Courses that are approved for the CAMS certificate are offered across the Krieger School of Arts and Sciences, including through the Departments of Modern Languages and Literatures, History of Art, Anthropology, Comparative Thought and Literature, and Political Science.<\/p>\n\n\n\n
Below is representative selection of recent and current courses.<\/p>\n\n\n\n
Professor Bernadette Wegenstein (MLL)<\/strong><\/p>\n\n\n\n This graduate seminar on emerging cinema in Latin America focuses on thematic clusters such as gender identity, violence against women, the struggle for indigenous rights and recognition of their history, the politics of ecological crises, and the plight of youth who don\u2019t see a viable future. We will focus on films from Brazil, Mexico, Argentina, and Colombia, among other cultures. In the month of April, the seminar will connect live to a workshop and screening series in Cuba, with a special focus on Cuba\u2019s role in Latin American Film history and its contributions to the current trends in eco-cinema, which explores the relationship between the natural world, nonhuman animals, and humanity.<\/p>\n\n\n\n Professor Derek Schilling (MLL)<\/strong><\/p>\n\n\n\n Placed at the crossroads of aesthetics and politics, psychology and economics, the history of technology and popular culture, film has emerged as the interdisciplinary object of study par excellence. Based on intensive weekly viewing and on classic and contemporary statements in film theory, this seminar\u00b2required for the Graduate Certificate in Film and Media\u00b2opens up questions of film language, authorship, genre, spectatorship, gender, technology, and the status of national and transnational cinemas.<\/p>\n\n\n\n Professor Bernadette Wegenstein (MLL)<\/strong><\/p>\n\n\n\n This seminar is a continuation of the Spring 2025 course The Archives Documentary Experiential Learning (although students don\u2019t need to have taken that class), focusing on post-production, in particular editing and storytelling. Students will be able to assist and be part of the editing process of the film with professor Bernadette Wegenstein and her editors, including rough cut reviews; they will assist the team\u2019s collaboration with animators creating unique animations for some of the film\u2019s storylines. Interested students will also be take part in the creation of an original musical score. In addition to being exposing to and immersed in the post-production of The Archives, students will learn feminist film theory, and decolonial film strategies, analyzing their practical implementations in documentary storytelling.<\/p>\n\n\n\n Professor Bernadette Wegenstein (MLL)<\/strong><\/p>\n\n\n\n The Archives is a documentary currently in production that visits Holocaust archives and Jewish cemeteries around the world, including in Austria, Germany, Hungary, the Czech Republic, Brazil, and the U.S. These hallowed places of Holocaust history are the searching grounds for four descendants seeking evidence of their interrupted family stories from the pre-second World War era. As the protagonists get closer to the truth with the help of archivists assisting them in their searches, they receive a measure of restitution. This course is an opportunity to participate in the latest documentary by Professor Bernadette Wegenstein as her team ends production and moves the film into post-production. Students will assist in the pre-production of final film shoots planned for March 2025 in New York and Baltimore. Interested students will be able to take part in these film shoots as credited production assistants. They will also learn how a documentary that has been made over the past three years will be prepared for post-production including writing a paper cut and working with animators. Students don\u2019t need any formal knowledge of documentary filmmaking but should be interest in research, Holocaust history, and exile stories.<\/p>\n\n\n\n Professor Laura Di Bianco (MLL)<\/strong><\/p>\n\n\n\n This graduate seminar retraces Italy\u2019s film history, from the silent era to the present, with a focus on ruins. Moving from the remains of Ancient Rome, the rubble of the Great War to that of WWII, traversing the peripheries of the Economic Miracle, industrial and postindustrial landscapes, and ghost rural villages, we will engage in a material, ecocritical exploration of Italian cinema.<\/p>\n\n\n\n Professor Bernadette Wegenstein (MLL)<\/strong> TA: Cla Calabresi<\/p>\n\n\n\n This course looks at the phenomenon of body modification from the digital turn of the 1990s through contemporary queer and feminist post-body practices to body performances and transformations spanning the past 30 years. Our viewpoint will include questions around the contemporary aesthetics of \u201cface and interface,\u201d the flamboyant body in the current trans movement, as well as a more critical view of body modification raised by technological change such as AI generated influencers and more generally the status quo of the body\u2019s \u201ccosmesis,\u201d or arrangement and adornment, in the era of social media and post-truth. We will be working with both primary sources from musicians and performers such as Arca to the trans ballroom phenomenon in Rio de Janeiro, as well as with secondary sources including the critical works by queer and intersectional theorists and feminist authors. Students will attend and participate in the classroom and will be writing a midterm and a final paper of their choice on the subject matter.<\/p>\n\n\n\n Professor Derek Schilling (MLL)<\/strong><\/p>\n\n\n\n In this seminar in the poetics of cultural forms, we will examine the half-century period in France (1895-1945) during which narrative film language evolved out of proto-cinema to coalesce in the multi-reel feature and the serial, then, after a brief but fecund period of experimentation in non-narrative creative modes (dada, Surrealism, Epstein\u2019s \u201ccinepoetry\u201d), weathered the transition to the \u201ctalkies\u201d (le parlant) to diverse effect. That transition to sound yielded both masterworks of poetic realism (Renoir, Duvivier) and countless literary adaptations that sought, and won, broad commercial success (Pagnol, Guitry). Rather than prejudge the esthetic and ideological interest of those works of the 1930s which film historians tend to associate with France\u2019s cinematic maturity, we will attend to the fissures through which the seventh art continues to disclose nostalgia for its (not so) silent past, and to the conservatism that the sound feature imposed on filmic expression. Conversely, looking backwards, we will pay heed to the ways silent film in the 1910s and 1920s itself superseded, through targeted appeals to the sensorial imaginary, its medium-specific limits. Taught in English; readings in English and French (reading knowledge strongly recommended).<\/p>\n\n\n\n Professor<\/strong> Lan Li (History of Medicine)<\/strong><\/p>\n\n\n\n This research seminar invites students to consider the role of metaphor and analogy in histories of knowledge production. We will analyze primary sources associated with major and minor concepts from antiquity to the present. By taking a global and comparative approach to metaphor, this class examines the role of aesthetics in discursive and graphic articulations of optics, astronomy, physiology, anatomy, sphygmology, evolution, cognition, bacteriology, psychology, and beyond.<\/p>\n\n\n\n Professor Bernadette Wegenstein (MLL)<\/strong><\/p>\n\n\n\n Surveys critical approaches to the study of film. Each week we examine a different theoretical approach to filmic representation, with emphasis variously placed on a style, genre, region of production, or period. We will be examining global film traditions from East Asia to Latin America, Western Africa, Europe, and North America. During the semester we will also host some filmmakers in the classroom or via Monday evening screenings either via zoom or in person (if possible). Seminar discussions will incorporate examples from films that students both view on their own, as well as during the Monday evening screenings, which are mandatory for all seminar participants.<\/p>\n","protected":false},"excerpt":{"rendered":" Courses that are approved for the CAMS certificate are offered across the Krieger School of Arts and Sciences, including through the Departments of Modern Languages and Literatures, History of Art, Anthropology, Comparative Thought and Literature, and Political Science. Below is representative selection of recent and current courses. Upcoming Courses (Spring 2026) Emerging Latin American Cinema […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":437,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-440","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/pages\/440","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/comments?post=440"}],"version-history":[{"count":4,"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/pages\/440\/revisions"}],"predecessor-version":[{"id":3227,"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/pages\/440\/revisions\/3227"}],"up":[{"embeddable":true,"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/pages\/437"}],"wp:attachment":[{"href":"https:\/\/krieger.jhu.edu\/cams\/wp-json\/wp\/v2\/media?parent=440"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}} Film Theory and Critical Methods (AS.211.791)<\/h3>\n\n\n\n
Past Courses<\/h2>\n\n\n\n
The Archives Documentary Experiential Learning: Post-Production (AS.211.384; Fall 2025)<\/h3>\n\n\n\n
The Archives Documentary: Experiential Learning (AS.211.382; Spring 2025)<\/h3>\n\n\n\n
On Ruins And Ruination: A Material, Ecocritical Exploration of Italian Cinema (AS.214.616; Spring 2025)<\/h3>\n\n\n\n
Body Modifications: Post-body, Gender Anarchy, Virtual Cosmesis (AS.211.379; Spring 2025)<\/h3>\n\n\n\n
Transitions in French Filmmaking: From the Silent Era to the Second World War (AS.212.709; Spring 2023)<\/h3>\n\n\n\n
Metaphors in Science and Medicine (AS.140.616; Spring 2023)<\/h3>\n\n\n\n
Film Theory and Critical Methods (AS.212.791\/AS.215.791; Spring 2022)<\/h3>\n\n\n\n