33100. Pinocchio's Afterlife in Cinema, Literature, and Popular Culture (=CMST 23100, ITAL 28900/38900):

Collodi's Pinocchio, written in the 1880s, has had a long and complex afterlife in contemporary literature, film, and popular culture. After studying the context in which the original story was created as well as doing a close reading of Collodi's tale, we shall analyze rewritings of the puppet's story in adult literature by such writers as Giorgio Manganelli, Italo Calvino, and Robert Coover, and then consider cinematic versions by Disney and Benigni as well as films inspired by the tale, such as A.I. by Spielberg and Little Otik. We shall also discuss the ways in which Pinocchio has become an icon in advertising, politics, and many expressions of popular culture not only in Italy but globally. Among the questions to be probed will be why the puppet who wished to become a human boy has had such remarkable staying power in so many cultural forms. R. West. Winter.

34100. Film in India (=CMST 24100, ANTH 20600/31100, HIST 26700/36700, SALC 20500/30500):

Considers the film world from 1975 to the present. Most attention will be paid to the Hindi film and especially to its "peculiar" features, for example, the song and dance. Emphasis is placed on the reconstruction of film-related activities which can be taken as life practices from the stand point of "elites" and "masses," "middle classes," men and women, people in cities and villages, governmental institutions, businesses, and the "nation." The course will rely on people's notions of the everyday, festive days, paradise, arcadia and utopia to pose questions about how people try to realize their wishes and themselves through film. How film practices articulated with nationalism, first in the wake of a failing "socialist pattern of development," and, then, with "liberalization," of the promise or threat "free markets" would bring, will be the major concern. A brief look will also be taken at how film is related to other media such as television. Some comparisons with Hollywood will be made. Students will be asked to familiarize themselves with existing approaches to Indian film against the background of more general approaches to film and the media. Some knowledge of Hindi desirable but not required (films will be subtitled in English and have English synopses). One film per week will be shown. Requirement: One 10-page paper, written in two stages. R. Inden. Autumn.

34201. Cinema in Africa (=CMST 24201, ENGL 28600/48601):

This course examines cinema in Africa as well as films produced in Africa. It places cinema in Sub-Saharan Africa in its social, cultural, and aesthetic contexts ranging from neocolonial to postcolonial, Western to Southern Africa, documentary to fiction, art cinema to TV. We will begin with La Noire de... (1966), ground-breaking film by the "father" of African cinema, Ousmane Sembene, contrasted with a South African film, The Magic Garden (1960) that more closely resembles African American musical film, and anti-colonial and anti-apartheid films from Lionel Rogosin's Come Back Africa (1959) to Sarah Maldoror's Sambizanga, Ousmane Sembene's Camp de Thiaroye (1984), and Jean Marie Teno's Afrique, Je te Plumerai (1995). The rest of the course will examine cinematic representations of tensions between urban and rural, traditional and modern life, and the different implications of these tensions for men and women, Western and Southern Africa, in fiction, documentary and ethnographic film. L. Kruger. Spring.

34300. Religion and Modernity in Film. (=CMST 24300, ANTH 21900/32400, HIST 26800/36800):

Considers the problem of how popular films in the US, Europe, and Asia have represented the conventional religions' relation to modernity: the idea of film practices ("youth culture") as constituting a secular religion alternative or antagonistic to the conventional religions and the recuperation and transformation of conventional religiosity in modernist, especially patriotic and science-fiction films as a national theology ("civil religion"). One to two films per week will be shown. Requirement: One 10-page paper, written in two stages. R. Inden. Winter.

34501. Russian Modernism: Film, Art, Books (=CMST 24501, ARTH 28004/38004):

This will be an interdisciplinary course looking at Russian culture between 1900 and 1930 - the period usually seen as two miracle decades in Russian art, literature, theater and film. Beside arts, the course will also focus on "everyday life" - what it was like to be living in Russia in the period of modernism and modernization. The emphasis thus will be not only on acknowledged 'masterpieces' (like Andrei Bely's novel Petersburg or Kazimir Malevich's painting "The Knife Grinder," but also on new fashions, furniture, and technological marvels; We will look not only at Eisenstein's Battleship Potemkin (with its official reputation as "the best movie ever made"), but also at run-of-the mill movies - and at what people enjoyed about them. Y. Tsivian. Spring.

34901. Cinema in Japan: From Classical Cinema to the Golden Age (=CMST 24901, EALC 24906, JAPN 24906/34906):

PQ: CMST 10100 Introduction to Film Analysis. This is the first part of a two quarter course. The two parts may be taken individually, but taking them in sequence is recommended. This course will survey Japanese cinema from its prehistory to the "new wave" of the late 1950s. We will focus on both aspects of the object of study: Japan and the cinema. Each week will present, in roughly chronological order, a "moment" from the history of Japanese cinema and a methodological issue in film studies brought into focus by that week's films. For example, we will study approaches to early cinema in film studies in order to understand the origins of moving pictures in Japan. Other weeks will include the theories of celebrity culture and Japanese prewar cinema, vernacular modernism in 1930s Japan, the war film and theories of propaganda, genre theory and 1950s program pictures. Directors included in this course include Mizoguchi Kenji, Ozu Yasujiro, Kurosawa Akira, and Shimizu Hiroshi. The course is open to graduate and undergraduate students. No knowledge of Japanese is required but special accommodations will be made for students with Japanese reading ability. M. Raine. Winter.

34902. Cinema in Japan: Postwar/Postclassical/Postmodern (=CMST 24902, EALC 25006, JAPN 25006/35006):

PQ: CMST 10100 Introduction to Film Analysis. This is the second part of a two quarter course. Completion of Cinema in Japan: From Classical Cinema to the Golden Age is recommended but not required. This course will survey Japanese cinema from the "new wave" of the late 1950s to the present day. We will focus on both aspects of the object of study: Japan and the cinema. Each week will present, in roughly chronological order, a "moment" from the history of Japanese cinema and a methodological issue in film studies brought into focus by that week's films. For example, we will study histories of "new wave" cinema in the light of films from the Nikkatsu and Shochiku studios. We will also study ideas of "political modernism" and the new art cinema of the late 1960s, theories of ethnicity and Japanese representations of the Other, approaches to popular culture and the Japanese musical, and contemporary transnational auteurs. We will also consider the relation between cinema and other media such as television in postwar Japan, and various forms of cinema such as documentary, photographic narrative, and animation. Directors covered in the course include Kurosawa Akira, Masumura Yasuzo, Oshima Nagisa, Matsumoto Toshio, Kitano Takeshi, and Miyazaki Hayao. The course is open to graduate and undergraduate students. No knowledge of Japanese is required but special accommodations will be made for students with Japanese reading ability. M. Raine. Spring.

35101. The Detective and Crime Film (=CMST 25101, ARTH 28104/38104):

The figure of the detective and the criminal and the process of detection and capture have formed one of the most enduring and international genres in cinema. This course will trace the patterns, character, stylistic devices and thematic preoccupations of the topos through film history, beginning with the serial films of the silent era and ending with modernist works in which the detective stands for a host of issues dealing with narration, and investigation, temporality and evidence. The course will also read some classic selections of detective fiction and deal with both generic issues and theoretical and social implications. Films to be shown are likely to include: Fantomas, One Exciting Night, The Testament of Dr. Mabuse, The Maltese Falcon, Alphaville, and Memento. T. Gunning. Spring.

36500. The Cinema of Max Ophüls (=CMST 26500, ENGL 28100/38100):

Max Ophüls has variously been discussed as master of the long take and mise-en-scene, of theatrical adaptation and self-conscious narration; as director of the "woman's film," of melodramatic pathos and irony; and as artist and analyst of erotic - and cinematic - obsession. Following the trajectory of his life and work from Germany through France, Italy, Hollywood, and back to Europe, we will consider Ophüls' films in terms of style and genre; the question of his gynocentric aesthetic and the feminist debate surrounding it; authorship and industrial production; and the challenge diasporic film practice poses to paradigms of national cinema and national film history. Films include Liebelei, La Signora di tutti, Letter from an Unknown Woman, Caught, The Reckless Moment, La Ronde, Madame de..., Le Plaisir, and Lola Montés. M. Hansen. Winter

37300. Perspectives on Imaging (=CMST 27300, ARTH 26900/36900, BIOS 29207, HIPS 24801):

Imaging plays a central role in biomedical research and practice. This role is likely to grow in the future as seen by the recent creation of the new National Institute for Biomedical Imaging and Bioengineering within the National Institutes of Health. This course explores technical, historical, artistic, and cultural aspects of imaging from the earliest attempts to enhance and capture visual stimuli through the medical imaging revolution of the twentieth century. Topics include the development of early optical instruments (e.g., microscopes, telescopes); the first recording of photographic images; the emergence of motion pictures; the development of image-transmission technologies (e.g., offset printing, television, the Internet); and the invention of means to visualize the invisible within the body through the use of X-rays, magnetic resonance, and ultrasound. B. Stafford and P. La Riviere. Autumn.

37600. Beginning Photography (=CMST 27600, COVA 24000):

PQ: COVA 10100, 10200, or consent of instructor. A camera and light meter are required. Photography affords a relatively simple and accessible means for making pictures. Through demonstration, students are introduced to technical procedures and basic skills, and begin to establish criteria for artistic expression. Possibilities and limitations inherent in the medium are topics of classroom discussion. Class sessions and field trips to local exhibitions investigate the contemporary photograph in relation to its historical and social context. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Lab fee $40. L. Brown, Autumn. L. Letinsky, Winter, Spring.

37600. Beginning Photography (=CMST 27600, COVA 24000):

PQ: COVA 10100, 10200, or consent of instructor. A camera and light meter are required. Photography affords a relatively simple and accessible means for making pictures. Through demonstration, students are introduced to technical procedures and basic skills, and begin to establish criteria for artistic expression. Possibilities and limitations inherent in the medium are topics of classroom discussion. Class sessions and field trips to local exhibitions investigate the contemporary photograph in relation to its historical and social context. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Lab fee $40. L. Brown, Autumn. L. Letinsky, Winter, Spring.

37600. Beginning Photography (=CMST 27600, COVA 24000):

PQ: COVA 10100, 10200, or consent of instructor. A camera and light meter are required. Photography affords a relatively simple and accessible means for making pictures. Through demonstration, students are introduced to technical procedures and basic skills, and begin to establish criteria for artistic expression. Possibilities and limitations inherent in the medium are topics of classroom discussion. Class sessions and field trips to local exhibitions investigate the contemporary photograph in relation to its historical and social context. Course work culminates in a portfolio of works exemplary of the student's understanding of the medium. Lab fee $40. L. Brown, Autumn. L. Letinsky, Winter, Spring.

37701. Advanced Black and White Photography (=CMST 27701, COVA 27802):

PQ: COVA 10100 or 10200, and 24000 or 24100, or consent of instructor. Throughout the quarter, students concentrate on a set of issues and ideas that expand upon their experience and knowledge, and that have particular relevance to them. All course work is directed towards the production of a cohesive body of either color or black-and-white photographs. An investigation of contemporary and historic photographic issues informs the students' photographic practice and includes visits to local exhibitions, critical readings, darkroom techniques, and class and individual critiques. Visits to local exhibitions and darkroom work required. Lab fee $60. L. Letinsky. Spring.

37900. Color Photography (=CMST 27900, COVA 24300):

PQ: COVA 10100 or 10200, and 24000 or 24100, or consent of instructor. A camera and a light meter are required. Course work is directed towards the investigation of color photographic materials, specifically with color negative film to make chromagenic prints. Students focus on a set of issues and ideas that expand upon their experience and knowldege. An investigation of contemporary and historic photographic issues informs the students' exploration as does extensive darkroom work, gallery visits, and class and individual critiques. Visits to local exhibitions and darkroom work required. Lab fee $60. L. Letinsky. Spring.

38000. Documentary Video (=COVA 23901/33901, CMST 28000):

This course focuses on the making of independent documentary video. Examples of direct cinema, cinéma vérité, the essay, ethnographic film, the diary and self-reflexive cinema, historical and biographical film, agitprop/activist forms, and guerilla television are screened and discussed. Topics include the ethics and politics of representation and the shifting lines between fact and fiction. Labs explore pre-production, camera, sound, and editing. Students develop an idea for a documentary video; form crews; and produce, edit, and screen a five-minute documentary. A two-hour lab is required in addition to class time. Lab fee $50. J. Hoffman. Autumn.

38201. Political Documentary Film (=CMST 28201, COVA 28204/38204):

This course explores the political documentary film, its intersection with historical and cultural events, and its opposition to Hollywood and traditional media. We will examine various documentary modes of production, from films with a social message, to advocacy and activist film, to counter-media and agit-prop. We will also consider the relationship between the filmmaker, film subject and audience, and how political documentaries are disseminated and, most importantly, part of political struggle. J. Hoffman. Autumn.

38900. Video I: Beginning Video (=CMST 28900, COVA 23800, ISHU 20300):

PQ: COVA 10100 or 10200, or CMST 10100. An introduction to video making, with digital cameras and non-linear (digital) editing. Students will produce a group of short works, which will be contextualized by viewing and discussion of historical and contemporary video works. Video versus film, editing strategies and appropriation are some of the subjects that will be part of an ongoing conversation. Lab fee $60. H. Mirra. Winter.

38904. Video: Camera, Lights, Sound (=CMST 28904, COVA 23903/33903):

PQ: COVA 23800/23901 or consent of instructor. Previous video or film experience helpful but not required. TThis intensive laboratory explores differences between video formats, video and film, and experiement with basic lighting design. The class is organized around a series of production situations and students work in crews to understand modes of production. Each crew learns to operate and maintain the Panasonic AG-DVX100 24p camera: Bolex 16mm camera, and Sachtler tripod; and Arri lights, gels, diffusion, and grip equipment. There will be additional workshops, field trips, and screenings. An additional lab outside of class time lab is required. J. Hoffman. Winter.

40000. Methods and Issues in Cinema Studies (=ARTH 39900, ENGL 48000, MAPH 33000):

This course offers an introduction to ways of reading, writing on, and teaching film. The focus of discussion will range from methods of close analysis and basic concepts of film form, technique and style; through industrial/critical categories of genre and authorship (studios, stars, directors); through aspects of the cinema as a social institution, psycho-sexual apparatus and cultural practice; to the relationship between filmic texts and the historical horizon of production and reception. Films discussed will include works by Griffith, Lang, Hitchcock, Deren, Godard. J. Lastra. Autumn.

48500. History of International Cinema, Part I, Silent Era (=CMST 28500, ARTH 28500/38500, CMLT 22400/32400, COVA 26500, ENGL 29300/48700, MAPH 33600):

PQ: This is the first part of a two-quarter course. The two parts may be taken individually, but taking them in sequence is helpful. The aim of this course is to introduce students to what was singular about the art and craft of silent film. Its general outline is chronological. We will discuss main national schools and international trends of filmmaking. T. Gunning. Winter.

48600. History of International Cinema, Part II, Sound Era (=CMST 28600, ARTH 28600/38600, COVA 26500, ENGL 29600/48900, MAPH 33700):

PQ: This is the second part of the international survey history of film covering the sound era up to 1960. It is strongly recommended that students take the first section first. This course focuses on industrial practices and aesthetics during Hollywood's studio era (1927 to 1960) and alternatives to the Hollywood film, including French poetic realism, Italian neorealism, and Japanese cinema. We will also consider the important political, economic, social and cultural forces, which influenced Hollywood and other cinemas during this period, particularly the rise of fascism in the 1930s, WWII, Hollywood's postwar economic struggles, and various national new wave cinemas. Screenings will include films by Berkeley, Renoir, Huston, Welles, De Sica, Ozu, Hitchcock and Godard. R. Gregg. Spring.

48800. Neuronal Aesthetics (=ARTH 45500):

Recently seeing has become an even more amazing process. findings concrning the internal circuitry of the visual brain, insights into brain architecture, biology, psychology, new media, and computation suggest that the domain of aesthetics must be re-defined. tfhis seminar will explore how neurology, optical technology, and both old and new media do and might intersect to create a new area of study. B. Stafford. Winter.

59900. Reading & Research:

PQ: Consent of instructor. Please register by faculty section. Staff. Autumn, Winter, Spring.

64900. Seminar: Political Modernism and Japanese Cinema (=JAPN 64900):

This course will trace the development of what David Rodowick calls "political modernism," the formally reflexive and politically committed theory and practice of film as it developed in Japan during the 1960s and 1970s. The course will raise questions concerning the relation between popular and avant-garde cinema, film and other arts, and the powers, both aesthetic and political, of the audio-visual medium. The course will cover theoretical texts and filmmakers' statements, written in both Japan and the West, and will consider films by Oshima Nagisa, Yoshida Yoshishige, Matsumoto Toshio, Terayama Shuji, Hidari Sachiko, and many others. Now that the tide of political modernism has ebbed we will also regard the theories and films from a more anthropological perspective, in an attempt to understand the "cultural history" of this theoretical movement. There will be two tracks for this course: an English-only track with extra readings and an English-and-Japanese track for those with Japanese reading ability. M. Raine. Autumn.

65101. Seminar: Topics in Film Music: Beyond the Soundtrack:

Description forthcoming. B. Hoeckner. Autumn.

65400. Seminar: Film and Art Movements (=ARTH 48904):

Symbolism and cinema; abstract films; Cubist cinema, Expressionist cinema, film and Futurist art; Constructivism and film; Surrealist moviemaking - will be the principal intersections of art and film this seminar will address and explore. R. Heller, Y. Tsivian. Spring.

67500. Seminar: The Frankfurt School on Cinema, Modernity and Mass Culture (=ENGL 68700):

In this seminar, we will consider debates on film and mass culture in the tradition of the Frankfurt School (or, more precisely, Critical Theory), focusing mainly on Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Discussions will revolve around the following issues: the impact of technology on artistic practices and the institution of art; consumerism and new forms of subjectivity and reception; the democraticization of culture and the "culture industry"; theories of the public sphere and its transformation (Habermas, Negt/Kluge). We will consider these debates both in their historical, political, and philosophical contexts and from the perspective of cinema in globalized and digital media culture. Texts will be read in translation, but reading knowledge of German will be highly useful. Prerequisite: background in film theory or at least one course in cinema studies. Enrollment limited; MA students by permission of instructor only. M. Hansen. Spring.