10100. Introduction to Film I (=ARTH 20000, COVA 25300, ENGL 10800, ISHU 20000):

This course introduces basic concepts of film analysis, which are discussed through examples from different national cinemas, genres, and directorial oeuvres. Along with questions of film technique and style, we consider the notion of the cinema as an institution that comprises an industrial system of production, social and aesthetic norms and codes, and particular modes of reception. Films discussed include works by Hitchcock, Porter, Griffith, Eisenstein, Lang, Renoir, Sternberg, and Welles. J. Stewart. Autumn.

20901. Sexuality and Censorship in Pre-Stonewall Film (=GNDR 22701):

PQ: Open to undergraduate students only. This course examines how moral, scientific, psychoanalytic, and other understandings of sexuality influenced Hollywood representation from silent film to 1970. In particular, the course analyzes iconic queer images and narratives in Hollywood film, which expose the tensions between traditional and modern perceptions of sexuality and mark historical shifts in the cultural and political status of LGBT people. We will pay particular attention to specific political, moral and cultural pressures on the Hollywood industry; the changing modes of Hollywood production; the impact of censorship before, during and after the Hays Code; the shifting codes used to connote queerness (even when it was prohibited) and the ways different audiences read these codes. We will also consider how narrative structure, art direction, genre, adaptation, and stars affected representation and audience responses. Finally, Hollywood films will be compared to more provocative cinemas, particularly Weimar cinema and post-war underground film. Films most likely included in the course: A Florida Enchantment, Madchen in Uniform, Sylvia Scarlett, Queen Christina, Rope, Fireworks, Flaming Creatures, and The Children's Hour. R. Gregg. Winter.

21000. (Re)Defining African American Cinema (=ENGL 27901, AFAM 21400, COVA 27901):

What is "African American Cinema"? Must a film be produced by African Americans, feature a Black cast, or address a Black audience in order to be classified as an "African American film"? Is there a discernible Black film aesthetic? Can a Black film be produced within the Hollywood studio system? How important are these distinctions? This course examines a wide variety of films ("race movies" of the early 20th century; fiction films; documentaries; animation; films made for television and the Internet) to explore how notions of African American authorship, content and reception have been defined and redefined in relation to dominant and independent media histories and institutions. J. Stewart. Autumn. (H)

22201. 19th Century Stages: German Theater, Opera, Ballet (=CMST 32201, GRMN 25700/35700):

PQ: Open to advanced undergraduates with consent of instructor. An intensive examination of the specificities, aspirations, and dramaturgies of German theater and opera (and, if there is interest, ballet) in the 19th century. Works by Kleist, Buechner, Grillparzer, Hebbel, Hauptmann; Beethoven, Weber, Wagner, and Richard Strauss. All readings available in English translation. Proficiency in German desirable but not required. A supplemental German language discussion-section is possible if there is sufficient interest. D. Levin. Winter.

23100. Pinocchio's Afterlife in Cinema, Literature, and Popular Culture (=CMST 33100, 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.

24100. Film in India (=CMST 34100, 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. (H)

24201. Cinema in Africa (=CMST 34201, 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. (H)

24300. Religion and Modernity in Film (=CMST 34300, 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. (H)

24501. Russian Modernism: Film, Art, Books (=CMST 34501, 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.

24901. Cinema in Japan: From Classical Cinema to the Golden Age (=CMST 34901, 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. (H)

24902. Cinema in Japan: Postwar/Postclassical/Postmodern (=CMST 34902, 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. (H)

25101. The Detective and Crime Film (=CMST 35101, 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. (G/D/S)

26500. The Cinema of Max Ophüls (=CMST 36500, 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 (G/D/S)

26801. Antonioni's Films: Reality and Ambiguity (=ARTH 28904, BPRO 26600, HUMA 26600):

PQ: Third- or fourth-year standing. In this in-depth study of about six of Antonioni's films, our eye will be on understanding his vision about "reality" and the element of ambiguity that pervades nearly all of his films. In some of his films, and in his published writings, Antonioni shows a strong interest in science and in the physical world. Together, as a film scholar and a physicist, we can bring out these aspects of his work together with his unique cinematic contributions. We believe that Antonioni is an artist of Joycean stature (and there are interesting parallels between the two) whose work often gets lumped into categories such as "new wave European cinema" and the like. The goal of the course is to introduce students to this poet of the cinema and to see the relevance of Antonioni's themes in their own studies and their own lives. As a course project, students might very well be asked to develop an idea based upon the unfilmed sketches, consistent with Antonioni's vision. Y. Tsivian, B. Winstein. Winter. (G/D/S)

27201. Classical Film Theory (= ENGL 18600):

This course examines major texts in film theory from Vachel Lindsay and Hugo Muensterberg in the 1910s through André Bazin's writings in the 1940s and 1950s. We will devote special attention to the emergence of issues that continue to be of major importance, such as the film/language analogy, film semiotics, spectatorship, realism, montage, the modernism/mass culture debate, and the relationship between film history and film style. We will concentrate on the major theoretical writings of Münsterberg, Rudolf Arnheim, Jean Epstein, Sergei Eisenstein, Siegfried Kracauer, Bela Balazs, Bazin, as well as writings by Walter Benjamin, Germaine Dulac, Maya Deren, Jean Mitry, Vsevolod Pudovkin, and others. J. Lastra. Winter. (T)

27300. Perspectives on Imaging (=CMST 37300, ARTH 26900/36900, BIOS 29207, HIPS 24801, BPRO 27000)

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. (T)

27600. Beginning Photography (=CMST 37600, 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. (G/D/S)

27701. Advanced Black and White Photography (=CMST 37701, 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 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. Lab fee $60. L. Letinsky. Winter.(G/D/S)

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

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 color 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. Lab fee $60. L. Letinsky. Winter. (G/D/S)

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

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. (G/D/S)

28001. Documentary Video: Production Techniques (=COVA 23902):

PQ: Consent of instructor based on well-developed idea or a video project already in process. This course focuses on the shaping and crafting of a nonfiction video. Sutdents are expected to write a treatment detailing their project. Production techniques concentrate on the handheld camera versus tripod, interviewing and microphone placement, and lighting for the interview. Post-production covers editing techniques and distribution strategies. Students then screen final projects in a public space. J. Hoffman. Spring. (G/D/S)

28201. Political Documentary Film (=CMST 38201, 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. (G/D/S)

28401. Styles of Performance and Expression from Stage to Screen (=CMST 38401, ARTH 28704/38704, ISHU 25250/35250):

This course will focus on the history of acting styles in silent film (1895-1930) mapping "national" styles of acting that emerged during the 1910s (American, Danish, Italian, Russian) and various "acting schools" that proliferated during the 1920s ("Expressionist acting," "Kuleshov's Workshop," et al.). We will discuss film acting in the context of various systems of stage acting (Delsarte, Stanislavsky, Meyerhold) and the visual arts. Y.Tsivian. Winter.

28500. History of International Cinema, Part I, Silent Era (=CMST 48500, 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. (H)

28600. History of International Cinema, Part II, Sound Era (=CMST 48600, ARTH 28600/38600, COVA 26600/36600, 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. (H)

28800. Digital Imaging (=COVA 22500):

PQ COVA 10100 or 10200, or consent of instructor. Using the Macintosh platform this course serves as an introduction to the use of digital technology as a means of making visual art. Instruction will cover Photo Shop's graphics program as well as digital imaging hardware (scanners, storage, and printing). In addition we will be addressing problems of color, design, collage, and drawing. Topics of discussion may include questions regarding the mediated image and its relationship to art as well as examining what constitutes the "real" in contemporary culture. Lab fee $60. A. Ruttan. Autumn.

28900. Video I: Beginning Video (=CMST 38900, 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. (G/D/S)

28903. Video Workshop (=COVA 23801):

PQ: COVA 23800 or instructor consent; lab fee $60 billed directly on tuition bill. 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. H. Mirra. Spring. (G/D/S)

28904. Video: Camera, Lights, Sound (=CMST 38904, 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. (G/D/S)

29700. Reading & Research Course:

PQ: Consent of faculty adviser and Director of Undergraduate Studies. Students are required to submit the College Reading and Research Course Form. This course may be used to satisfy distribution requirements for Cinema and Media Studies concentrators. Staff. Autumn, Winter, Spring.

29800. Senior Colloquium:

PQ: CMST 10100. Required of all Cinema and Media Studies concentrators. This seminar is designed to provide senior concentrators with a sense of the variety of methods and approaches in the field (such as formal analysis, cultural history, industrial history, reception studies, psychoanalysis). Students will present material relating to their B.A. project, which will be discussed in relation to the issues of the course. J. Lastra. Autumn.

29900. B.A. Research Paper:

PQ: Consent of instructor. Students are required to submit the College Reading and Research Form. This course may not be counted toward distribution requirements for the concentration, but may be counted as a free-elective credit. Staff. Autumn, Winter, Spring.