This is a foundational course that introduces students to basic concepts, theories and methods that are central to film and media studies. We will study the histories and genres of cinema and formal techniques such as lighting, editing and sound to develop a critical understanding of film as a dominant mode of representation. We will also study television and other forms of electronic media to gain a better understanding of the perspectives and practices of emerging technologies and forms of distribution. Through required weekly screenings, readings, writing and regular discussion, we will analyze these various kinds of screen medias as they influence our world.
Nandini Sikand TR 11:00-12:15PM class & T 7:00-9:50 PM lab
Andy Smith TR 1:15 -2:30PM class & T 7:00-9:50 PM lab
This hands-on production course is the second half of the media production sequence begun in FAMS 201 and builds on the fundamentals of lighting, sound, and camera. Students will further develop their digital filmmaking techniques as well as learn to edit in Final Cut Pro. They will work on individual and collaborative media assignments that will culminate in a public screening at the end of the semester. Prerequisite: FAMS 201: Making Media I, or permission of instructor.
Nandini Sikand TR 1:15-2:30 PM class
This non-production course examines the work of women filmmakers and how women have historically been constructed (and not constructed) in cinema. We will examine issues of gender, spectatorship, sexuality, race, representation and authorship as they intersect with images of women such as savior, victim, femme fatale, mother and artist. Prerequisite: FAMS 101: Introduction to Film & Media Studies or WGS 101: Introduction to Women’s & Gender Studies.
Nandini Sikand MF 11:00-12:15 PM class & W 11:00-12:55 PM lab
This non-production film course is a tour through cinema via several influential genres or film types. Focusing on 3 important film genres, we will look closely at formal and stylistic elements, as well as the films’ cultural impact and role in cinematic history. How are genres established, stretched, or subverted? What political or social uses have certain genres served and what new kinds of cinema emerge when genres combine? Among the possible genres studied are: Horror Film, Film Noir, the Western, the Musical, Screwball Comedies, Road Movies, Animation, the Gangster film, and documentary. Prerequisite: FAMS101 or permission of instructor.
Andy Smith TR 2:45-4:00 PM class & F 12:00-2:00 PM lab
From the early years of the Soviet avant-garde to the post-Stalinist era of covert critique, Russian film offers an intriguing perspective on Soviet life and the art of film. We will explore the pioneering cinema of Eisenstein and Vertov; the Hollywood-modeled propaganda films of the 1930s; the representation of World War II in Soviet film; the aesthetic and moral quests of post-Stalinist filmmakers like Tarkovsky and Muratova; and new directions in post-Soviet cinema. English subtitles.
Sasha Senderovich TR 9:30-10:45 AM class & M 7:00-9:50 PM lab
Creative expression, explorations of content and articulation of ideas will be emphasized. The course comprises technical lectures, laboratory demonstrations, slide lectures of historic and contemporary photography, and critiques of student work. Upon completion of the course, a student can expect to have a thorough understanding of the basics of digital photography—proper and consistent image exposure, basic Photoshop skills and competency with scanning and digital printing.
Karina Skvirsky MW 9:00-11:50 AM
In this intermediate course, students will refine both their aesthetic and technical digital photography skills. Studio assignments are designed to develop students’ individual styles, contextualize photography in terms of its history, its relationship to other art mediums and its cultural implications. In addition to studio assignments and group critiques, there will also be slide lectures, technical demonstrations, reading and writing assignments. Prerequisite: ART 155 or permission of instructor.
Karina Skvirsky MW 1:10-4:00 PM
Digital media processing forms a basic block in technologies underlying today’s successful media, social and publishing companies. This course covers various techniques for the creation and manipulation of multimedia, including pictures, sounds, texts, and movies. Students learn the concepts and skills of object-oriented programming by designing and implementing a series of digital effects. No prior background or experience in programming is required. Lecture/laboratory.
Xiaoyan Li MWF 10:00-10:30 and LAB W 1:15-2:30
The aim of this course is to learn how to write a news story across a variety of media platforms in a clear, concise and engaging manner through accurate and thorough reporting. You will also gain an understanding of how the media works and its function in today’s society and will be required to analyze and evaluate coverage of current events, including the presidential election. Class structure and assignments are designed to simulate a real working media environment and will include mock press conferences and in-class deadline exercises. Enrollment capped at 15.
Kathleen Parrish TR 11-12:15 PM
Intensive workshop in writing for film. Screenings, papers, and a digital video filmmaking assignment also required. Prerequisite: permission of Professor Ohlin. If you wish to take the course, e-mail Professor Ohlin (email@example.com) as soon as possible. [W]
Alix Ohlin—TR 11-12:15
This course is designed to expand students’ knowledge of film music in its many varieties including how it is created, how it functions, and its historical traditions. Students will examine how the music contributes to the narrative and dramatic goals of the film in order to see the connections of how music helps to strengthen the drama, and how that is communicated to the audience. Additionally, students will gain an understanding of film music by recognizing its formal connections to the technical apparatus of the film medium.
Jorge Tores—TR 1:15-2:30
An examination of the fundamental philosophical questions about the arts, including: What is art? Are there standards in the evaluation of artworks? Do the arts require or convey knowledge, and if so, what kind? What is the connection between art and emotion? What are the possible relationships between art and morality? Readings are drawn from both classical and contemporary philosophical writings.
Alessandro Giovannelli R 7:00-9:50 PM