Ever wondered how the ads you see seem to know exactly what you want even before you do? Dive into the world of Big Data and Advertising where technology meets creativity to shape consumer behavior and business strategy. This course offers a deep exploration of how big data is revolutionizing advertising, from personalized ads to predictive analytics. By integrating perspectives from psychology, economics, computer science, and marketing, you’ll gain insights into how data drives decisions in the advertising world. Explore the psychological principles behind consumer behavior, learn how data is collected, and understand the ethical implications of using personal information in advertising. Through hands-on programming in Python, you’ll manipulate large datasets to discover patterns that drive ad campaigns. This interdisciplinary course challenges you to think critically about the intersection of technology, ethics, and business, preparing you to navigate the complexities of data-driven advertising. No prior coding experience is required, making this course accessible to all students interested in the powerful combination of big data and advertising.

• Days/Times: MTWThF 9:30AM - 4:00PM
• Instructor: Dutt, Rosie
• Room: Hodson 315
• Status: Open
• Seats Available: 6/24
• PosTag(s): n/a

This primer to screenwriting will emphasize the power of the image to deliver character, situation, and theme, and to advance even complex plots.  Students will analyze narrative films, compose their own still and moving images with cellphone cameras, and write several short dramatic pieces to be read and workshopped by the group.  They'll learn the basics of scene design and of screenplay format. For FMS majors in the screenwriting track, this course fulfills the Media and Narrative requirement . $50 lab fee.

• Days/Times: MTTh 5:30PM - 8:00PM
• Instructor: Bucknell, Lucy
• Room:  
• Status: Open
• Seats Available: 4/9
• 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: MTTh 5:30PM - 8:00PM
• Instructor: Bucknell, Lucy
• Room:  
• Status: Open
• Seats Available: 6/9
• PosTag(s): n/a

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: Waitlist Only
• Seats Available: 0/15
• 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
• Status: Reserved Open
• Seats Available: 11/25
• 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: Waitlist Only
• Seats Available: 0/8
• 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: Approval Required
• Seats Available: 5/10
• 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: Hodson 213
• Status: Waitlist Only
• Seats Available: 0/25
• 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: Approval Required
• Seats Available: 4/12
• 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: Waitlist Only
• Seats Available: 0/8
• 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: Approval Required
• Seats Available: 3/8
• 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: Gilman 55
• Status: Open
• Seats Available: 6/15
• 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
• Status: Waitlist Only
• Seats Available: 0/15
• PosTag(s): FILM-CRITST

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
• Status: Open
• 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: Approval Required
• Seats Available: 5/10
• 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: Open
• Seats Available: 2/15
• 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. Class will take place at the Baltimore Museum of Art. Priority will be given to FMS majors and minors.

• Days/Times: W 1:30PM - 4:00PM
• Instructor: DeLibero, Linda Louise
• Room: The Centre 206
• Status: Approval Required
• Seats Available: 6/12
• 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: Approval Required
• 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: Approval Required
• 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: DeLibero, Linda Louise
• Room:  
• Status: Approval Required
• 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: Approval Required
• 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: Approval Required
• 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: Approval Required
• 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: Approval Required
• 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: Approval Required
• 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: Approval Required
• 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: Approval Required
• Seats Available: 4/4
• 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

Critical studies track students complete an independent research project.

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

Critical studies track students complete an independent research project.

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

Critical studies track students complete an independent research project.

• Days/Times:
• Instructor: Roche, Jimmy
• Room:  
• Status: Approval Required
• Seats Available: 5/5
• 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: Open
• Seats Available: 2/15
• 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: Waitlist Only
• Seats Available: 0/15
• 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: Approval Required
• Seats Available: 2/10
• PosTag(s): n/a