This course will explore film and television career paths and strategies through conversations with producers, screenwriters, directors and other creatives in New York and Los Angeles, some of whom are JHU alumni. Students will gain an understanding of how to track the rapidly changing global entertainment landscape, how to craft a successful path, and how to improve the skills necessary for a professional career in entertainment.

• Days/Times: W 5:45PM - 7:00PM
• Instructor: DeLibero, Linda Louise
• Room: Gilman 400
• Status: Open
• Seats Available: 3/25
• PosTag(s): n/a

Documentary films raise awareness about underreported geopolitical issues, challenge dominant narratives by revealing and amplifying the voices of the marginalized, and advocate for change by expressing the complexity of conflict through first-hand, grounded accounts of human experience. Documentary films claim to be real, true, and right. Are they? Can they serve as a platform for critical analysis and a reflection of human experience in its most urgent form? This course is designed to familiarize students with topical and continuing geopolitical issues caused by overarching American involvement, to analyze award-winning documentary films in terms of their cinematic strategies, and to practice imagining the smell, touch, and scream comprising the human cost of world conflict. Since this course meets only four times, perfect attendance is mandatory.

• Days/Times: Th 5:00PM - 8:00PM
• Instructor: Bae, Wonjung
• Room: Olin 305
• Status: Open
• Seats Available: 17/30
• 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: M 3:00PM - 5:30PM, Th 7:30PM - 10:00PM Screenings
• Instructor: Bucknell, Lucy
• Room: Shaffer 2
• Status: Reserved Open
• Seats Available: 31/45
• 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: M 7:30PM - 10:00PM Screenings, T 3:00PM - 5:30PM
• Instructor: Bucknell, Lucy
• Room: Hodson 315
• Status: Open
• Seats Available: 1/9
• PosTag(s): n/a

In this course we will explore the history of anime through weekly screenings and short response papers. Directors include early filmmakers Shimokawa, Kouchi, Kitayama and more contemporary influential directors including Miyazaki (Princess Mononoke), Oshii (Ghost in the Shell), Otomo (Akira) and Kon (Paprika). Creative assignments will explore anime's relationship to manga and students will create a short animation as a final project. This class is open to all and no previous animation experience is required.

• Days/Times: F 1:30PM - 4:00PM
• Instructor: Yasinsky, Karen
• Room: Gilman 35
• Status: Open
• Seats Available: 2/10
• PosTag(s): n/a

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: T 12:30PM - 3:00PM
• Instructor: Bae, Wonjung; Roche, Jimmy
• Room: The Centre 239
• 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 1:30PM - 4:00PM
• Instructor: Roche, Jimmy
• Room: Gilman 35
• Status: Waitlist Only
• 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 representations of youth in a selection of films of different eras and national cinemas. 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 August 31, September 7, 14, 21, and will be graded Pass/Fail. Due to the limited number of meetings, perfect attendance is required. In fall 2023, the course will be taught by three FMS senior faculty members, and guest professor Keith Mehlinger of Morgan State University.

• Days/Times: Th 5:00PM - 8:00PM
• Instructor: Bucknell, Lucy
• Room: Olin 305
• Status: Reserved Open
• Seats Available: 24/45
• PosTag(s): n/a

This workshop promotes more effective writing, hones interpretive skills, and encourages the development of a distinctive voice through a series of progressively more complex assignments. By sharing draft essays with the class, commenting on one another’s work, and revising, students will learn to edit their own work and to thoughtfully critique others’. Fulfills the Film and Media Studies expository writing requirement. Lab Fee: $50

• Days/Times: W 3:00PM - 5:30PM, T 7:30PM - 10:00PM Screenings
• Instructor: Mason, Laura
• Room: Gilman 10
• Status: Waitlist Only
• Seats Available: 0/12
• PosTag(s): FILM-CRITST

This course offers an introduction to internet studies through the many ways digital culture has touched our everyday lives: memes, blogs, gaming, social networking, instant messaging, and more. From its origins in connecting scientific researchers to its present form as a multi-device, multi-platform web connecting us to everything from each other to our smart homes, the internet has proven that nearly our entire social world can be processed as data and linked up. While this has meant greater connection, it has also raised questions about how we learn, communicate, behave, and organize. The internet has long promised new avenues of personal expression, but it has also brought with it the quandaries of echo chambers, information silos, and disinformation campaigns. In response to these complicating effects, the course offers an opportunity for students to develop the critical mapping tools necessary to orient oneself within this vast cultural network and its rapid historical unfolding.

• Days/Times: M 2:00PM - 4:30PM
• Instructor: Stine, Kyle J.
• Room: The Centre 208
• Status: Open
• Seats Available: 14/30
• PosTag(s): FILM-CRITST, MSCH-HUM

Since the rise of HBO in the late 1990s, cable, network, and streaming television has become home to a diverse range of "quality" shows that showcase strong perspectives by unique creators. These series creators work within an intensive commercial medium and a cultural context they speak to but cannot themselves determine. This course examines the relationship between the cultural milieu in which they create work and the show creator themselves. Featuring such examples as Donald Glover's Atlanta, Michael Shur's The Good Place, Phoebe Waller-Bridge's Fleabag, Rebecca Sugar's Steven Universe, Mindy Kaling's The Mindy Project, and Terence Nance's Random Acts of Flyness, among others, it encourages students to engage in aesthetic critique as well as cultural analysis, with the ultimate end of making students better understand the relationship between television and auteur, and be better able to engage with the culture in which they swim via its media.

• Days/Times: Th 1:30PM - 4:00PM
• Instructor: Ward, Meredith C
• Room: Gilman 277
• Status: Waitlist Only
• Seats Available: 0/12
• PosTag(s): FILM-CRITST

With its unique ability to transcend both time and space, cinema is particularly suited to address the nature of memory and the politics of remembering. This course will examine how film frames, revises, translates and transforms memories—personal, historical and cultural—through a range of examples in recent global cinema. Films may include those by Pedro Almódovar, Nuri Bilge Ceylan, Lee Chang-dong, Claire Denis, Michael Haneke, Andrew Haigh, Joanna Hogg, Hirokazu Kore-eda, Christian Petzold, Sarah Polley, Hong Sang Soo, Celine Sciamma, and Jia Zhangke.

• Days/Times: W 1:30PM - 4:00PM
• Instructor: DeLibero, Linda Louise
• Room: The Centre 206
• Status: Open
• Seats Available: 2/15
• PosTag(s): FILM-CRITST

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: Th 3:30PM - 6:00PM
• Instructor: Yasinsky, Karen
• Room: The Centre 206
• Status: Open
• Seats Available: 5/8
• PosTag(s): FILM-PROD

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: M 10:30AM - 1:00PM
• Instructor: Stine, Kyle J.
• Room: The Centre 208
• Status: Open
• Seats Available: 6/15
• PosTag(s): FILM-CRITST, MSCH-HUM

Cinema enjoys extraordinary prominence in India, where in a given year the output of films in Bombay—to say nothing of other Indian film centers—far surpasses the number produced by all American studios combined. While many of India’s most successful films have been derided by critics in Europe and North America, this course takes them seriously both as an artistic form and as a historical tool, treating the films, together with their consumption and circulation, as a critical window into the social history of India. We will begin our investigation in the silent era to demonstrate how, even though the majority of early films are lost, reception histories can reveal much about the communities that viewed them. Moving into the Golden Age of Hindi cinema in the 1950s and 1960s, we will consider how the popularity of these films in Pakistan, Iran, West Africa, and the Soviet Union was tied to India’s global aspirations and self-representation. This course closes with an examination of the current era of Indian cinema and the extent to which its production values, moral and political claims, and viewership (especially in the diaspora) have responded to, and perhaps emboldened, domestic shifts toward economic liberalization and rightwing politics. Focusing more on the social spaces around Indian cinema than on specific films, this course touches on such topics as the segregation of cinemas, the politics of tiered seating, and the rise of multiplexes and (il)legal streaming. Our interrogation of these spaces will reveal how these films can expose social attitudes, even on matters like caste, class, religion, language, and race that they may address only obliquely. More than this, however, this course proposes that Indian cinema, as a primary means of social interaction, entertainment, and information for millions, is not only a historical record but a historical force in its own right.

• Days/Times: Th 1:30PM - 4:00PM
• Instructor: Halladay, Andrew
• Room: Gilman 308
• Status: Open
• Seats Available: 9/20
• PosTag(s): HIST-ASIA, 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 imaginary 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.

• Days/Times: MW 1:30PM - 2:45PM
• Instructor: Di Bianco, Laura
• Room: Gilman 381
• Status: Open
• Seats Available: 3/15
• PosTag(s): INST-GLOBAL

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: T 1:30PM - 4:00PM
• Instructor: Liu, Yinxing
• Room: MSE Library ERC
• Status: Open
• Seats Available: 6/15
• PosTag(s): HART-MODERN, MSCH-HUM

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: Hodson 311
• Status: Open
• Seats Available: 19/48
• 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: F 10:30AM - 1:00PM
• Instructor: Rodgers, Adam F
• Room: The Centre 216
• Status: Approval Required
• Seats Available: 1/10
• 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: T 11:00AM - 1:30PM
• Instructor: Roche, Jimmy
• Room: The Centre 239
• Status: Approval Required
• Seats Available: 2/10
• 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: Th 10:30AM - 1:00PM
• 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 three 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: Th 11:00AM - 2:00PM
• Instructor: Rodgers, Adam F
• Room: The Centre 206
• Status: Approval Required
• Seats Available: 5/12
• PosTag(s): FILM-SCRWRT

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 1:30PM - 4:00PM
• Instructor: Roche, Jimmy
• Room: Gilman 35
• Status: Approval Required
• Seats Available: 0/8
• PosTag(s): FILM-PROD, MSCH-HUM

This course offers an introduction to the major paradigms of film theory, covering how significant thinkers have conceived of the medium from its inception to the present day. Frequent film screenings help to illustrate key concepts. Topics include the classical opposition between formalist and realist film theories as well as critical approaches to narrative, spectatorship, and representation. Students are expected to enter the course ready to engage in discussion. Weekly film screenings. $50 lab fee.

• Days/Times: T 1:30PM - 4:00PM, W 7:30PM - 10:00PM Screenings
• Instructor: Ward, Meredith C
• Room:  
• Status: Open
• Seats Available: 10/15
• PosTag(s): FILM-CRITST

This course will examine films (features and shorts) throughout the history of cinema beginning with Alice  Guy-Blaché . We will look at how form reveals content, thematic issues and how films relate to the culture and politics of the filmmaker. Filmmakers include Germaine Dulac, Nelly Kaplan, Marguerite Duras, Chantal Ackerman, Barbara Hammer and Nina Menkes. Readings include critical essays, texts by the filmmakers and fiction. Assignments consist of weekly papers on the films.

• Days/Times: T 7:30PM - 10:00PM Screenings, Th 5:00PM - 7:30PM
• Instructor: Yasinsky, Karen
• Room: Gilman 186
• Status: Waitlist Only
• Seats Available: 0/15
• PosTag(s): FILM-CRITST

This course offers a journey through the history of computer animation. We’ll start with an archaeology of the digital image, look at experimental animations by early computer artists, and sketch out the work of engineers in developing techniques of wire-frame modeling, texture mapping, shadowing, and facial animation. Beginning with short films and digital sequences in otherwise live-action movies, we’ll cover a wide variety of animation styles in an international context. Screenings will be drawn from a selection of fully computer-animated features, such as those from Studio Ghibli and Pixar; live-action movies with digital special effects in the mode of Tron (Lisberger, USA, 1982) and Terminator 2: Judgment Day (Cameron, USA, 1992); films that use computer software to aid traditional methods of animating, such as The Illusionist (Chomet, France, 2010) and Boy and the World (Abreu, Brazil, 2014); and animated documentaries, such as Waltz with Bashir (Folman, Israel, 2008) and Tower (Maitland, USA, 2016).

• Days/Times: M 2:00PM - 4:30PM
• Instructor: Stine, Kyle J.
• Room: The Centre 208
• Status: Waitlist Only
• Seats Available: 0/15
• PosTag(s): FILM-CRITST, MSCH-HUM

This course explores film adaptation by considering how words, images, and sounds offer different affordances and constraints for creative expression. A central goal is to conceive of adaptation outside of typical discussions of fidelity to a source work and instead consider how different artistic media open up unique opportunities for storytelling. To this end, we will draw on a number of different intermedial translations, which may include from novel to film (The Night of the Hunter, from Davis Grubb’s book to James Agee’s screenplay to Charles Laughton’s film), from short story to film (The Turin Horse), from graphic novel to film (Ghost World) or television series (HBO’s Watchmen), from personal essay to documentary film (James Baldwin’s The Devil Finds Work and I Am Not Your Negro), from poetry to film (O Brother, Where Art Thou), from play to film (A Raisin in the Sun and My Own Private Idaho), from radio drama to film (Sorry, Wrong Number), and film-to-film homage (Far From Heaven and All That Heaven Allows). We will also delve into the vagaries of film-to-book novelizations and the curious case of concurrently writing film and book, as in Stanley Kubrick and Arthur C. Clark’s collaboration on the film and novel 2001: A Space Odyssey (both adapted from a short story).

• Days/Times: TTh 10:30AM - 11:45AM
• Instructor: Stine, Kyle J.
• Room: Krieger 205
• Status: Open
• Seats Available: 4/15
• PosTag(s): FILM-CRITST

In this course, each student is responsible for the design and production of a short 16mm film. The film may be shot on color and/or black and white negative stock. The format is Super 16mm. The film may include sync and/or non-sync sound. The idea behind the “mongrel” film is for the student to incorporate a variety of genres within this project. These may include stylistic elements typically associated with documentaries, experimental, narrative, animation, and lost and found films. Students are expected to have previously completed AS.061.150 and an intermediate level film production class.

• Days/Times: W 11:00AM - 1:30PM
• Instructor: Mann, John
• Room: The Centre 216
• Status: Approval Required
• Seats Available: 4/10
• PosTag(s): FILM-PROD

A workshop devoted to creating complex characters in challenging moral landscapes. Students will view and discuss a wide range of films; and creative assignments may include profiles, short fiction, monologues, and dramatic scenes for the screen. Short critical and creative written exercises, and a longer, creative final project.

• Days/Times: M 7:30PM - 10:00PM Screenings, T 3:00PM - 5:30PM
• Instructor: Bucknell, Lucy
• Room: Gilman 377
• Status: Open
• Seats Available: 6/9
• PosTag(s): FILM-SCRWRT

The bad guy as hero from Little Caesar to Goodfellas. Film screenings Th 7:30-10:00 PM, Sun 7:00-9:30 PM. Lab fee: $40. In addition to the prerequisites, students should complete an 200-level Film and Media Studies Critical Studies course or obtain permission from the instructor ([email protected]) to enroll.

• Days/Times: M 3:00PM - 5:30PM, Th 7:30PM - 10:00PM Screenings
• Instructor: Bucknell, Lucy
• Room: Bloomberg 176
• Status: Waitlist Only
• Seats Available: 0/15
• PosTag(s): FILM-CRITST

This course explores how French films have interrogated the body. We will ask how they have attempted to come to terms with human physicality, desire, and fragility--and with the ability of cinema itself to move spectators emotionally and even physically. Themes explored will include sexuality, gender identity and disability. AS.061.140 or AS.061.141 or permission of instructor. $50 lab fee.

• Days/Times: F 1:30PM - 4:00PM, W 7:30PM - 10:00PM Screenings
• Instructor: Roos, Suzanne Lois
• Room: Gilman 377
• Status: Open
• Seats Available: 9/15
• PosTag(s): FILM-CRITST, MSCH-HUM

"What would it be if cinema were left to its own devices, doing what it does best?" This course will attempt to answer that question, posed by the great American filmmaker Albert Maysles, as we explore the fundamentals of observational documentary filmmaking and their ability to capture the unvarnished truth of the human condition. During the semester you'll partner with a classmate, alternating between camera/mic operation, following a human subject born in March, earning and gaining access to real people's lives and conveying intimacy that transcends language and cultural barriers. The class follows the principals and practices detailed in Michael Rabiger's  book Observing. Course features include a heavy and rigorous production schedule each week, hands-on documentary filmmaking experience using the Canon C100 camera and Premiere editing software, and professional training in the managing of subject-observer relations. Students should have already completed a 100-level and a 200-level digital production course.

• Days/Times: Th 1:30PM - 4:00PM
• Instructor: Bae, Wonjung
• Room: The Centre 239
• Status: Approval Required
• Seats Available: 2/8
• PosTag(s): FILM-PROD

Documentary Theory: The Work of Documentary in the Age of Reality Reproduction This course explores contemporary documentary film and video with an emphasis on selected directors and the theoretical implications suggested by their work. In particular, we look at the notion of the ‘real’ as it is constructed and maintained through and by documentaries. This inquiry necessarily involves a reflection that is philosophically as well as politically motivated. Directors include Errol Morris, Trinh Minh-ha, Ross McElwee, and Werner Herzog. Readings are eclectic, ranging from Annie Dillard to Martin Heidegger. Counts toward 300 or 400-level critical studies requirement.

• Days/Times: F 11:00AM - 1:30PM
• Instructor: Mann, John
• Room: The Centre 206
• Status: Approval Required
• Seats Available: 2/12
• PosTag(s): FILM-CRITST

Students will create their own stop-motion models (puppets) based on a wire armature model. In small groups, students will design and create a simple set and make a short stop-motion movie using a DSLR camera. The question of "why animate" will be explored in student projects and responses to screenings. We will study the history of stop-motion puppet animation from Starewicz to Svankmajer to Nick Park.

• Days/Times: M 10:30AM - 1:00PM
• Instructor: Yasinsky, Karen
• Room: The Centre 206
• Status: Approval Required
• Seats Available: 0/8
• PosTag(s): n/a

This course focuses on one of the world’s oldest and most influential film festivals-- that of Cannes-- in order to explore the role of film festivals in fostering aesthetic communities and creating markets. We will read about the culture, politics, and commerce of film festivals in general, and about Cannes in particular, as we watch films that permit us to compare Official Selections to the less orthodox choices of parallel sections and concurrent festivals. Classes meet 8x during the semester. Final organization meeting TBD. 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, where students will be attending the Cannes Film Festival after classes end in May. There, students will chart their way among screenings; meet with festival professionals; write journals and reviews based on their experience; and gather regularly to debrief. Students must be able to acquire passports and travel to France. Travel, lodging, and food will be paid for. Instructor approval required. Contact [email protected] for further information. Be prepared to send a short essay on course goals and a short film review to be considered for enrollment.

• Days/Times: M 7:30PM - 10:00PM Screenings, T 1:30PM - 4:00PM
• 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: Mann, John
• 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: 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: Porterfield, Matthew
• 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: 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: DeLibero, Linda Louise
• 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: 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

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

Critical studies track students complete an independent research project.

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

Course is taught in ENGLISH. Did you know that one of the first Latin American actresses to conquer Hollywood was Brazilian? Did you know that cinema has existed in Brazil since 1895, just six months after the first screening in Paris? This course is an introduction to both the academic study of cinema as a communicative art and to Brazilian film. The films selected focus on the late 1950s to the present and highlight import episodes and challenges in the advancement of Brazilian society as well as its cinematic production. Film aesthetics are analyzed through a number of critical perspectives, including class, race, gender as well as ethnicity, nationalism or national identity, colonialism, social changes, and the politics of representation. In this sense, the films, and documentaries that we will be watching and studying encompass the period from the rise of New Cinema (Cinema Novo) up to films exploring the most recent trends, including movies launched up to 2022. Students wishing to do the course work in English for 3 credits should register for section 01. Those wishing to earn 4 credits by doing the course work in Portuguese should register for section 02. No Prereq.

• Days/Times: MW 12:00PM - 1:15PM
• Instructor: De Azeredo Cerqueira, Flavia Christina
• Room: Hodson 303
• Status: Waitlist Only
• Seats Available: 1/20
• PosTag(s): INST-NWHIST, INST-GLOBAL, MLL-ENGL

Course is taught in ENGLISH. Did you know that one of the first Latin American actresses to conquer Hollywood was Brazilian? Did you know that cinema has existed in Brazil since 1895, just six months after the first screening in Paris? This course is an introduction to both the academic study of cinema as a communicative art and to Brazilian film. The films selected focus on the late 1950s to the present and highlight import episodes and challenges in the advancement of Brazilian society as well as its cinematic production. Film aesthetics are analyzed through a number of critical perspectives, including class, race, gender as well as ethnicity, nationalism or national identity, colonialism, social changes, and the politics of representation. In this sense, the films, and documentaries that we will be watching and studying encompass the period from the rise of New Cinema (Cinema Novo) up to films exploring the most recent trends, including movies launched up to 2022. Students wishing to do the course work in English for 3 credits should register for section 01. Those wishing to earn 4 credits by doing the course work in Portuguese should register for section 02. No Prereq.

• Days/Times: MW 12:00PM - 1:15PM
• Instructor: Chaffin, Benjamin M; De Azeredo Cerqueira, Flavia Christina
• Room: Hodson 303
• Status: Waitlist Only
• Seats Available: 0/3
• PosTag(s): INST-NWHIST, INST-GLOBAL, MLL-ENGL

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: MW 12:00PM - 1:15PM
• Instructor: Spinner, Samuel Jacob
• Room: Gilman 443
• Status: Waitlist Only
• Seats Available: 0/12
• PosTag(s): INST-GLOBAL

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:
• Instructor: Stahl, Neta
• Room:  
• Status: Open
• Seats Available: 7/12
• PosTag(s): n/a

This class will be a hands-on experience for students to be involved in the early stages of a documentary’s making. Students will be working with the professor on researching, planning, and writing the treatment for a documentary about a forgotten feminist play (1927) from pre-Holocaust Vienna, where diversity and progressive thought were still possible. This romantic comedy centers around a self-determined matriarch, Therese, helping her three daughters navigate the expectations of rigid, societal beliefs – often leading by example – as they find their way into adulthood. Moving back and forth between the archive of its time both through the re-appropriation of Nazi newsreels and propaganda films, as well as ephemeral films of the time and the the new staging of the play, the film will take the audience inside a theater space where a vibrant environment of escapism smashes against the harsh reality of its time, which is as vivid as it was 80 years ago.

• Days/Times: Th 1:30PM - 4:00PM
• Instructor: Wegenstein, Bernadette
• Room:  
• Status: Open
• Seats Available: 10/10
• PosTag(s): n/a

In this course, we will explore different genres and approaches to documentary photography and the questions inherent to this mode of image-making. We will explore such themes as representation, storytelling, research, records and archives, journalism, community engagement, and personal perspective. Contemporary issues within our culture and the local Baltimore community will provide inspiration for the work made in this course. Students will produce a final documentary project on a subject of their choice as the culmination of their semester’s work. DSLR cameras are available on loan for the semester. Attendance in first class is mandatory.

• Days/Times: W 10:00AM - 1:00PM
• Instructor: Caro, Christiana
• Room: The Centre 318
• Status: Approval Required
• Seats Available: 1/11
• PosTag(s): n/a