FAMS 101:01 Introduction to Film and Media Studies
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 some of the histories, 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 new 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 media as they influence our world. THIS CLASS IS NOT OPEN TO JUNIORS AND SENIORS Prof. Andy Smith. TR 1:15-2:30 class/T 7:00-9:50 lab

FAMS 202: Making Media 2
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. Prof. Adam MacHose. TR 9:30-10:45

FAMS 220: The Poetics and Politics of Film
What makes film a distinct art form? Often described as the “seventh art”, cinema is unique and interdisciplinary in nature. The study of film theory gives us deeper insight into film as a language and social practice, allowing one to explore cinema’s relationship to historical, aesthetic, social, political and technological influences. We will study some of the debates in classical film theory, auteurism, psychoanalysis, feminist film theory, queer theory, postmodernism and post colonialism as they apply to issues of perception, the spectator, representation, adaptation and realism. (W) Prerequisite: FAMS 101 or by instructor’s permission. Prof. Andy Smith. T 9:30-12:15 & R 11:00-12:15

FAMS 235: History of Film
This course is an introduction to the history of the art of film and filmmakers from its beginnings at the turn of the 20th century to the present time. We will address such topics as: form and meaning, conventions, and techniques of film in the context of their historical period and the societies in which they were made. STAFF. MWF 9:00-9:50

FAMS 271/THTR 271: Topics: Criticism and Review
The most anticipated film of the season!!!!

Two thumbs up!!!!

Nominated for 8 Tony Awards

(Academy Awards, Obies, Emmys, Grammys….)!!!!
How often have we seen these “puffs” (a review of a work of art, usually an excessively complimentary one) blasted across theater marquees and advertisements in print and on-line journals?  Truthfully, though, most of us choose to plunk down our hard-earned cash to attend a theater performance or a film based on its reviews.  Sometimes these are as simple as a friend’s recommendations, sometimes a quick blurb on “Rotten Tomatoes,” sometimes a cleverly crafted trailer or advertisement.  In this course we will analyze and learn to write various forms of effective reviews of film and theater.  We will also learn to distinguish between simple summaries and more sophisticated reviews that analyze style, technique, and quality.  We will conduct research to contextualize film and theater – historically, artistically, and generically – in order to kick our reviews up a notch into works of criticism. (W) No prerequisites. Prof. Suzanne Westfal. MWF 9:00

FAMS 301: French Cinema
French cinematographers and their works have often stood in contrast to large-scale, epic Hollywood productions. This is not to say that the two traditions are totally distinct: cross-fertilization has occurred in both directions. The French have produced a number of cinematographic masterpieces, and many of their most successful films have been recast for an American audience. In this course, we will examine five distinct genres: 1) the French New Wave with films by Truffaut (The Last Metro), Rohmer (Claire’s Knee), Godard (Breathless), and Lelouch (A Man and a Woman); 2) the French Film Noir, with films by Chabrol (The Butcher), Clouzot (Les Diaboliqies), and Malle (Elevator to the Gallows); the Historical Epic, with films by Rappeneau (Cyrano), Chereau (Queen Margot), Vigne (The Return of Martin Guerre); Comedies, with films by Veber (The Dinner Game), Serreau (Three Men and a Baby), and Jeunet (Amelie); and Political Films with films by Renoir (La Grande Illusion), Malle (Au Revoir les Enfants), and Resnais (Hiroshima Mon Amour). Prof. Roxanne Lelande. MW 1:10-2:00/F 12:10-2:00

FAMS 340: Documentary Film/Topics In Film
This course combines critical study with hands-on documentary filmmaking practice. We will examine the form, history, style and impact of documentary film, beginning with 19th-century roots of the documentary and up through the recent democratization of digital documentary filmmaking. Among the topics covered will be early actualités, travelogues, propaganda, newsreels, cinéma-vérité, avant-garde, mockumentary, educational, experimental and political documentaries. Readings will aid students in the development of a practical understanding of how doc films work, and present a range of critical and theoretical approaches to film study. Working in a collaborative team-environment, we will use digital video cameras and Final Cut Pro editing software, as we produce original short documentary films. The last activity of the semester will be a student film festival. (W) Prerequisites: ENG 205, FAMS 101, or permission of the instructor. Prof. Andy Smith. Class TR 2:45-4:00/Lab M 7:00-9:50

ART 155: Digital Photography I
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. Prof. Karina Skvirsky. MW 9:30-12:20

ART 255: Digital Photography II
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 the instructor. Prof. Karina Skvirsky. MW 1:10-4:00