34102. Bollywood India: Film and History (=CMST 24102, HIST 26701/36701, SALC 20502):

The first Indian talkie "Alam Ara" was made in 1931 in Bombay. By 1947 the Bombay film industry was among the largest industries of the country. It now produces twice as many films as Hollywood, approximately one thousand films per year. Hindi films are critical for understanding the new Indian city, Indian discourses about gender and sexuality, Indian politics and the diaspora. Through Bollywood, this course is a study of South Asian imaginations of modernity and globalization. R. Majumdar. Winter.

35102. Narratives of Suspense in European and Russian Literature and Cinema (=CMST 25102, CMLT 22100, HUMA 26901/36901, ISHU 26901/36901, SLAV 26900/36900):

This course explores the source of suspense, its structural role in narratives, and its implications for narrative theory and philosophical aesthetics. Examples are taken from various genres by authors including Samuel Taylor Coleridge, E. A. Poe, Arthur Conan Doyle, Fedor Dostoevsky, J. M. Coetzee, and Samuel Beckett. Consideration is also given to suspense in cinematic narratives (from Hitchcock to Tarkovsky). Theoretical readings (from Coleridge to Losev, Genette, Ricoeur, and Derrida) link suspense to detachment, distance, distraction, suspension of belief, and engagement. R. Bird. Winter.

36701. Jan Svankmajer and Contemporary Surrealism (=CMST 26701, CZEC 27900/37900, ISHU 27901/37901):

The animator of Prague, Jan Svankmajer, is one of the greatest living advocates of Surrealism as a modus vivendi. The course studies intensively his life work, from films shorts such as Dimensions of Dialogue to feature films like the recent Conspirators of Pleasure and Little Otik, to his tactile poems and collages. We also read interviews with Svankmajer and his colleagues, essays on contemporary Surrealism, and critical works on the theory of the neo-avant-garde and the cultural situation of avant-garde art in East/Central Europe. The course is conducted in the style of a seminar with a strong focus on discussion and the requirement of one final paper or project. M. Sternstein. Spring.

37300. Perspectives on Imaging (=CMST 27300, ARTH 26900/36900, BPRO 27000, 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. Field trips required. Staff, Autumn. L. Letinsky, Winter.

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

PQ: COVA 10100 or 10200, and 24000 or 24100, or consent of instructor. Camera and light meter required. 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 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.

37800. Theories of Media (=CMST 27800, ARTH 25900/35900, COVA 25400, ENGL 12800/32800, ISHU 21800, MAPH 32800):

PQ: Any 10000-level ARTH or COVA course, or consent of instructor. This course explores the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media but also at the very idea of a medium as a means of communication, a set of institutional practices and a habitat in which images proliferate and take on a life of their own. Readings include classic texts (e.g., Plato's Allegory of the Cave and Cratylus, Aristotle's Poetics); and modern texts (e.g., Marshall McLuhan's Understanding Media, Regis Debray's Mediology, Friedrich Kittler's Gramaphone, Film, Typewriter).W. J. T. Mitchell. Winter.

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

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 knowledge. 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 (=CMST 28000, COVA 23901/33901):

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.

38100. Issues in Film Music (=CMST 28100, MUSI 22901/30901):

This course explores the role of film music in the history of cinema. What role does music play as part of the narrative (source music) and as non-diegetic music (underscoring)? How does music of different styles and provenance contribute to the semiotic universe of film? And how did film music assume a central voice in twentieth-century culture? We study music composed for films (original scores) as well as pre-existent music (such as popular and classical music). The twenty films covered in the course may include classical Hollywood cinema, documentaries, foreign (including non-Western) films, experimental films, musicals, and cartoons. B. Hoeckner. Autumn.

38200. Non-fiction Film: Representations and Performance. (=CMST 28200, COVA 25100/35101, HMRT 25101):

We will attempt to define Non-Fiction cinema by looking at the history of its major modes. These include the Documentary, Essay, Ethnographic, and Agit-prop film, as well as Personal/autobiographical and Experimental works that are less easily classifiable. We will explore some of the theoretical discourses that surround this most philosophical of film genres, such as the ethics and politics of representation, and the shifting lines between fact and fiction, truth and reality. The relationship between the Documentary and the State will be examined in light of the genre s tendancy to inform and instruct. We will consider the tensions of filmmaking and the performative aspects in front of the lens, as well as the performance of the camera itself. Finally, we will look at the ways in which distribution and television effect the production and content of non-fiction film. J. Hoffman. Autumn.

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

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. Staff. Autumn.

38903. Video Workshop (=CMST 28903, COVA 23801):

PQ: COVA 23800 or consent of instructor.A production course geared towards experimental works and video within a studio art context. Screenings will include recent works by Harrison & Wood, Fischli & Weiss, Martin Kersels, Jane & Louise Wilson, Halflifers, Douglas Gordon and others. Discussions and readings will address non-narrative strategies, rapidly changing technology and viable approaches to producing video art in a world full of video images. Lab fee $60. Winter, Spring.

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. This 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. Lab fee $50. J. Hoffman. Autumn.

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. M. Hansen. Autumn.

40201. Black Queer Media(makers) (=CMST 20201, ENGL 28602/48602, GNDR 20201/40201):

This course surveys current films, videos and television programs by and about black gays and lesbians, focusing primarily on the recent emergence of black queer feature filmmakers (Cheryl Dunye, Rodney Evans, Angela Robinson, Patrick Ian Polk) and proliferation of black queer characters on television ("The L Word", "The Wire", "Metrosexuality" and "Six Feet Under"). Framing our discussion with the race, gender, and cultural movements of the late 20th century, as well as the technological innovations that led to "democratization" in media production, this course will survey media produced by and about black gays and lesbians in the United States and abroad; explore alternative independent systems developed to counter media industry hegemony; and evaluate diverse approaches to contemporary media and cultural criticism. Y. Welbon. Autumn.

40902. Cinema and the Queer Avant-Garde, 1920 to 1950:

Through the films and written work of Kenneth Macpherson and the Pool Group, Jean Cocteau, Parker Tyler (and Charles Henri Ford), Joseph Cornell and others, we will construct a study of queer avant garde practice and content between WWI and WWII. We will also survey literary, artistic, religious, psychoanalytic, and other texts, which influenced these artists experimental practice and understandings of queer subjectivity. R. Gregg. Spring.

45201. Cinema and the First Avant-Garde, 1890-1933 (=CMST 25201, ARTH 25205, COVA 25201):

Throughout its history cinema has had a strong relation to avant-garde movements, usually in terms of direct influences (films made by members of these movements) or by more ambivalent relations of imitation or influence (going both ways: films which show the influence of various movements and avant-garde work that show the influence of film). This course will explore the manner in which a number of movements (as well as the concept of the avant-garde more generally) have related to the cinema, both in practice and theory. The following movements will be considered: Symbolism; Futurism (Italian and Russian); Dada; Constructivism; Surrealism; De Stil. The Cineclub movement and magazines dedicated to the film and the avant-garde will also be studied. Readings will include manifestos and documents from the various movements, as well as historical studies; Texts by Poggioli and Burger will also be read. Films by Bauer, Lang, Wiene, Bragaglia, Eisenstein Ivens, Richter, Ruttmann, Vertov, Ivens, Dulac, Epstein and others will be shown.T. Gunning. Winter.

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. Y. Tsivian.. Autumn.

48600. History of International Cinema, Part II, Sound Era (=CMST 28600, ARTH 28600/38600, CMLT 22500/32500, 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. Y. Tsivian. Winter.

59900. Reading & Research:

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

62200. Seminar: Drama, Theater, Image, Performance (=CMLT 42600, ENGL 59301):

This PhD intensive reading course examines theoretical texts that deal with the interdisciplinary issues arising out of the confluence and conflict of word, image, and performance in various cultural contexts. Central concerns will include dramatic action, theatricality, visual and aural representation, and the competing phenomenologies of audience experiences of performance and cinema/video. We will be looking closely at the nature of drama and theatre, the mediation of performance through cinema and video, and the ways in which drama and theatricality manifest themselves in cultural activity more broadly. We will also scrutinize the ways on which metaphors of theatricality and performativity have been appropriated by other disciplines. Requirements: ACTIVE class participation; two presentations (P/F) and a short position paper (grade). L. Kruger. Winter.

64602. Seminar: The State of the Field in Chinese Film Studies:

This seminar examines the state of the field in Chinese film studies. We will focus on English scholarship and pursue weekly topics ranging from film historiography, cinema and modernity, ideology and politics, gender and sexuality, ethnicity and identity, trauma and memory, arts and auteurs, independent filmmaking, media industry, to transnational cinema and globalization. Readings are selected from scholars such as Chris Berry, David Bordwell, Yomi Braester, Nick Browne, Rey Chow, Paul Clark, Shuqin Cui, E. Miriam Hansen, Ann Kaplan, Sheldon Lu, Laikwan Pang, Paul Pickowicz, Ban Wang, Esther Yau, Xudong Zhang, Zhen Zhang, Ying Zhu, among others. We will pay as much attention to theoretical issues as to methodological and historical ones. Students are required to present in class, view recommended films, and write research papers. Y. Zhang. Winter.

66601. Seminar: Dziga Vertov (=ARTH 48705):

This class explores the work of this seminal Soviet documentary filmmaker, his theory, its international impact, its cultural and political implications, and the various ways Vertov s films and theories are viewed and interpreted nowadays.Y. Tsivian. Autumn.

67101. Seminar: The Sentimental (=ENGL 63900):

This seminar will give advanced students a chance to pursue research and criticism over a range of periods and objects of study. The broad topic will be the theory and practice of the sentimental over the course of nearly three centuries, on stage, page, and screen. In addition to looking at the philosophical treatments of the sentiments in Shaftesbury, Hume, and Smith, and critical discussions of the "sentimental" as a literary mode (in Schiller), we will look at sentimental comedy, sentimental fiction, and sentimental cinema. Since the sentimental is inevitably a mode of mediated affective exchange, the place of the media and of translation between media, will have special importance in the course. Primary works by such figures Steele, Sterne, MacKenzie, Charlotte Smith, William Hall Brown, the poets of sensibility and Romanticism, Harriet Beecher Stowe, Dickens, D.W. Griffith, Frank Capra, Douglas Sirk, and others. Secondary works from the burgeoning field of "sensibility studies." Seminar presentation and paper. J. Chandler. Autumn.

67102. Seminar: Film and Melodrama:

This seminar will discuss the ambiguous and protean inheritance that film as a popular form received from 19th century stage melodrama. The stage tradition of melodrama, both in terms of play texts, and performance and staging practices, will be surveyed with readings of 19th century melodramas and descriptions of their staging. Peter Brooks' discussion of "The Melodramatic Imagination" will be crucial to the course, both as an account of the 19th century tradition and as a claim for melodrama as a form that moves across genres. The claim by scholars that 19th century melodramatic stage had inherent ties to cinema as posed by Vardac and critiqued by the recent work of Brewster and Jacobs will also be considered. Melodrama as a form in silent cinema, and as a genre of sound cinema, including its particular relation to the women's film will also be considered, with writings by Mulvey, Doane and others. Films will be screened by Griffith, Feuillade, Sjostrom, Hitchcock, Vidor, Ophuls and Sirk. T. Gunning. Spring.

67801. Seminar: The Arts of Memory (=ENGL 60302):

The aim of this seminar is to survey some of the classic theories of memory (as archive, as natural capacity and cultivated technique; as subjective experience and collective transmission; as a semiotics of inscription and erasure), and to explore the staging of memory in verbal and visual media the arts of memory. Topics discussed will include amnesia and cinema; writing, recording, and memory; artificial and machine memory; memory spaces and architecture; the double coding of word and image; memoirs and slave narrative; matter, technology, and memory. The syllabus will be in part determined by the interests of the group, but we will certainly want to take up some of the classic theories of memory from Plato to Freud and Bergson as well as some of the important modern scholarship on this topic, including Frances Yates, The Art of Memory, Mary Carrothers, The Book of Memory, David Krell, Memory, Reminiscence, and Writing, and others. W.J.T. Mitchell. Autumn.