In this course, we'll explore relations between media via films about writers and fictions about film. Along the way, we'll visit with an array of troubled wordsmiths, glittering stars, obsessive fans, and unscrupulous executives; in at least two or three cases, we'll read a novel about cinema and then watch that novel's own cinematic adaptation. Texts may include films by Billy Wilder, Jean-Luc Godard, Jane Campion, Pedro Almodóvar, Nuri Bilge Ceylan, and Cord Jefferson as well as fictions by Elizabeth Bowen, F. Scott Fitzgerald, Evelyn Waugh, Manuel Puig, Abdellah Taïa, and Sharlene Teo.

• Days/Times: T 3:00PM - 5:30PM
• Instructor: Mao, Douglas
• Room: Gilman 130D
• Status: Closed
• Seats Available: 5/15
• PosTag(s): n/a

In this course students will learn the fundamentals of film analysis through a survey of American and international films from the silent era to the early 1960s. With an emphasis on discussion over lecture, the class will consider selections from Africa, Asia, Central America, Europe, and the U.S. In addition to lively class participation, requirements include quizzes, shot analysis exercises, and short written responses. No prior experience in film studies required. Non-majors and pre-majors welcome!

• Days/Times: MW 12:00PM - 1:15PM, Th 7:30PM - 10:00PM Screenings
• Instructor: Ward, Meredith C
• Room: Hodson 216; Gilman 119
• Status: Closed
• Seats Available: 0/25
• PosTag(s): n/a

This course is a study of the visual language used to create a moving picture. Through screenings and discussion of films (narrative, documentary and experimental), videos, and related readings, students will develop a visual critical facility and will demonstrate this facility in several video projects. The course will focus on image construction, including composition, framing, movement inside the frame and use of light as well as meaningful use of sound. Students will learn to be attentive to rhythm and tempo in picture editing and sound. In-class video assignments are included, in which students will work in small groups.

• Days/Times: W 3:00PM - 5:30PM
• Instructor: Yasinsky, Karen
• Room: The Centre 216
• Status: Closed
• Seats Available: 1/8
• PosTag(s): FILM-PROD

This course introduces students to basic considerations of shooting 16mm film. Through lectures and practice, the course approaches the basics of light meter readings, basic camera operations and shot composition. The course also highlights specific readings from classical film theory to augment weekly shooting exercises. Each week students, working in groups, shoot film exercises, providing a general overview of film production. For the final project, each group shoots and edits (physical edits) a short (3-5 minutes) film on 16mm black and white reversal film stock. Lab fee: $200

• Days/Times: Th 12:30PM - 3:30PM
• Instructor: Bae, Wonjung
• Room: The Centre 216
• Status: Closed
• Seats Available: 0/10
• PosTag(s): FILM-PROD

This course introduces students to the world of digital filmmaking. Through screenings, production assignments, and in-class labs, students will develop proficiency in digital cameras, sound recording devices, and software. Students will work individually to produce several video projects. For their final projects students will pitch an idea and develop a more complex film.

• Days/Times: M 3:00PM - 5:30PM
• Instructor: Roche, Jimmy
• Room: The Centre 206
• Status: Closed
• Seats Available: 0/8
• PosTag(s): FILM-PROD

The Lights, Camera, Action short course series is designed to introduce non-majors, including students in disciplines outside the humanities, to the critical study of film texts. This iteration will explore four films directed by Alfred Hitchcock over four decades, tracing his particular thematic and stylistic innovations across his long career. In-class screenings and emphasis on discussion over lecture. Four short written responses. No prior experience in film studies required. This one-credit course will meet September 9, 16, 23, and 30 and will be graded Pass/Fail. Due to the limited number of meetings, perfect attendance is required.

• Days/Times: T 5:00PM - 8:00PM
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Closed
• Seats Available: 2/28
• PosTag(s): n/a

In this course we will explore the principles of visual storytelling in narrative film as they apply to the design, creation, and revision of the short-form screenplay. Specifically, we will focus on learning the craft of screenwriting — strategies, processes, and philosophies that writers can develop, practice, and rely upon as they progress through a series of screenwriting exercises and write a 12-page screenplay, which will be critiqued in-class during weekly table reads and with the Instructor (one-on-one) during office hours. Select produced feature screenplays will be read and analyzed — and clips from select films viewed — to further explore what works well on the page, and how it translates to working well onscreen. (Scripts and clips often selected from American films from the '70s, '80s, and '90s.) A free 18-week trial of Final Draft software will be made available for all students who don’t wish to purchase it outright for $99.)

• Days/Times: T 11:00AM - 2:00PM
• Instructor: Rodgers, Adam F
• Room: The Centre 206
• Status: Closed
• Seats Available: 0/12
• PosTag(s): FILM-SCRWRT

Students will produce several animations using hand-made techniques, including drawing animation, paper puppets and stop-motion. Screenings and readings will provide a historical and conceptual context to the exploration of animation as an experimental technique within both narrative and non-narrative works.

• Days/Times: T 2:30PM - 5:00PM
• Instructor: Yasinsky, Karen
• Room: The Centre 206
• Status: Closed
• Seats Available: 3/8
• PosTag(s): n/a

In this production course, students will create multiple video projects that reflect the representation of dreams, psychosis, and altered states in cinema. We will screen and deconstruct a variety of feature films, video artworks, and music videos to understand the mechanics and language of subjective realism as a narrative form. We will trace this stylistic lineage from its roots in art house cinema to its rise as an accepted Hollywood modality. We will also explore editing and software techniques that will further students' ability to create stunning works of strange beauty.Basic proficiency with digital cameras and editing is required. This class fulfills the intermediate film production requirement.

• Days/Times: Th 3:00PM - 5:30PM
• Instructor: Roche, Jimmy
• Room: The Centre 206
• Status: Closed
• Seats Available: 2/8
• PosTag(s): n/a

This course will emphasize close observation and critical thinking. Through weekly screenings and class discussion, students will practice noticing; seeing and hearing with fresh eyes and ears, and taking nothing on screen for granted. And they’ll learn to reflect on and contextualize what they find, drawing evolved conclusions about how film texts communicate ideas and what those ideas may be. They’ll consider all elements of cinematic form; an array of analytical frameworks including genre, historical era, authorship, and modes of production; and representations of gender, race, and class. Emphasis on discussion over lecture. Regular quizzes, a short oral presentation and a short written analysis. No prior experience in film studies required; majors and non-majors welcome.

• Days/Times: M 7:30PM - 10:00PM Screenings, T 4:30PM - 7:00PM
• Instructor: Bucknell, Lucy
• Room: Ames 218; Ames 218
• Status: Closed
• Seats Available: 9/15
• PosTag(s): n/a

A workshop devoted to creating compelling short scripts and stories based on personal experience. Analysis of films, memoir, and short fiction, along with collaborative development of student work, will emphasize how unique worlds and world views can reflect a larger shared humanity. All writers welcome. Tell your story!

• Days/Times: M 3:00PM - 5:30PM
• Instructor: Bucknell, Lucy
• Room: Gilman 35
• Status: Closed
• Seats Available: 2/9
• PosTag(s): n/a

This course covers twelve Korean films made after 1987 and their depictions of Korea’s post-liberation history from 1945 onward. It explores national cinema as historiography, symptom, and discursive practice that constructs and confounds national identity. With our attention on marginalized characters, urban and industrial settings, and themes of social unrest, we will discuss how Korea’s tumultuous history of war, military dictatorship, neoliberal developmentalism, and U.S. alliance birthed a cinematic undercurrent of madness and trauma. The latter part of the semester focuses on the works of three auteurs—BONG Joon Ho, LEE Chang Dong, and PARK Chan Wook.

• Days/Times: TTh 9:00AM - 10:15AM, T 7:30PM - 10:00PM Screenings
• Instructor: Bae, Wonjung
• Room: Bloomberg 274; Gilman 119
• Status: Closed
• Seats Available: 2/15
• PosTag(s): FILM-CRITST

Fantasized, mythologized, and revised: the cinematic west as landscape and idea through the lenses of classical Hollywood and of contemporary independent women and indigenous filmmakers. Oral presentation, regular shot analyses, and a short written critical response. Interested students lacking pre-requisites should contact the instructor.

• Days/Times: M 3:00PM - 5:30PM, Th 7:00PM - 10:00PM Screenings
• Instructor: Bucknell, Lucy
• Room: Gilman 35; Gilman 17
• Status: Canceled
• Seats Available: 10/10
• PosTag(s): n/a

Monstrous others and monstrous selves in classic 20th century horror. Regular shot analyses, oral presentation, and a short written critical response. Emphasis on discussion over lecture. Non-majors welcome. Interested students lacking pre-requisites should contact the instructor.

• Days/Times: M 3:00PM - 5:30PM, Th 7:00PM - 10:00PM Screenings
• Instructor: Bucknell, Lucy
• Room: Gilman 35; Gilman 55
• Status: Canceled
• Seats Available: 10/10
• PosTag(s): n/a

Spend a semester evoking fear, building tension, generating suspense, and eliciting screams as we analyze the screenplays behind some of cinema’s greatest horror movies—and you craft your own 20 to 30-page fright film script along the way. Students should have previously completed AS.061.205 (Introduction to Screenwriting).

• Days/Times: M 11:00AM - 2:00PM
• Instructor: Rodgers, Adam F
• Room: The Centre 206
• Status: Closed
• Seats Available: 3/10
• PosTag(s): FILM-SCRWRT

This course traces the history of the soundtrack from Vitaphone at the coming of sound to Dolby Stereo in the New Hollywood era to the fully immersive, atmospheric sound systems of today’s cinemas and home theaters. We consider major theories on the relationship between sound and image, the production of sound space, the role of the voice in cinema, and the effects of film music. Assignments will engage with the materials through both analytical reflection and short creative sound production. Screenings and examples are likely to include early sound classics, such as Sunrise (1927) and 42nd Street (1933); notable international innovators, such as The Testament of Dr. Mabuse (1933) and A Man Escaped (1956); pathbreaking stereo entries, such as Fantasia (1940) and Apocalypse Now (1979); recent exemplars of film music, such as In the Mood for Love (2000) and Morvern Callar (2002); and films that reflect on the very nature of sound recording, such as The Conversation (1974) and The Lives of Others (2006).

• Days/Times: W 2:30PM - 5:00PM
• Instructor: Stine, Kyle J.
• Room: The Centre 208
• Status: Closed
• Seats Available: 0/15
• PosTag(s): n/a

This course will engage with the Baltimore Museum of Art’s ongoing environmental initiative, Turn Again to the Earth, to explore the relationship between cinematic portrayals of the natural world and works of art in the BMA’s collections. Focusing on three upcoming exhibits—Deconstructing Nature: Environmental Transformation in the Lucas Collection; Engaging the Elements: Air, Fire, Water, Earth; and The Way of Nature: Art from Japan, China and Korea—we’ll examine paintings, prints, photographs and other materials at the BMA in tandem with a series of films that similarly pose questions about environmental change and human intervention in the natural world. We’ll explore how culture and history inform representation across visual media and through time in three distinct areas: industrialization in the early 20th century American West; Europe and late 20th century environmental change; and natural and unnatural environments in contemporary Asia. Filmmakers under consideration will include Robert Altman, Michelangelo Antonioni, Ryusuke Hamaguchi, Sky Hopinka, Bong Joon-ho, Hirokazu Kore-eda, Terrence Malick, Kenji Mizoguchi, Kelly Reichardt, Agnes Varda, and Jia Zhongke.

• Days/Times: W 1:30PM - 4:00PM
• Instructor: DeLibero, Linda Louise
• Room: The Centre 206
• Status: Closed
• Seats Available: 7/12
• PosTag(s): FILM-CRITST, MSCH-HUM

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Ward, Meredith C
• Room:  
• Status: Closed
• Seats Available: 14/15
• PosTag(s): FILM-PROD

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Roche, Jimmy
• Room:  
• Status: Closed
• Seats Available: 4/5
• PosTag(s): FILM-PROD

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): FILM-PROD

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Bucknell, Lucy
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): FILM-PROD

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Rodgers, Adam F
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): FILM-PROD

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Mason, Laura
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): FILM-PROD

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Yasinsky, Karen
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): FILM-PROD

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Stine, Kyle J.
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): FILM-PROD

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Ward, Meredith C
• Room:  
• Status: Canceled
• Seats Available: 4/4
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Canceled
• Seats Available: 4/4
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Bucknell, Lucy
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Mason, Laura
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Rodgers, Adam F
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Yasinsky, Karen
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Roche, Jimmy
• Room:  
• Status: Canceled
• Seats Available: 5/5
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Closed
• Seats Available: 10/10
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Bucknell, Lucy
• Room:  
• Status: Closed
• Seats Available: 10/10
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Rodgers, Adam F
• Room:  
• Status: Closed
• Seats Available: 9/10
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Ward, Meredith C
• Room:  
• Status: Closed
• Seats Available: 5/5
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Yasinsky, Karen
• Room:  
• Status: Closed
• Seats Available: 8/10
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Roos, Suzanne Lois
• Room:  
• Status: Closed
• Seats Available: 5/5
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Roche, Jimmy
• Room:  
• Status: Closed
• Seats Available: 10/10
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Rodgers, Adam F
• Room:  
• Status: Closed
• Seats Available: 5/5
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Mason, Laura
• Room:  
• Status: Closed
• Seats Available: 5/5
• PosTag(s): n/a

For students who wish to explore an aspect of film studies not covered by existing courses. The course may be used for research or directed readings/viewings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. Permanently required: Lab Fee: $100 (if production related)

• Days/Times:
• Instructor: Bae, Wonjung
• Room:  
• Status: Closed
• Seats Available: 4/5
• PosTag(s): n/a

An internship in the field of Film and Media to be overseen and approved by a Film and Media Studies faculty member. Prior approval is required.

• Days/Times:
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Closed
• Seats Available: 8/10
• PosTag(s): n/a

An internship in the field of Film and Media to be overseen and approved by a Film and Media Studies faculty member. Prior approval is required.

• Days/Times:
• Instructor: Ward, Meredith C
• Room:  
• Status: Closed
• Seats Available: 5/5
• PosTag(s): n/a

An internship in the field of Film and Media to be overseen and approved by a Film and Media Studies faculty member. Prior approval is required.

• Days/Times:
• Instructor: Bucknell, Lucy
• Room:  
• Status: Closed
• Seats Available: 5/5
• PosTag(s): n/a

An internship in the field of Film and Media to be overseen and approved by a Film and Media Studies faculty member. Prior approval is required.

• Days/Times:
• Instructor: Roche, Jimmy
• Room:  
• Status: Closed
• Seats Available: 5/5
• PosTag(s): n/a

An internship in the field of Film and Media to be overseen and approved by a Film and Media Studies faculty member. Prior approval is required.

• Days/Times:
• Instructor: Mason, Laura
• Room:  
• Status: Closed
• Seats Available: 10/10
• PosTag(s): n/a

An internship in the field of Film and Media to be overseen and approved by a Film and Media Studies faculty member. Prior approval is required.

• Days/Times:
• Instructor: Mason, Laura
• Room:  
• Status: Closed
• Seats Available: 5/5
• PosTag(s): n/a

Permission required. Screenwriting Track students complete an independent project.

• Days/Times:
• Instructor: Rodgers, Adam F
• Room:  
• Status: Closed
• Seats Available: 3/5
• PosTag(s): n/a

How has the Holocaust been represented in literature and film? Are there special challenges posed by genocide to the traditions of visual and literary representation? Where does the Holocaust fit in to the array of concerns that the visual arts and literature express? And where do art and literature fit in to the commemoration of communal tragedy and the working through of individual trauma entailed by thinking about and representing the Holocaust? These questions will guide our consideration of a range of texts — nonfiction, novels, poetry — in Yiddish, German, English, French and other languages (including works by Primo Levi and Isaac Bashevis Singer), as well as films from French documentaries to Hollywood blockbusters (including films by Alain Resnais, Claude Lanzmann, and Steven Spielberg). All readings in English.

• Days/Times: TTh 10:30AM - 11:45AM
• Instructor: Spinner, Samuel Jacob
• Room: Gilman 400
• Status: Closed
• Seats Available: 3/15
• PosTag(s): INST-GLOBAL

From the epic movies of the silent era to neorealist and auteur films of the post-war period, all the way to contemporary Academy winner The Great Beauty, Italian cinema, has had and continues to have a global impact, and shape the imagination of filmmakers all over the world. This course traces Italian film history from its origins to recent times, highlighting its main genres and trends beyond the icons of neorealist and auteur cinema, including the so-called ‘comedy Italian style,’ spaghetti westerns, horror, mafia-mockery films, feminist filmmaking, and ecocinema. While learning to probe the cinematic frame, and examine composition, camera movements, cinematography, editing, and sound, and interrogating issues of gender, class, and race, we will screen classics such as Bicycle Thieves, La Dolce Vita, and L’Avventura, but also forgotten archival films by pioneer women filmmakers, and works by emergent, independent filmmakers. This course is taught in English. Additional sessions in Italian will be arranged upon students’ request.

• Days/Times: T 3:00PM - 5:30PM
• Instructor: Di Bianco, Laura
• Room: Gilman 479
• Status: Closed
• Seats Available: 4/19
• PosTag(s): INST-GLOBAL, MLL-MITAL

As the historical core of the photographic medium, documentary photography spans a broad range of expressions. This includes its earliest role in scientific and medical advancements, landscape surveys, journalism, war reportage, social action, personal storytelling, and conceptual mythmaking. Within these modes of image-making, photography inspires conversation about truthful witness vs. aesthetic commentary. In this course, students have the option to photograph with digital technology, including, but not limited to DSLR, Mirrorless, Point-and-Shoot, and Smartphone Cameras. We will use Adobe software for file management, image editing, sequencing, and inkjet printing. Course projects, readings, lectures, critiques, and field trips in Baltimore are designed to expand our image-making vocabulary and refine individual photographic styles. DSLR cameras are available on loan for the semester. Attendance for the first class is mandatory.

• Days/Times: W 2:00PM - 5:00PM
• Instructor: Caro, Christiana
• Room: The Centre 318
• Status: Closed
• Seats Available: 2/10
• PosTag(s): n/a

Landscape in narrative cinema has silent enunciating power. The choice of location shots alone constitutes a set of complex considerations. We may wonder, why was Monument Valley featured in so many westerns? Is it only because of the site’s marvelous photogenicity, or its geographic location, or its social and historical significance? The formal and stylistic choices filmmakers made regarding how landscape is represented on screen, whether as a real or a fictional site, also reveal critical engagements with both social reality and the pictorial conventions of landscape art. Does it look barren or lush? sublime or banal? What is the concept of nature, what is a “view,” or picturesque, and how are these critical questions in representations of landscape framed and mediated in cinema? Does the representation of landscape work for or against the storyline unfolding on screen? What does it tell us about social reality, ecological concerns, and political commentary? This course examines landscape in narrative cinema not only as subject or part of the mise-en-scene but also as a way of seeing, a site of expression, and locus of social, historical, and political meaning. Each week we explore a film genre or a film movement, for example, Western, or Japanese New Wave, and study how landscape functions in that genre. Students are expected to watch films, read, and analyze both the readings and films carefully prior to coming to class. As a term project, each student selects a particular site (any site of their choice) for the focus of their study and research of cinematic landscape in the course. These sites can be a place personal to you, or a place you think is interesting or important in cinema. There will be workshops during the course of the semester to help complete the final project.

• Days/Times: Th 1:30PM - 4:00PM
• Instructor: Liu, Mia Yinxing
• Room: Gilman 119
• Status: Waitlist Only
• Seats Available: 0/15
• PosTag(s): HART-MODERN

Introduction to Cinema provides an overview of American and international cinema from 1960 to the present. Through lectures and discussion, weekly screenings, and intensive visual analysis of individual films, we will explore the aesthetic, cultural, political, and economic forces that have shaped the art and industry of film over the past 60 years. Regular quizzes, writing assignments, class participation required. Mandatory film screenings.

• Days/Times: MW 12:00PM - 1:15PM, Th 7:30PM - 10:00PM Screenings
• Instructor: Ward, Meredith C
• Room: Bloomberg 278; Hodson 311
• Status: Open
• Seats Available: 2/45
• PosTag(s): n/a

This course introduces students to basic considerations of shooting 16mm film. Through lectures and practice, the course approaches the basics of light meter readings, basic camera operations and shot composition. The course also highlights specific readings from classical film theory to augment weekly shooting exercises. Each week students, working in groups, shoot film exercises, providing a general overview of film production. For the final project, each group shoots and edits (physical edits) a short (3-5 minutes) film on 16mm black and white reversal film stock.

• Days/Times: Th 1:00PM - 3:30PM
• Instructor: Roche, Jimmy
• Room: The Centre 218
• Status: Approval Required
• Seats Available: 1/8
• PosTag(s): FILM-PROD

This course introduces students to the world of digital filmmaking. Through screenings, production assignments, and in-class labs, students will develop proficiency in digital cameras, sound recording devices, and software. Students will work individually to produce several video projects. For their final projects, students will pitch an idea and develop a more complex film.

• Days/Times: M 3:00PM - 5:30PM
• Instructor: Roche, Jimmy
• Room: The Centre 216
• Status: Waitlist Only
• Seats Available: 0/8
• PosTag(s): FILM-PROD

This course introduces students to the world of digital filmmaking. Through screenings, production assignments, and in-class labs, students will develop proficiency in digital cameras, sound recording devices, and software. Students will work individually to produce several video projects. For their final projects, students will pitch an idea and develop a more complex film.

• Days/Times: Th 11:00AM - 1:30PM
• Instructor: Bae, Wonjung
• Room: The Centre 239
• Status: Waitlist Only
• Seats Available: 0/8
• PosTag(s): FILM-PROD

In this course we will explore the basic principles of visual storytelling in narrative film as they apply to the design, creation, and revision of the screenplay. Specifically, we will focus on learning the craft of screenwriting - strategies, processes, and philosophies that writers can develop, practice, and rely upon as they progress through a series of screenwriting exercises and write two short screenplays, which will be critiqued in-class during weekly table reads and with the Instructor (one-on-one) during office hours. Select professional screenplays will be read and analyzed — and clips from select films viewed — to further explore what works well on the page, and how it translates to working well onscreen. Final Draft screenwriting software is required; a FREE 18-week trial will be made available for all students who don’t already have Final Draft.

• Days/Times: T 11:00AM - 1:30PM
• Instructor: Rodgers, Adam F
• Room: The Centre 206
• Status: Closed
• Seats Available: 0/10
• PosTag(s): FILM-SCRWRT

The history of media art is in many ways a history of artists trying to find new modes of distribution and exchange for that art. From early video collectives mailing tapes to contemporary artists launching NFT collections, media artists have consistently challenged traditional gallery distribution models by creating alternative networks for circulation, funding, and audience engagement. This course examines how technological shifts and economic pressures have shaped strategies for media art distribution from the 1960s to the present. We will trace the evolution from mail art networks and public access television to social media platforms and blockchain marketplaces, analyzing how each era's dominant technologies enabled new forms of artistic exchange. Students will investigate case studies including Radical Software magazine's tape-sharing network, the rise of net.art communities, platform-based art practices, and contemporary cryptocurrency/NFT art markets. Throughout, we will consider how distribution methods influence artistic content, community formation, and definitions of artistic value. The course positions media art not just as aesthetic practice, but as a testing ground for alternative economic and social models. Students will analyze how artists have leveraged everything from postal systems to peer-to-peer networks to build sustainable creative practices outside conventional art market structures.

• Days/Times: MW 10:30AM - 11:45AM
• Instructor: Flyntz, Elizabeth
• Room: Bloomberg 178
• Status: Open
• Seats Available: 3/15
• PosTag(s): FILM-CRITST

How do images and writing evoke sensory experience?  How can storytelling explore culture, social codes, the inner lives of characters?  Students in this course will consider a range of material including poetry, prose, and film.  They'll respond with brief written analyses; creative writing, including brief dramatic scenes; and both still and moving smartphone images.  Throughout they'll practice the close observation necessary to locate telling details in their own worlds, and create textured, immersive work.  An introductory film studies or film production course is recommended, but not required.  Non-majors welcome!

• Days/Times: T 3:00PM - 5:30PM
• Instructor: Bucknell, Lucy
• Room: Gilman 35
• Status: Waitlist Only
• Seats Available: 0/9
• PosTag(s): FILM-CRITST

Before film even emerged as a popular entertainment form, motion pictures were used to study the human body for purposes of scientific inquiry and medical practice. The present-day crossovers between imaging science and cinema—the inclusion of medical imaging in movies and television shows, the deployment of informational videos and animations in telehealth, and the myriad ways that digital imaging itself is spurred on by the needs of scientific investigation and the demand for cultural works—suggest that what we know about the human body is caught up in a complex web of technical representations and cultural meanings. This course explores the construction of the human body within this array of cinematic practice. Our approach will be twofold: First, we will consider scientific and medical images not merely as powerful means of seeing what would otherwise be unseeable but also as technically enabled and culturally influenced ways of knowing, that is, images, as in cinema, that are historical and could be otherwise. Second, we will examine representations of the human body in the history of film, focusing on how bodies are represented, what bodies are privileged, and how bodies are figured using medical imaging.

• Days/Times: TTh 10:30AM - 11:45AM
• Instructor: Stine, Kyle J.
• Room:  
• Status: Open
• Seats Available: 12/12
• PosTag(s): n/a

This course is an exploration of the craft and history of textile-making in relation to animation. This will involve the translation of patterns into structures for the creation of animations. Color, texture, the source of materials and iconography of images used in the textiles will be considered, as well as the people who made them and why. The course will include visits to the Baltimore Museum of Art to study and research textiles. That study and research will be used in the creation of animations - hand-drawn and collage or photo-based works. Knowledge of use of DSLR cameras and video and sound editing required.

• Days/Times: W 2:30PM - 5:00PM
• Instructor: Yasinsky, Karen
• Room: The Centre 216
• Status: Open
• Seats Available: 3/6
• PosTag(s): n/a

Slow Cinema: The Ethics of Being-with in Time. Against the tendencies of a media environment that seems to prioritize faster content at shorter intervals in nearly all areas of cultural life, this course attends to the aesthetics, ethics, and attentional challenges of slow cinema. A global array of filmmaking practices traceable to the earliest years of film history, slow cinema cultivates what we will call long circuits of attention—extended modes of looking and listening that unfold across decelerated time. Although often associated with long takes, slow cinema cannot be reduced to shot duration; some films deploy extremely long takes while maintaining a rapid, volatile tempo, revealing that slowness is an experience rather than a technical property. Over the semester, we will consider how the formal strategies of slow cinema open up meditative and contemplative modes of spectatorship, inviting new forms of care toward dimensions of life that often go unnoticed: labor, landscape, environment, memory, and existence itself.

• Days/Times: W 2:00PM - 4:30PM
• Instructor: Stine, Kyle J.
• Room: Parkway Theater 2
• Status: Open
• Seats Available: 12/12
• PosTag(s): FILM-CRITST

A survey of female beauty, villainy, comedy, and humanity in film and television from the silent era to the present.  Brief written shot analyses and an oral presentation.  Interested students lacking pre-requisites should contact the instructor.  $50 lab fee.

• Days/Times: M 3:00PM - 5:30PM, Th 7:30PM - 10:00PM Screenings
• Instructor: Bucknell, Lucy
• Room: Gilman 35; Gilman 119
• Status: Open
• Seats Available: 3/12
• PosTag(s): FILM-CRITST

This course is an overview of the American movie musical, one of film’s most durable—and arguably most innovative—genres, from the advent of sound to the present. We’ll explore the evolution of the musical as it adapted to the unique properties of film, pioneered technological innovation, and daringly addressed social and cultural change beneath the guise of its purportedly conservative form. Mostly, we’ll closely examine a wide range of films and the essential elements of the genre: dance, music and lyrics, and the performers who bring them to life. We’ll study how and why the popularity of musicals has waxed and waned (and waxed) over time and speculate on what the future portends for the form. Students will discuss, present and write about particular musicals throughout the semester, and will work together as a group to produce a short musical as the final project. AS.061.140 or AS.061.141 are preferred but not required

• Days/Times: Th 1:30PM - 4:00PM
• Instructor: DeLibero, Linda Louise
• Room: The Centre 206
• Status: Closed
• Seats Available: 0/14
• PosTag(s): FILM-CRITST

This course is designed to immerse students in the creative, technical, and logistical challenges of narrative film production. The journey will yield a greater understanding of the professional structure of a film crew, as well as the collaborative creativity and intentionality necessary to make a narrative short film. Students will be divided into teams, each of which will produce, shoot, and edit a short narrative film based upon a 5 to 10-page screenplay written by a fellow student (and completed by the time the course begins). Students will fill all principal crew roles—director, cinematographer, producer, editor, location sound mixer, etc. Instructors will serve a guiding role throughout all phases of student projects, sharing practical strategies and technical expertise relating to the creative, collaborative nature of the filmmaking process. Instructors will also expose students to several working film professionals in order to further illuminate the key creative roles and dynamics inherent to narrative filmmaking.

• Days/Times: F 10:00AM - 2:00PM
• Instructor: Bae, Wonjung; Rodgers, Adam F
• Room: The Centre 239
• Status: Approval Required
• Seats Available: 2/14
• PosTag(s): FILM-PROD

A hand-made, 2-D animation course based on ideas of automatism. Students will create their own animated movie during the semester with in-class animation exercises. Readings will included Dada and Surrealist texts, poetry and theory of poetics. Sounds ideas will be discussed and pursued related to the ideas explored throughout the semester. $125 lab fee.

• Days/Times: T 11:00AM - 1:30PM
• Instructor: Yasinsky, Karen
• Room: The Centre 216
• Status: Open
• Seats Available: 5/8
• PosTag(s): n/a

In this course, we explore different understandings of "love" and the way that film has dealt with the concept as a medium. We explore a variety of approaches to the question of "love" - from the agapic to the familial to the romantic - through a series of interdisciplinary readings ranging from philosophy to anthropology. We will also equally explore the question of how film has engaged with the question of love as a concept, and what depictions of human affection - from the general to the personal - it has offered us. Screenings are required for this course. Lab fee: $50

• Days/Times: T 2:30PM - 5:00PM
• Instructor: Ward, Meredith C
• Room: The Centre 206
• Status: Waitlist Only
• Seats Available: 0/15
• PosTag(s): FILM-CRITST

This course focuses on Cannes, one of the world’s oldest and most influential film festivals. We will explore the role of film festivals in fostering aesthetic communities and creating markets by reading about the culture, politics, and commerce of film festivals, Cannes in particular, and by watching films that permit us to compare Official Selections to less orthodox choices for parallel sections and concurrent festivals. Classes meet 8x during the semester. Attendance at all classes and evening screenings is mandatory. This two-credit course is the mandatory companion to AS.061.402, Cannes Experiential Learning Excursion, when students attend the Cannes Film Festival. Students must have valid passports by the beginning of spring semester and be able to travel to France after semester’s end, 15-25 May 2026. Travel, lodging, and food will be paid for by JHU and FMS. Instructor approval required. Contact [email protected] for further information. Students must submit a short essay on course goals, a short film review, and participate in an interview to be considered for enrollment. Do not use AI for application preparation.

• Days/Times: T 7:30PM - 10:00PM Screenings, W 2:30PM - 5:00PM
• Instructor: Mason, Laura
• Room: Gilman 10; Gilman 35
• Status: Closed
• Seats Available: 0/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Yasinsky, Karen
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Bae, Wonjung
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Roche, Jimmy
• Room:  
• Status: Approval Required
• Seats Available: 4/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Approval Required
• Seats Available: 4/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Ward, Meredith C
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Bucknell, Lucy
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Mason, Laura
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Rodgers, Adam F
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Permission required. Production track students complete an independent project. Should must have completed one advanced level FMS production course (POS tag FILM-PROD).

• Days/Times:
• Instructor: Stine, Kyle J.
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Ward, Meredith C
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Stine, Kyle J.
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Bucknell, Lucy
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: Yasinsky, Karen
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: Bucknell, Lucy
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: Roche, Jimmy
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: Ward, Meredith C
• Room:  
• Status: Approval Required
• Seats Available: 4/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: Rodgers, Adam F
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: Yasinsky, Karen
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: Roos, Suzanne Lois
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An independent study in Film and Media Studies gives students the opportunity to pursue an independent research project or develop/produce a film project or a script under the mentorship of a Film and Media Studies faculty member.

• Days/Times:
• Instructor: Mason, Laura
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

An internship in the field of Film and Media to be overseen and approved by a Film and Media Studies faculty member. Prior approval is required.

• Days/Times:
• Instructor: DeLibero, Linda Louise
• Room:  
• Status: Approval Required
• Seats Available: 11/12
• PosTag(s): n/a

An internship in the field of Film and Media to be overseen and approved by a Film and Media Studies faculty member. Prior approval is required.

• Days/Times:
• Instructor: Bucknell, Lucy
• Room:  
• Status: Approval Required
• Seats Available: 12/12
• PosTag(s): n/a

Permission required. Screenwriting Track students complete an independent project.

• Days/Times:
• Instructor: Rodgers, Adam F
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

Permission required. Screenwriting Track students complete an independent project.

• Days/Times:
• Instructor: Ward, Meredith C
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• PosTag(s): n/a

This course studies the representation of religious themes in modern literature and cinema. Most of the works it covers are not defined as sacred but include religious themes as part of their narrative, images, language, and symbolic meaning. The course will cover materials related to the three monotheistic religions and general questions across religions, nations, and cultures. It also includes asking general theoretical questions such as: what is faith, and why do we need it? What are the differences between genres and media when representing religious topics, how god is represented in artistic forms, and how contemporary tensions between tradition and modernity enter the creative sphere?

• Days/Times: Th 1:30PM - 4:00PM
• Instructor: Stahl, Neta
• Room: Smokler Center 213
• Status: Open
• Seats Available: 8/15
• PosTag(s): n/a

In this course we will explore how literature and film depict the material relationships between our human bodies and more-than-human worlds within and around us. We will consider not only how the classical elements (earth, air, fire, water) are media and how they connect our individual bodies with other bodies, but how the body itself is a medium. We will examine a range of ecologically conscious literary texts and films from the German and Nordic worlds as they engage themes including elementality, the nuclear age, the Anthropocene, and queer ecologies.

• Days/Times: MW 1:30PM - 2:45PM
• Instructor: Staff
• Room: Gilman 443
• Status: Open
• Seats Available: 8/15
• PosTag(s): ENVS-MAJOR, ENVS-MINOR

This course builds on introductory podcasting skills and challenges students to create ambitious, professional-quality audio work. Students will experiment with advanced sound design, multi-voice narrative structure, and serialized formats. The class emphasizes collaboration, ethical storytelling, and preparing projects for public audiences. By semester’s end, students will produce a portfolio-ready longform podcast or pilot mini-series.

• Days/Times: Th 5:30PM - 8:00PM
• Instructor: Henkin, Aaron
• Room: Gilman 186
• Status: Open
• Seats Available: 4/15
• PosTag(s): n/a