The courses listed below are provided by the JHU Public Course Search. This listing provides a snapshot of immediately available courses and may not be complete.
Please consult the online course catalog for cross-listed courses and full course information, including courses that are offered on a rotating basis.
Summer Courses
The following summer courses are offered on a rotating basis. For more information, visit the JHU Summer at Hopkins website.
American Comedy Classics (W), Bucknell
American Contemporary Classics (W), Bucknell
American Masterpieces (W), Bucknell
Analyzing Popular Culture, Ward
Camera-less Filmmaking, Mann
How the Kids Stole Hollywood, Ward
Latino Film, DeLibero
Moving Pictures: Looney Toons and Beyond, Mann
School Daze (W), Bucknell
Teens on Screen, DeLibero
Watching the Detectives (W), Bucknell
Course # (Section)
Title
Day/Times
Instructor
Location
Term
Course Details
AS.061.104 (01)
Creative Roles in Film and Television: Careers and Strategies
W 5:45PM - 7:00PM
DeLibero, Linda Louise
Gilman 400
Fall 2023
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.
×
Creative Roles in Film and Television: Careers and Strategies AS.061.104 (01)
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
AS.061.139 (01)
Conflict and Cinema
Th 5:00PM - 8:00PM
Bae, Wonjung
Olin 305
Fall 2023
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.
×
Conflict and Cinema AS.061.139 (01)
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
AS.061.140 (01)
Introduction to Cinema, 1892-1960
M 3:00PM - 5:30PM, Th 7:30PM - 10:00PM Screenings
Bucknell, Lucy
Shaffer 2
Fall 2023
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!
×
Introduction to Cinema, 1892-1960 AS.061.140 (01)
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
AS.061.147 (01)
Visual Storytelling
M 7:30PM - 10:00PM Screenings, T 3:00PM - 5:30PM
Bucknell, Lucy
Hodson 315
Fall 2023
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.
×
Visual Storytelling AS.061.147 (01)
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
AS.061.149 (01)
Anime: A History and Its Influences
F 1:30PM - 4:00PM
Yasinsky, Karen
Gilman 35
Fall 2023
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.
×
Anime: A History and Its Influences AS.061.149 (01)
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
AS.061.152 (01)
Introduction to Digital Video Production
T 12:30PM - 3:00PM
Bae, Wonjung; Roche, Jimmy
The Centre 239
Fall 2023
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.
×
Introduction to Digital Video Production AS.061.152 (01)
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
AS.061.152 (02)
Introduction to Digital Video Production
Th 1:30PM - 4:00PM
Roche, Jimmy
Gilman 35
Fall 2023
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.
×
Introduction to Digital Video Production AS.061.152 (02)
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
AS.061.161 (01)
Lights, Camera, Action: Youth
Th 5:00PM - 8:00PM
Bucknell, Lucy
Olin 305
Fall 2023
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.
×
Lights, Camera, Action: Youth AS.061.161 (01)
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
AS.061.226 (01)
Special Topics: Writing About Film
W 3:00PM - 5:30PM, T 7:30PM - 10:00PM Screenings
Mason, Laura
Gilman 10
Fall 2023
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
×
Special Topics: Writing About Film AS.061.226 (01)
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
AS.061.267 (01)
Cultural History of the Internet
M 2:00PM - 4:30PM
Stine, Kyle J.
The Centre 208
Fall 2023
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.
×
Cultural History of the Internet AS.061.267 (01)
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
AS.061.320 (01)
21st Century Television Auteurs and American Culture
Th 1:30PM - 4:00PM
Ward, Meredith C
Gilman 277
Fall 2023
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.
×
21st Century Television Auteurs and American Culture AS.061.320 (01)
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
AS.061.346 (01)
Time, History and Memory in Recent Global Cinema
W 1:30PM - 4:00PM
DeLibero, Linda Louise
The Centre 206
Fall 2023
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.
×
Time, History and Memory in Recent Global Cinema AS.061.346 (01)
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
AS.061.378 (01)
Automatic Animation
Th 3:30PM - 6:00PM
Yasinsky, Karen
The Centre 206
Fall 2023
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.
×
Automatic Animation AS.061.378 (01)
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
AS.061.382 (01)
Explorations in Film Sound
M 10:30AM - 1:00PM
Stine, Kyle J.
The Centre 208
Fall 2023
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).
×
Explorations in Film Sound AS.061.382 (01)
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
AS.100.447 (01)
A Celluloid Archive: Constructing Modern Indian History through Film
Th 1:30PM - 4:00PM
Halladay, Andrew
Gilman 308
Fall 2023
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.
×
A Celluloid Archive: Constructing Modern Indian History through Film AS.100.447 (01)
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
AS.211.386 (01)
Italian Cinema
MW 1:30PM - 2:45PM
Di Bianco, Laura
Gilman 381
Fall 2023
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.
×
Italian Cinema AS.211.386 (01)
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
AS.010.356 (01)
Landscape in World Cinema
T 1:30PM - 4:00PM
Liu, Yinxing
MSE Library ERC
Spring 2024
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.
×
Landscape in World Cinema AS.010.356 (01)
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.
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.
×
Introduction to Cinema, 1960-present AS.061.141 (01)
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.
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.
×
Introduction to Digital Video Production AS.061.152 (02)
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
AS.061.245 (01)
Introduction to Film Theory
T 1:30PM - 4:00PM, W 7:30PM - 10:00PM Screenings
Ward, Meredith C
Gilman 35
Spring 2024
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.
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Introduction to Film Theory AS.061.245 (01)
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: Gilman 35
Status: Open
Seats Available: 3/10
PosTag(s): FILM-CRITST
AS.061.248 (01)
Women Making Films About Women
T 7:30PM - 10:00PM Screenings, Th 5:00PM - 7:30PM
Yasinsky, Karen
Gilman 186
Spring 2024
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.
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Women Making Films About Women AS.061.248 (01)
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: Open
Seats Available: 2/15
PosTag(s): FILM-CRITST
AS.061.268 (01)
History of Computer Animation
M 2:00PM - 4:30PM
Stine, Kyle J.
The Centre 208
Spring 2024
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).
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History of Computer Animation AS.061.268 (01)
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: Open
Seats Available: 1/15
PosTag(s): FILM-CRITST, MSCH-HUM
AS.061.271 (01)
Intermediality: Between Word, Image, and Sound
TTh 10:30AM - 11:45AM
Stine, Kyle J.
Krieger 205
Spring 2024
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).
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Intermediality: Between Word, Image, and Sound AS.061.271 (01)
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: 1/15
PosTag(s): FILM-CRITST
AS.061.312 (01)
The Fallen World: Morally Complex Storytelling
M 7:30PM - 10:00PM Screenings, T 3:00PM - 5:30PM
Bucknell, Lucy
Gilman 186
Spring 2024
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.
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The Fallen World: Morally Complex Storytelling AS.061.312 (01)
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 186
Status: Open
Seats Available: 5/9
PosTag(s): FILM-SCRWRT
AS.061.328 (01)
Gangster Films
M 3:00PM - 5:30PM, Th 7:30PM - 10:00PM Screenings
Bucknell, Lucy
Bloomberg 176
Spring 2024
The bad guy as hero from Little Caesar to Goodfellas.
Film screenings Th 7:30-10:00 PM, Sun 7:00-9:30 PM.
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.
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Gangster Films AS.061.328 (01)
The bad guy as hero from Little Caesar to Goodfellas.
Film screenings Th 7:30-10:00 PM, Sun 7:00-9:30 PM.
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: Open
Seats Available: 1/15
PosTag(s): FILM-CRITST
AS.061.340 (01)
The Body in French Cinema; Sexuality, Physicality, Vulnerability
F 1:30PM - 4:00PM, W 7:30PM - 10:00PM Screenings
Roos, Suzanne Lois
Gilman 377
Spring 2024
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.
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The Body in French Cinema; Sexuality, Physicality, Vulnerability AS.061.340 (01)
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: 11/15
PosTag(s): FILM-CRITST, MSCH-HUM
AS.211.316 (01)
Brazilian Cinema and Topics in Contemporary Brazilian Society
MW 12:00PM - 1:15PM
De Azeredo Cerqueira, Flavia Christina
Hodson 216
Spring 2024
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.
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Brazilian Cinema and Topics in Contemporary Brazilian Society AS.211.316 (01)
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 216
Status: Waitlist Only
Seats Available: 0/20
PosTag(s): INST-NWHIST, INST-GLOBAL, MLL-ENGL
AS.211.316 (02)
Brazilian Cinema and Topics in Contemporary Brazilian Society
MW 12:00PM - 1:15PM
De Azeredo Cerqueira, Flavia Christina
Hodson 216
Spring 2024
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.
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Brazilian Cinema and Topics in Contemporary Brazilian Society AS.211.316 (02)
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 216
Status: Open
Seats Available: 1/3
PosTag(s): INST-NWHIST, INST-GLOBAL, MLL-ENGL
AS.061.238 (85)
Reading the Moving Image
MTTh 5:15PM - 7:45PM
Bucknell, Lucy
Summer 2024
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. A short oral presentation and a short written analysis. No prior experience in film studies required; majors and non-majors welcome.
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Reading the Moving Image AS.061.238 (85)
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. A short oral presentation and a short written analysis. No prior experience in film studies required; majors and non-majors welcome.
Days/Times: MTTh 5:15PM - 7:45PM
Instructor: Bucknell, Lucy
Room:
Status: Open
Seats Available: 12/12
PosTag(s): n/a
AS.061.265 (86)
Comedic Storytelling for Page and Screen
MTTh 5:15PM - 7:45PM
Bucknell, Lucy
Summer 2024
A workshop devoted to the art and science of a funny story well told. Students will analyze comic fiction, film, and classic television, and create their own short, comic works, drawing on personal experience and real-world observation. They'll learn the basics of screenplay format and scene design, and hone close observation and critical thinking skills. This course satisfies the Film and Media Studies screenwriting requirement. 220.105 OR 225.06 recommended but not required. Both majors and non-majors welcome.
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Comedic Storytelling for Page and Screen AS.061.265 (86)
A workshop devoted to the art and science of a funny story well told. Students will analyze comic fiction, film, and classic television, and create their own short, comic works, drawing on personal experience and real-world observation. They'll learn the basics of screenplay format and scene design, and hone close observation and critical thinking skills. This course satisfies the Film and Media Studies screenwriting requirement. 220.105 OR 225.06 recommended but not required. Both majors and non-majors welcome.
Days/Times: MTTh 5:15PM - 7:45PM
Instructor: Bucknell, Lucy
Room:
Status: Open
Seats Available: 8/9
PosTag(s): n/a
AS.061.402 (82)
The Cannes Film Festival: Experiential Learning Excursion
Mason, Laura
Summer 2024
Mandatory travel portion of the Cannes Film Festival course (AS.061.401). Travel will take place May 16-27. We will lodge in Cannes and attend the five film festivals running concurrently 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. Participants have already been identified.
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The Cannes Film Festival: Experiential Learning Excursion AS.061.402 (82)
Mandatory travel portion of the Cannes Film Festival course (AS.061.401). Travel will take place May 16-27. We will lodge in Cannes and attend the five film festivals running concurrently 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. Participants have already been identified.