UCSB 2009-2010 Catalog Course Search
Search by subject area and course number. Refer to this list of subject areas and their corresponding department.
Tip: A search for the subject area, for example, querying just "HIST" (without quotes), will return all courses of the queried subject area. Searching using subject area and number, such as "HIST 17" (without quotes), would return all courses in the series; in this example that would include HIST 17A, 17AH, 17B, etc.
| Search results: |
| FLMST 46 - Introduction to Cinema |
| (4) STAFF |
| An introduction to the study of film as an aesthetic and social phenomenon,and to various methods of critical analysis. |
| FLMST 46MS - Major Seminar |
| (2) STAFF |
| Prerequisites: Concurrent enrollment in Film and Media Studies 46. |
| Designed for Film and Media 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. |
| FLMST 54 - Hollywood: Anatomy of an Industry |
| (2) STAFF |
| In-depth analysis of the changing world of the motion picture and television industries through dialogs with major Hollywood players and distinguished guests. A range of ares such as directing, producing, screenwriting, acting, etc. are covered. |
| FLMST 62 - Professional Artists Lab: Actors and Directors in Focus |
| (2) Kawalek |
| 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. |
| FLMST 70 - Media Criticism |
| (4) STAFF |
| Develop the analytical tools required for a critical understanding of the interrelationship between media, culture, and society in America. Special attention given to how social structures shape media and how media products in return affect our cultural practices and patterns. |
| FLMST 75 - Introduction to Environmental Media |
| (4) Staff |
| 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? |
| FLMST 95 - Internship in Film/Television |
| (2) Chair |
| Prerequisites: 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 per quarter, a final five-page report, and a supervisor's letter of verification. |
| FLMST 96 - Advanced Film Analysis |
| (5) STAFF |
| Prerequisites: Film Studies 46 with a minimum grade of C. |
| A study of the basic formal dimensions of cinema: narration, causality, space, time, and sound. |
| FLMST 99 - Independent Studies. |
| (1-4) STAFF |
| Prerequisites: Consent of instructor and department. |
| Selected research under the direction of a faculty member. |
| FLMST 100 - Video Techniques for Fieldwork and Research |
| (4) STAFF |
| Prerequisites: Consent of instructor. |
| An introduction to documentary video techniques for research in the social sciences. Students learn pre-production, camera work, sound, and editing, through workshops and excercises, while executing individual projects. |
| FLMST 101A - History of Cinema: The Silent Film |
| (5) STAFF |
| Prerequisites: Film and Media Studies 46 with a minimum grade of C; open to Film and Media 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. |
| FLMST 101B - History of Cinema: The Development of Sound Film |
| (5) STAFF |
| Prerequisites: Film and Media Studies 46 with a minimum grade of C; open to film and media 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 is considered. |
| FLMST 101C - History of Cinema: New Waves and Beyond |
| (5) STAFF |
| Prerequisites: Film and Media Studies 46 with a minimum grade of C; open to film and media 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. |
| FLMST 101T - History of Television |
| (5) STAFF |
| Prerequisites: Film and Media Studies 46 with a minimum grade of C; open to film and media studies majors only. |
| Surveys the history of television from 1945 to the present. Analysis of this important cultural institution, helping students to understand the interconnected relationships between programming, industry, audiences, social contexts, and technology. |
| FLMST 102 - Acting and Directing Workshop |
| (4) STAFF |
| Prerequisites: Film and Media Studies 46; and consent of instructor; upper-division film and 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. |
| FLMST 103 - Project Development |
| (4) Driskel |
| Prerequisites: Film and Media Studies 46; and, Film and Media 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. |
| FLMST 104 - Film Technology |
| (4) Driskel |
| Prerequisites: Film Studies 46; open to film majors only. |
| An introduction to the technology, equipment and materials of filmmaking from Edison to computer graphics. Special attention to the historical breakthroughs that have influenced cinematic trends and directions. This isnot a filmmaking class. |
| FLMST 104F - Film Technology |
| (4) Staff |
| Prerequisites: Film and Media Studies 46; open to film and media majors only. |
| 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. |
| FLMST 104NM - New Media Production |
| (4) Staff |
| Prerequisites: Film and Media Studies 46; open to film and media 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. |
| FLMST 104TV - Video Technology |
| (4) STAFF |
| Prerequisites: Film and Media Studies 46; open to film and media studies majors only. |
| 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. |
| FLMST 105 - Video Technology |
| (4) STAFF |
| Prerequisites: Film Studies 46; open to film studies majors only. |
| An introduction to the technology, equipment, and materials of video from analog to digital. Special attention to the historical breakthroughs that have influenced cinematic trends and directions |
| FLMST 106A - Crew Production |
| (5) Driskel |
| Prerequisites: Film Studies 46; and, 102 or 104 or 107; and consent of instructor. |
| Instruction in the basic techniques of 16mm filmmaking via the production of crew projects over two consecutive quarters. Pre-production through principal photography. |
| FLMST 106B - Crew Production |
| (5) Driskel |
| Prerequisites: Film Studies 46; and, 102 or 104 or 107; and consent of instructor. |
| Instruction in the basic techniques of 16mm filmmaking via the production of crew projects over two consecutive quarters. Post-production through composite print. |
| FLMST 107 - Introduction to Animation |
| (4) Driskel |
| Prerequisites: Film and Media Studies 46; open to film and media 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 class project. |
| FLMST 107S - Contemporary Animation |
| (4) STAFF |
| Prerequisites: Film Studies 107. |
| Covers the basics of both classical and computer animation from a practical and theoretical point of view. Field trips are taken. |
| FLMST 108 - Short Project Production |
| (4) STAFF |
| Prerequisites: Film Studies 46; and, Film Studies 104, 105 or 107; open to film studies majors only; consent of instructor. |
| A workshop approach to the production of individual, short film projects. Each student produces a non-dialogue project for public screening at the end of the quarter. Admission to this course is determined by creative portfolio. |
| FLMST 109 - Special topics in Film Production |
| (4) STAFF |
| Prerequisites: Film Studies 46; and, consent of instructor. |
| Focus on one or more aspects of film production such as music, writing, directing, design, acting, independent filmmaking, cinematography, producing. Topics will vary. |
| FLMST 111A - The Business of Movies: The Hollywood Studio System |
| (4) STAFF |
| Prerequisites: Film Studies 46. |
| A seminar covering all phases of the contemporary film industry, including development, production, distribution, exhibition, and international and ancillary rights. |
| FLMST 111B - The Business of Movies: The Independents |
| (4) STAFF |
| Prerequisites: 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. |
| FLMST 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. |
| FLMST 113 - Special Topics in Film and Media Studies |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Topics in a special area of interest to film and media studies. |
| FLMST 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. |
| FLMST 114AL - Performance Workshop |
| (2) Kawalek |
| Prerequisites: Film Studies 46; concurrent enrollment in Film Studies 114A; open to film majors only; consent of instructor. |
| Acting and directing workshop. Advanced exercises and more individualized instruction on work developed in Film Studies 114A-B. |
| FLMST 114B - 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. |
| FLMST 115 - Sound Production |
| (4) STAFF |
| Prerequisites: Film Studies 104 or 105; consent of instructor. |
| A workshop approach to explorations of sound recording, editing, and mixing in project production. |
| FLMST 116 - Editing |
| (4) STAFF |
| Prerequisites: Film Studies 104 and 105; consent of the instructor. |
| A workshop exploration of the methodologies for post-production. |
| FLMST 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 studio project. Project is picked through students submissions. |
| FLMST 118 - Sponsored Campus Production |
| (4) STAFF |
| Prerequisites: Film Studies 46; consent of instructor. |
| An interface with campus "clients" who provide the budget and goals for crew projects. |
| FLMST 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. |
| FLMST 119ML - Film Programming: Magic Lantern |
| (4) Staff |
| Prerequisites: Film Studies 46; consent of instructor. |
| Course may be repeated once but only 4 units count toward major requirements. |
| Students learn the ins and outs of organizing and executing a film series, using the IV Theater as a “lab.” They gain hands-on experience programming, tracking down prints, contacting and working with distributors and filmmakers, fundraising, advertising, engaging in audience outreach, theater managing, exhibiting, researching, and reviewing. |
| FLMST 120 - Japanese Cinema |
| (4) STAFF |
| Prerequisites: Upper-division standing. |
| An introductory scrutiny of major Japanese directors: Mizoguchi, Ozu, Oshima, and Kurosawa. Close attention to their film compositition, choices of subject and character, their ideas of the cinematic, and the relationship of cinema to Japanese culture and society. |
| FLMST 121 - Chinese Cinema |
| (4) STAFF |
| Prerequisites: 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. |
| FLMST 122 - Topics in National Cinema |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| 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 relation to both national and international culturalhistories. |
| FLMST 124 - Indian Cinema |
| (4) Sarkar |
| Prerequisites: 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. |
| FLMST 124V - Modern Indian Visual |
| (4) Chattopadhyay, Sarkar |
| Prerequisites: Film Studies 46 or sophomore standing. |
| 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. |
| FLMST 125B - Documentary Film |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| The history of documentary film, as an aesthetic form and social force, from World War II to the present. |
| FLMST 126 - Cuban Cinema |
| (4) Venegas |
| Prerequisites: 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. |
| FLMST 127 - Latin American Cinema |
| (4) Venegas |
| Prerequisites: 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. |
| FLMST 127M - Mexican Film and Television |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Explores the historical and political development of film and television in Mexico and iterrogates the ways in which discourses of nationalism inform culture and media policy in relation to a local/global dialectic. |
| FLMST 128A - Silent Film Comedy |
| (4) STAFF |
| Prerequisites: 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. |
| FLMST 128B - Sound Film Comedy |
| (4) STAFF |
| Prerequisites: 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 contexts. |
| FLMST 134 - French and Francophone Cinema |
| (4) Bloom |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Addresses the interaction between the institutions of French and francophone culture through cinema. The shifting terms of French identity in France and among French-speaking communities are examined through national, regional, and immigrant discourse. In English. |
| FLMST 136 - British Cinema |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Course will consider a selection of films representing the evolution of British cinema during the past half century. |
| FLMST 140 - The Western |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Establishes the forms and rituals of the western genre, and reflects on changes they have undergone. Attention will also be given to the trend toward realism, and the new moral and political revisions of the western's view of society. |
| FLMST 142 - The War Film |
| (4) STAFF |
| Prerequisites: 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. |
| FLMST 143 - Science Fiction Film |
| (4) STAFF |
| Prerequisites: 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. |
| FLMST 144 - The Horror Film |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Study of the horror film genre and the reasons for its popularity, including new interest in psychoanalysis and reaction to modern mass society and consumerism. Covers issues of sacrifice, simulated catastrophicloss, and other themes of catharsis. |
| FLMST 146 - Advanced Film Analysis |
| (5) STAFF |
| Prerequisites: Film Studies 46; 5 prior upper-division courses in film studies; upper-division standing; open to film studies majors only. |
| A study of the basic formal dimensions of cinema: narration, causality, space, time, and sound. |
| FLMST 148 - Special Topics in Film Aesthetics |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| 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. |
| FLMST 150 - Topics In Film Genre |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| A study in depth of one or two film genres, including historical, theoretical, and social issues. Topics will vary. |
| FLMST 151 - American Film History |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Examines major American film directors, genres, and themes within the context of the social concerns of a particular historical period. |
| FLMST 155 - Directors |
| (4) STAFF |
| Prerequisites: Film Studies 46. |
| A study in depth of the films of one or two filmmakers of international stature and significance. |
| FLMST 163 - Women and Film: Feminist Perspectives |
| (4) STAFF |
| Prerequisites: 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. |
| FLMST 165 - Film and Social Reality |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing; consent of department. |
| 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. |
| FLMST 166 - Special Topics in Cultural Studies |
| (4) STAFF |
| Prerequisites: Film Studies 46. |
| Uses cultural studies as a critical paradigm to closely examine a particular topic or theme.
|
| FLMST 169 - Film Noir |
| (4) STAFF |
| Prerequisites: 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 Wuropean works will be considered. |
| FLMST 175 - Experimental Film |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| A survey of the experimental film tracing the major stylistic and thematic trends in the diverse movements that have considered themselves outside of the commercial narrative cinema. Bunuel, Dulac, Cocteau, Leger, Deren, Brakhage, Baillie, Frampton, Snow, Rainer, and others. |
| FLMST 178Z - Technology and Cinema |
| (4) STAFF |
| 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. |
| FLMST 181 - Practicum in Internet Writing |
| (4) Staff |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Utilizing a relational database and an established website, students research and write articles for inclusion on the site. All research is vetted by an editorial board comprised of student peers and the instructor prior to Internet publication. |
| FLMST 183 - Films of the Natural and Human Environment |
| (4) STAFF |
| Prerequisites: Upper-division standing. |
| Environmental Studies 1 or 2 or 3; and Film Studies 46. |
| Course presents a series of popular films and professional documentaries representing a range of trends, images, and 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. |
| FLMST 184 - Film Music |
| (4) STAFF |
| Prerequisites: 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 soundand image synchronicity; the narrative functions of film music; and contemporary development of the film score. |
| FLMST 187 - Topics in Film and Television Analysis |
| (4) STAFF |
| Prerequisites: Film studies 46 or upper-division standing, and consent of instructor. |
| A seminar for advanced students examining in-depth a particular problem or issue in the analysis of film and its consequences for history, theory, or aesthetics of film, television and digital media. |
| FLMST 188A - Basic Screenwriting |
| (4) STAFF |
| Prerequisites: Consent of instructor, writing sample, upper-division standing. |
| 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-lengthproject. |
| FLMST 188AD - Writing Adaptations |
| (4) Staff |
| Prerequisites: Upper-division standing; consent of instructor. |
| 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. |
| FLMST 188AU - Autobiographical Screenwriting |
| (4) Staff |
| Prerequisites: Upper-division standing; consent of instructor. |
| 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. |
| FLMST 188B - Advanced Screenwriting |
| (4) STAFF |
| Prerequisites: Film Studies 188A. |
| A course intended for students who have successfully completed Film Studies188A and have a full-length screenplay in process which they want to complete. |
| FLMST 188C - Writing Short Films |
| (4) STAFF |
| Prerequisites: Consent of instructor; upper-division standing. |
| 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. |
| FLMST 188D - Master Class in Writing: Telling the Story |
| (4) STAFF |
| Prerequisites: Consent of instructor; upper-division standing. |
| With the help of successful screenwriters and novelists, exploration of theelements that make up a well-told story. Students complete writing assignments in their own chosen form. |
| FLMST 188NM - Writing for New Media |
| (4) Staff |
| Prerequisites: 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. |
| FLMST 188SS - Story Structures |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing. |
| Introduction to story structure for beginning screenwriters. Study and practice of models from classical, Renaissance, and contemporary dramatic structural theory as well as alternative structural paradigms as practiced by European, American independents, experimental, Asian, African, and Avant Garde screenwriters. |
| FLMST 188TV - Writing for Television |
| (4) STAFF |
| Prerequisites: Upper-division standing; consent of instructor. |
| 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 programming. Investigation of the practical and creative tools necessary for navigating successful television scripts. |
| FLMST 189 - Topics in Contemporary Media Theory |
| (4) STAFF |
| Prerequisites: Film Studies 96; and 192A or 192B; and consent of instructor. |
| 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. |
| FLMST 190 - Studies in Film, Media and the Other Arts |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing, and consent of instructor. |
| An analysis of film and other media in relation to literary and plastic arts such as photography, architecture, and the novel. Topics vary. |
| FLMST 191 - Film Criticism |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing, and consent of instructor. |
| An intensive study in the reading and writing of film criticism. A close examination of critical texts from different periods is accompanied by the screening of relevant films; further emphasis is given to analyzing critical papers written for the seminar. |
| FLMST 192A - Classical Film Theory |
| (5) STAFF |
| Prerequisites: Film Studies 46 with a minimum grade of C and 96 with a minimum grade of C; upper-division standing. |
| 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. |
| FLMST 192B - Contemporary Film and Media Theory |
| (5) STAFF |
| Prerequisites: 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. |
| FLMST 194 - Advanced Readings |
| (4) STAFF |
| Prerequisites: Film Studies 46 or upper-division standing, and consent of instructor. |
| Advanced readings in specific film genres, directors, or historical periods. |
| FLMST 195I - Internship in Film/Television |
| (2) STAFF |
| Prerequisites: Upper-division standing; open to film studies majors only; consent of department. |
| 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. |
| FLMST 196 - Senior Honors Seminar |
| (4) STAFF |
| Prerequisites: Admission to senior 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. |
| FLMST 199 - Independent Studies |
| (1-4) STAFF |
| Prerequisites: Upper-division standing; completion of 2 upper-division courses in film studies; consent of instructor and department. |
| Selected research under the direction of a faculty member. |
| FLMST 199RA - Independent Research Assistnace in Film Studies |
| (1-5) STAFF |
| Prerequisites: Upper-division staning; completion of 2 upper-division courses in film studies; consent of instructor and department. |
| Course work shall consist of faculty supervised research assistance. |
| FLMST 210 - Media Production |
| (4) STAFF |
| Prerequisites: Open to film and media studies majors only. |
| Graduate-level instruction in film or video pre-production, production, and post-production. |
| FLMST 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. |
| FLMST 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. |
| FLMST 222 - 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. |
| FLMST 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. |
| FLMST 224 - Genre Analysis |
| (4) STAFF |
| Genre criticism illuminates the artistic and popular appeal of film and explores the relation of aesthetics to ideology. Course analyzes genre criticism through the lens of genre theory, reexamining conventional approaches to the nature and history of formulaic films. |
| FLMST 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. |
| FLMST 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. |
| FLMST 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. |
| FLMST 226 - National Cinemas |
| (4) STAFF |
| Close analysis of theories of nation, nationalism, and national cinema, with a focus on the contentious relations between culture, history, media capital and the state. Topics include evolving genres, styles, movements and institutions; local lifeworlds and cultural difference within a post-national context; and the spectral nature of contemporary national formations.
Offered concurrently with Film Studies 187AA-ZZ.
|
| FLMST 226 - National Cinemas |
| (4) STAFF |
| Close analysis of theories of nation, nationalism, and national cinema, with a focus on the contentious relations between culture, history, media capital and the state. Topics include evolving genres, styles, movements and institutions; local lifeworlds and cultural difference within a post-national context; and the spectral nature of contemporary national formations.
Offered concurrently with Film Studies 187AA-ZZ.
|
| FLMST 230 - Philosophy of Film History |
| (4) Staff |
| Studies works and concepts in the philosophy of history that have informed the researching and writing of film and media history. Will also consider the ways in which film and media texts have extended debates and concepts of historiographic practice. |
| FLMST 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. |
| FLMST 232 - Special Topics in Film and Media History |
| (4) STAFF |
| Close examination of a topic in film and/or media history. |
| FLMST 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. |
| FLMST 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 non-fiction audio-visual forms. |
| FLMST 235 - (Auto)biographical Documentary |
| (4) Walker |
| Studies modes of documentary filmmaking in the context of literary and cinematic self-representation including the relationships among personal and collective history and identity construction. |
| FLMST 236 - Historicizing New Media |
| (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. |
| FLMST 240 - Film Theory |
| (4) STAFF |
| Examines the history and rhetoric of thinking about the ontology, epistemology, ideology, and aesthetics of film. |
| FLMST 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. |
| FLMST 242 - Special Topics in Film and Media Theory |
| (4) STAFF |
| Close examination of a topic in film and/or media theory. |
| FLMST 243 - 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. |
| FLMST 244 - Rhetoric of Film Theories |
| (4) Branigan |
| Examines the forms of language and conventions of reasoning that sustain major film theories. |
| FLMST 245 - Narrative Tehory and Memory |
| (4) STAFF |
| Theories of narrative and their relationship to the human mind, traumatic experience, and the evocation of emotion. |
| FLMST 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. |
| FLMST 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. |
| FLMST 249 - Postcolonial Media Theory |
| (4) Staff |
| Studies colonial ideologies and representations, and postcolonial challenges and negotiations, with an emphasis on concepts such as imperialism, Eurocentricism, Orientalism, Third Cinema, hybridity, voice, and identity. Interrogates the institutions, frameworks, and processes involved in the production of knowledge. |
| FLMST 249 - Postcolonial Media Theory |
| (4) Staff |
| Studies colonial ideologies and representations, and postcolonial challenges and negotiations, with an emphasis on concepts such as imperialism, Eurocentricism, Orientalism, Third Cinema, hybridity, voice, and identity. Interrogates the institutions, frameworks, and processes involved in the production of knowledge. |
| FLMST 249 - Postcolonial Media Theory |
| (4) Sarkar |
| Studies colonial ideologies and representations, and postcolonial challenges and negotiations, with an emphasis on concepts such as imperialism, Eurocentricism, Orientalism, Third Cinema, hybridity, voice, and identity. Interrogates the institutions, frameworks, and processes involved in the production of knowledge. |
| FLMST 249 - Postcolonial Media Theory |
| (4) Sarkar |
| Studies colonial ideologies and representations, and postcolonial challenges and negotiations, with an emphasis on concepts such as imperialism, Eurocentricism, Orientalism, Third Cinema, hybridity, voice, and identity. Interrogates the institutions, frameworks, and processes involved in the production of knowledge. |
| FLMST 250 - Cultural Theory |
| (4) Staff |
| Explores key ideas, issues, and developments in cultural studies and critical theory through close readings of primary texts. Possible approaches include the Frankfurt School, the Birmingham School, Freudianism/Lacanianism, semiotics/structuralism, and postmodernism/post-structuralism. |
| FLMST 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. |
| FLMST 252 - Special Topics in Cultural Studies |
| (4) STAFF |
| Close examination of a topic in cultural studies. |
| FLMST 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. |
| FLMST 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, Jorge Preloran, and Dennis O'Rourke. |
| FLMST 262 - Special Topics in Film and/or Media Globalization |
| (4) STAFF |
| Close examination of a topic in globalization of film and/or media. |
| FLMST 263 - Cultural Translation |
| (4) STAFF |
| Defines and examines the problematic of "transition" as the circulation of cultural texts beyond borders and boundaries (temporal, linguistic, institutional, communal, national, regional, and disciplinary). |
| FLMST 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. |
| FLMST 267 - Media Industries |
| (4) STAFF |
| The business strategies, political economy, regulatory dimensions and cultural products of contemporary media industries. A focus on the dynamics of globalization, convergence and new technologies grounds our exploration of the interconnected industrial, economic and cultural/artistic aspects of film, television, and digital media.
|
| FLMST 268 - Paradigms of Globalization |
| (4) Staff |
| Examines various theories of globalization: underdevelopment, world system, postcolonialism, cultural imperialism, etc. and interrogates how our daily lives are mediated by transnational flows of capital, information, technology, people, image, and cultural practices beyond national confines. |
| FLMST 268 - Paradigms of Globalization |
| (4) Staff |
| Examines various theories of globalization: underdevelopment, world system, postcolonialism, cultural imperialism, etc. and interrogates how our daily lives are mediated by transnational flows of capital, information, technology, people, image, and cultural practices beyond national confines. |
| FLMST 268 - Paradigms of Globalization |
| (4) Choi |
| Analysis of various theories of globalization, with specific focus on 'global media.' Interrogates the ways in which transnational networks and flows of capital, information, technology, people, representations, aspirations and actions are constitutive of contemporary life. |
| FLMST 268 - Paradigms of Globalization |
| (4) Choi |
| Analysis of various theories of globalization, with specific focus on 'global media.' Interrogates the ways in which transnational networks and flows of capital, information, technology, people, representations, aspirations and actions are constitutive of contemporary life. |
| FLMST 295I - Professional Internship |
| (1-4) Staff |
| Prerequisites: Consent of department; film studies majors only; must be in good standing. |
| An opportunity for training, career sampling, and contacts in the media industry. |
| FLMST 501 - Teaching Assistant Practicum |
| (4) STAFF |
| 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. |
| FLMST 594 - Special Topics in Film and Media |
| (4) Staff |
| Prerequisites: Graduate standing. |
| A seminar on research subjects of current interest. |
| FLMST 595 - Group Studies |
| (1-4) Staff |
| Prerequisites: Graduate standing. |
| Provides guidance, training, a forum, and a common center for various research endeavors. |
| FLMST 596 - Directed Reading and Research |
| (1-8) Staff |
| Prerequisites: Graduate standing; consent of instructor. |
| Individual tutorial. |
| FLMST 597 - MA Orals and PhD Exam Preparation |
| (4-12) Staff |
| Prerequisites: Graduate standing. |
| Master's Oral Exam and PhD Qualifying Exam preparation. |
| FLMST 598 - Preparation for Dissertation Prospectus |
| (4) Staff |
| Prerequisites: To be taken prior to the qualifying exam. |
| Preparation for the Ph.D. qualifying exam and writing of the dissertation prospectus. |
| FLMST 599 - Dissertation Research and Writing |
| (1-12) Staff |
| Prerequisites: Graduate standing. |
| Only for the research and writing of dissertation. Instructor should be chair of the student's doctoral committee. |