-ZZ. Topics in National Cinemas
(4) Staff
Prerequisites: Film Studies 46 or upper-division standing.
May be repeated for credit provided the letter designations are different, but only 12 units may be applied toward the major.
This course will examine selected national cinemas (e.g., French, Italian, German, Chinese, Spanish, Japanese) in terms of major periods, themes, and formal parameters, and in relation to both national and international cultural histories.
124. Indian Cinema
(4) Sarkar
Prerequisite: Film Studies 46 or upper-division standing.
Examines the idea of national culture and the cinema of India in terms of major periods, themes, formal parameters, and institutions in relation to both national and international cultural histories.
124V. Modern Indian Visual
(4) Chattopadhyay, Sarkar
Prerequisite: Film Studies 46 or upper-division standing.
Same course as Art History 136V.
Introduction of twentieth-century visual culture in India, including painting, architecture, film, television, and graphic arts. Focuses on the themes of nationalism, modernity, and globalization, and the role of the “popular” in Indian visual culture.
125B. Documentary Film
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
The history of documentary film, as an aesthetic form and a social force, from World War II to the present.
126. Cuban Cinema
(4) Venegas
Prerequisite: Film Studies 46 or upper-division standing.
Examines the cinema of Cuba in terms of major periods, themes, and formal practices in relation to both national and international cultural histories.
127. Latin American Cinema
(4) Venegas
Prerequisite: Film Studies 46 or upper-division standing.
Study of the central issues in the history of Latin American cinema from early developments to the present with an emphasis on the role of nationalism, political and intelectual cultures, aesthetics movements and television in its development.
127M. Mexican Film and Television
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Course explores the historical and political development of film and television in Mexico and interrogates the ways in which discourses of nationalism inform culture and media policy in relation to a local/global dialectic.
128A. Silent Film Comedy
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
The study of silent film comedy forms and themes, encompassing the work of Mack Sennett, Mabel Normand, Charlie Chaplin, Buster Keaton, Harold Lloyd, and other contemporaries, within the context of American culture in the 1910s and 1920s.
128B. Sound Film Comedy
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
An analysis of the comic tradition in American cinema since the coming of sound, emphasizing comic-dramatic patterns, sources, performance style, and historical/social contents.
134. French and Francophone Cinemas
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Same course as French 178DX.
Addresses the interaction between the institutions of French and francophone culture through cinema. The shifting terms of French identity and France among French-speaking communities are examined through national, regional, and immigrant discourses. In English.
142. The War Film
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
A study of films depicting and/or discussing warfare from World War I to Vietnam and beyond. Special emphasis on the relationship between the periods in which the films were made and the manner in which the wars were depicted.
143. Science Fiction Film
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Examines the evolution and shifting limits of the genre from the dawn of narrative cinema through the heyday of the fifties’ science fiction thriller through the recent high-tech revival in an age of media transformation.
148AA-ZZ. Special Topics in Film Aesthetics
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
May be repeated for credit provided letter designations are different, but only 12 units may be applied toward the major.
Exploration, in detail, of a single aspect of the film experience in relation to aesthetic and analytical issues. Topics may include the sound track, camera movement, mise-en-scene, color, music, widescreen, acting, narrative, time, art design, editing.
150AA-ZZ. Topics in Film Genre
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Course may be repeated an unlimited number of times, provided the letter designations are different. However, only 12 units may count toward the major.
A study in depth of one or two film genres, including historical, theoretical, and social issues. Topics will vary.
151AA-ZZ. American Film History
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Course may be repeated for credit to a maximum of 12 units provided the letter designations are different, but only 8 units may be counted toward the major.
Examines major American film directors, genres, and themes within the context of the social concerns of a particular historical period.
155AA-ZZ. Directors
(4) Staff
Prerequisite: Film Studies 46.
Course may be repeated an unlimited number of times, provided the letter designations are different; 8 units may be counted toward the film studies major.
A study in depth of the films of one or two filmmakers of international stature and significance.
161. “Third World” Cinema
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Same course as Black Studies 161.
Studies representative films from Africa, Asia, and Latin America from the 1950s to the present. Explores the socio-cultural and aesthetic dimensions of these cinemas (which have emerged as the “other” of Hollywood and European cinema).
163. Women and Film: Feminist Perspectives
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Survey of the major debates on questions of women and representation in contemporary film criticism. Topics to be covered include the representation of sexuality and the family in the Hollywood cinema; feminism and the avant-garde.
165. Film and Social Reality
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
An inquiry into the interrelationships between film and history and/or film and ideology. The course examines how cinema reflects and/or influences the attitudes of a society.
166. Media/Culture/Society
(4) Staff
Prerequisite: Film Studies 46.
Provides students with the analytical tools required for a critical understanding of the interrelationship between media, culture, and society in America. Special attention is given to how social structures shape media and how media products in return affect our cultural practices and patterns.
169. Film Noir
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Study of the conventional themes, structures, and visual motifs of the detective film. American films of the forties and fifties and contemporary American and European works will be considered.
178Z. Technology and Cinema
(4) Staff
Same course as French 178CX.
Cinema fulfills and breaks down the technological project of “framing” the whole of existence. Themes: humanity and/as technological threat, the decline of language and ethics, the culture industry, science fiction. Screenings include Tarkovsky, Kubrick, Star Wars, Marker, Godard, Melies, Lang. Lectures and readings in English.
183. Films of the Natural and Human Environment
(4) Staff
Prerequisite: upper-division standing.
Same course as Environmental Studies 183.
Recommended preparation: Environmental Studies 1 or 2 or 3, and Film Studies 46.
Presents a series of popular films and professional documentaries representing a range of trends, images, issues associated with the natural and human environments. Visual images and critical thinking skills are combined to enhance understanding of environmental issues presented by the media.
184. Film Music
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing.
Examines the musical score as an integral structural element of cinema. Topics include the model of “silent” cinema; the theoretical basis of sound and image synchronicity; the narrative functions of film music; and contemporary development of the film score.
187AA-ZZ. Topics in Film and Television Analysis
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing; and consent of instructor.
May be repeated for credit to a maximum of 12 units provided letter designations are different, but only 8 units may be applied toward the major.
A seminar for advanced students examining in-depth a particular problem or issue in the analysis of film and its consequences for a history, theory, or aesthetics of film, television and digital media.
188A. Basic Screenwriting
(4) Staff
Prerequisites: upper-division standing; consent of instructor.
Students are required to submit a writing sample.
A study of the creativity and the technique of screenwriting for the conventional narrative film and for TV. Students will be required to complete writing exercises, a treatment, and master scenes of a full-length project.
188AD. Writing Adaptations
(4) Staff
Prerequisites: upper-division standing; consent of instructor.
Open to non-majors. Not open to students who have completed Film and Media Studies 113AD.
Theory and practice of adapting screenplays from other genres - novels, stories, plays, poems, video games, comics, articles, etc. Lectures and readings in the theory of adaptation. Screenplays written in short form and/or long form, narrative and/or post-modern.
188AU. Autobiographical Screenwriting
(4) Staff
Prerequisites: upper-division standing; consent of instructor.
Not open to students who have completed Film and Media Studies 113AU.
An approach to the basics of screenwriting: structure, story, characters, with an emphasis on developing a writing project derived from personal experience. Students are required to complete writing exercises, a treatment, and master scenes of a full-length project.
188B. Advanced Screenwriting
(4) Staff
Prerequisite: Film Studies 188A.
May be repeated for credit to a maximum of 8 units.
A course intended for students who have successfully completed Film Studies 188A and have a full-length screenplay in process which they want to complete.
188C. Writing Short Films
(4) Staff
Prerequisites: upper-division standing; consent of instructor.
Students are required to submit a writing sample.
An introduction to screenwriting, emphasizing the fundamentals of short film and t.v.: setup, climax and resolution, “character-driven” story and plot, the role of conflict, principles of action, exposition, and premise. Students are required to write two short films.
188NM. Writing for New Media
(4) Staff
Prerequisite: consent of instructor.
Students write scenarios for video games, ipod videos, short internet videos/films, flash fiction, flash poetry, blogs, et. al. Readings provide understanding of new media in their historical, theoretical, and political-social contexts.
188TV. Writing for Television
(4) Staff
Prerequisites: consent of instructor, a writing sample, and upper-division standing.
Students are required to submit a writing sample.
Introduction to fundamentals of writing for television including: the situation comedy, the hour-long drama, the MOW, the miniseries, and children’s programming. Investigation of the practical and creative tools necessary for navigating successful television scripts.
189AA-ZZ. Topics in Contemporary Media Theory
(4) Staff
Prerequisites: Film Studies 96; and Film Studies 192A or 192B; and consent of instructor.
May be repeated for credit to a maximum of 12 units provided letter designations are different, but only 8 units may be applied toward the major.
Topics vary each year and may include such problems as the relation of film and other media to structuralism, semiotics, metaphor/metonymy, point of view, and the writings of Burch, Barthes, Metz, Heath, Bordwell, Willemen, Wollen.
190AA-ZZ. Studies in Film and the Other Arts
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing; and consent of instructor.
May be repeated for credit to a maximum of 12 units provided letter designations are different, but only 8 units may be applied toward the major.
An analysis of film in relation to literary and plastic arts such as photography, architecture, and the novel. Topics vary.
192A. Classical Film Theory
(5) Staff
Prerequisites: Film Studies 46 and 96 with a minimum grade of C (in both); upper-division standing.
Not open for credit to students who have completed Film Studies 192.
An introduction to classical film theory through a close analysis of selected writings of such theorists as Munsterberg, Arnheim, Eisenstein, Bazin, Mitry, Metz, Burch, Baudry, and Heath.
192B. Contemporary Film and Media Theory
(5) Staff
Prerequisite: Film Studies 46 with a minimum grade of C.
A survey of the contribution of contemporary critical theory to the study of film and media. Special emphasis on cultural studies approaches to understanding film as popular culture.
194. Advanced Readings
(4) Staff
Prerequisites: Film Studies 46 or upper-division standing; consent of instructor.
May be repeated fro credit to a maximum of 12 units.
Advanced readings in specific genres, directors, or historical periods.
195I. Internship in Film/Television
(2) Staff
Prerequsites: upper-division standing; consent of department. Open to film studies majors only.
Students must have a minimum 3.0 grade point average for the preceding three quarters.
An opportunity for training, career sampling, and contacts in the film or television industry. Required are approximately 100 hours of work a quarter, a final five-page report, and a supervisor’s letter of verification.
196. Senior Honors Seminar
(4) Staff
Prerequisite: admission to senior honors program (see requirements under Film Studies Honors Program).
A one-quarter directed study, to be conducted as outlined in the description of the Senior Honors Program. Honors candidates will write a senior thesis on a topic approved by film studies faculty.
199. Independent Studies
(1-4) Staff
Prerequisites: upper-division standing; completion of two upper-division courses in film studies; consent of instructor and department.
Students must have a minimum 3.0 grade-point average for the preceding three quarters and are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199AA-ZZ courses combined.
Selected research under the direction of a faculty member.
199RA. Independent Research Assistance in Film Studies
(1-5) Staff
Prerequisites: upper-division standing; completion of two upper-division courses in film studies; consent of instructor and department.
Students must have a minimum 3.0 grade-point average for the preceding three quarters and are limited to 5 units per quarter and 30 units total in all 98/99/198/199/199AA-ZZ courses combined.
Coursework shall consist of faculty supervised research assistance.
210. Media Production
(4) Staff
Prerequisite: open to film and media studies majors only.
Graduate-level instruction in film or video pre-production, production, and post-production.
213. Autobiographical Screenwriting
(4) Anders
Explores the creative process in autobiographical screenplay construction through writing exercises as well as film viewing. Seeks innovative means of character and story development including but not limited to internet personas and autobiographical tourism.
220. Textual Analysis
(4) Staff
Explores various models for the close analysis of film and media texts and the critical frameworks these models explicitly or implicitly employ.
222AA-ZZ. Special Topics in Film Analysis
(4) Staff
Close examination of an element of film style such as sound, color, or camera movement and its impact on interpretation.
223. Black Film Criticism
(4) Staff
Explores the social, cultural, aesthetic, and economic contexts of black critical writing on film over the past century. Studies the black critique of racial representation in Hollywood and other cinemas, the black independent cinemas, and issues of black spectatorship.
224. Genre Analysis
(4) Staff
Genre criticism illuminates the artistic and popular appeal of film and explores the relation of aesthetics to ideology. Analyzes genre criticism through the lens of genre theory, reexamining conventional approaches to the nature and history of formulaic films.
225. Film and Media Authorship
(4) Staff
Examines theories of authorship in film and television, and how these ideas are redefined and questioned in a poststructuralist and postmodernist paradigm as well as with the evolution of interactive technologies.
226. National Cinemas
(4) Staff
Close analysis of the leading concepts behind theories of nation, nationalism, and national cinema within a specific cultural context and how these concepts are redefined within a post-colonial and post-national context.
230. The Philosophy of History
(4) Wolfe
Studies works and concepts in the philosophy of history that have informed the researching and writing of film and media history. Also considers the ways in which film and media texts have extended debates about and concepts of historiographic practice.
231. Media Historiographies
(4) Staff
Comparative analysis of various historical accounts of cinema, television, and digital media that have shaped the field of film and media studies. Emphasis on issues and debates that have dominated efforts to write rigorous, methodologically explicit histories of different media.
232AA-ZZ. Special Topics in Film and Media History
(4) Staff
Close examination of a topic in film and/or media history.
233. Histories of Film Style
(4) Staff
Examines different explanatory models for patterns of historical continuity, influence, and change in film style. Also includes comparative study of influential models for the history of style in other art forms, such as painting, photography, architecture, music, and literature.
234. History, Memory and Media
(4) Staff
Explores how visual and acoustic media have influenced the writing of public histories and the formation of collective memories, and the possibilities and limitations of representing historical events in both fiction and nonfiction audiovisual forms.
235. (Auto)biographical Documentary
(4) Walker
Studies modes of documentary filmmaking in the context of literary and cinematic self-representation including the relationship between personal and collective history in identity construction.
236. Historicizing New Media: From Plato’s Cave and the Kinetograph to Wireless Communication
(4) Staff
Looks at issues of media production and consumption along an historical continuum including changing patterns of media literacy, types of apparatuses, ideologies, ethics, and aesthetics.
240. Film Theory
(4) Staff
Examines the history and rhetoric of thinking about the ontology, epistemology, ideology, and aesthetics of film.
241. Television and New Media Theory
(4) Staff
Explores important theoretical writings concerning electronic and digital media. Course readings define the unique properties of these mediums, consider their ontological status, and discuss how they differ from one another and other cultural forms.
242AA-ZZ. Special Topics in Film and Media Theory
(4) Staff
Close examination of a topic in film and/or media theory.
243AA-ZZ. Special Topics in Critical Thinkers
(4) Staff
Explores in depth the work of one particular thinker relevant to the field of media and cultural studies, for example, Freud, Barthes, Benjamin, and others.
244. The Rhetoric of Film Theories
(4) Branigan
Examines the forms of languages and conventions of reasoning that sustain major film theories.
245. Narrative Theory and Memory
(4) Staff
Theories of narrative and their relationship to the human mind, traumatic experience, and the evocation of emotion.
246. Television Theory
(4) Parks
Examines important theoretical works in Television Studies. Considers television in relation to theories of mass culture, and explores how television mediates the public and private spheres, participates in the formation of national cultures, and addresses citizens/consumers/viewers.
247. Feminism and Media Theory
(4) Staff
An intellectual history of feminist film and television theory from the 1970s to the present. Course readings are discussed in relation to gender representations in various screenings. Areas covered include psychoanalysis, structuralism, poststructuralism, queer theory, and cultural studies.
248. Digital Media Theory and Practices
(4) Staff
Studies the emerging theoretical paradigms and creative practices of new media technologies including the Internet, computer games, CD-ROM, DVD, and wireless communication devices. Also examines how technologies mediate, perpetuate, and challenge social, cultural, political, and economic institutions and humanistic values.
249. Postcolonial Media Theory
(4) Sarkar
Studies colonial ideologies and representations, and postcolonial challenges and negotiations, with emphasis on concepts such as imperialism, Eurocentrism, Orientalism, Third Cinema, hybridity, voice and identity. Interrogates the institutions, frameworks and processes involved in the production of knowledge.
250. Cultural Theory
(4) Hebdige
Analyzes film, television and digital media via a cultural studies paradigm. Students read key works by scholars from the Birmingham School, consider cultural studies as an approach to interdisciplinary research, and study models that have emerged in various national contexts.
251. Popular Culture
(4) Penley
Surveys contemporary approaches to the study of popular culture. Readings include theorists who have critically engaged the Frankfurt School, who have written before and beyond the Birmingham School, or who have taken a comparative international perspective.
252AA-ZZ. Special Topics in Cultural Studies
(4) Staff
Close examination of a topic in cultural studies.
255. Gaming Culture
(4) Everett
The computer games industry rivals film and television for audience discretionary income. This course focuses on computer game theories, genres, aesthetics, industrial histories and practices, and representational discourses.
256. Latin American Popular Culture and Media
(4) Venegas
Explores Latin American cultural studies in relation to production of specific Latin American and Latino/a media within a transnational context. Incorporates various media products, including telenovas, U.S. Spanish language television, popular and art films, popular music, web art, and websites.
260. Film and Ethnography
(4) Staff
Brings the techniques of film analysis to bear on the films, videos, and writings of leading visual anthropologists, such as Tim Asch, Jean Rouch, Jorge Preloran, and Dennis O’Rourke.
262AA-ZZ. Special Topics in Film and/or Media Globalization
(4) Staff
Close examination of a topic in the globalization of film and/or media.
263. Cultural Translation
(4) Staff
Defines and examines the problematic “translation” as the circulation of cultural texts beyond borders and boundaries (temporal, linguistic, institutional, communal, national, regional, and disciplinary).
266. Political Economy of Global Media
(4) Staff
Examines media institutions and networks of exchange, focusing on their transformation, shifting power relations, and emerging geopolitical imaginations.
267. Media Law and Regulation
(4) Staff
Explores institutions and practices related to governmental regulation of media and addresses historical shifts in policymaking. Topics include intellectual property law, first amendment law, censorship issues, media ownership and trade regulations, and fair use doctrine.
501. Teaching Assistant Practicum
(4) Staff
May be repeated for credit.
Designed to accommodate graduate students who serve as teaching assistants. Includes analyses of texts and materials, discussion section teaching techniques, formulation of topics and questions for papers and examinations, and grading papers and examinations under instructor supervision.
596AA-ZZ. Directed Reading and Research
(1-6) Staff
Prerequisite: graduate standing; consent of instructor.
Individual tutorial.
