The new major in Cinema and Digital Media is now open, as of Fall 2015.
Students who wish to declare will be majoring in Cinema and Digital Media from now on. See complete details about the new major here, including the major checklist PDF, which lists all courses in the new major. Cinema and Digital Media courses are currently designated with the letters CTS. Also please see TCS and FMS courses for additional course descriptions.
Prerequisite: Upper division standing or consent of instructor (firstname.lastname@example.org<mailto:email@example.com>).
Format: Lecture/Discussion – 3 hours; Film Viewing – 3 hours.Course Description: This quarter we focus on the rich cinematic traditions of China. We begin with early Chinese cinema and move all the way to the twenty-first century. Students will explore the themes, styles, aesthetics, stars, and socio-political contexts of particular films as well as the evolution of entire film industries. Representative directors and internationally renowned filmmakers will be discussed, such as Xie Jin, Zhang Yimou, Chen Kaige, Ang Lee, Feng Xiaogang, Jiang Wen, and Jia Zhangke. We examine Chinese cinema as an outgrowth of indigenous, national roots as well as a necessary response to international film culture. We look at how films engage in social critique and cultural reflection, and how film artists react to the conditions and forces of socialist politics, capitalist economy, tradition, modernization, and globalization in Chinese-speaking regions.
Sheldon Hsiao-peng Lu, Transnational Chinese Cinemas: Identity, Nationhood, Gender (University of Hawaii Press, 1997)
Studio – 6 hours. Prerequisite: course 12 or Technocultural Studies 100 and one drawing course. Exploration of animation. Relationship between drawing, digital stills, and multiple images. Animation using traditional drawing techniques, collage, and digital processes.
Studio—6 hours. Prerequisite: course 12 or Technocultural Studies 100. Experimental documentary practice. Use of interviews, voice-overs, and still and moving images. Production of alternative conceptual and visual projects. May be repeated for credit one time. Pass1 restricted Art Studio majors. GE credit: ArtHum | AH, VL.—Martin
Studio – 6 hours. Prerequisite: course 12 or Technocultural Studies 100. Use of video to expand performance art production. Exploration of improvisation, direction, projection, and image processing in real time.
Studio – 6 hours. Prerequisite: course 12 or Technocultural Studies 100; one of course112, 114A, 114B, or 114C; upper division standing Art Studio Majors. Independently driven video, digital, and/or performance projects. Further development in the electronic arts ranging from video installation to performance.
Lecture—3 hours; film viewing—3 hours. Current debates between cinema studies and contemporary art. Issues covered include, experimental modes of filming, montaging, installing, screening, and displaying images between the White Cube (gallery/ museum) and the Black Box (cinema). Offered in alternate years. GE credit: AH, OL, VL, WE.—W. (W.) di Montezemolo (new course—eff. winter 17)
Lecture—3 hours; discussion/laboratory—1 hour. Introduction to key computational ideas necessary to understand and produce digital media. Fundamentals of programming are covered as well as analysisof how media are represented and transmitted in digital form. Aimed primarily at non-computer science students. (Same course as Engineering: Computer Science 012.) GE credit: ArtHum or SciEng
Lecture—3 hours; laboratory—3 hours; film viewing—2 hours; project. Prerequisite: recommended: course 5/Technocultural Studies 5 and/or Film Studies 1. Introduction to filmmaking concepts, principles, and methods. Hands-on exercises build critical and creative capacities. Emphasis on form, content and the historical dialectic between classical narrative filmmaking conventions and artists’ challenges to these conventions. Weekly Lab, Lab Preparation, and Evening Screening. GE credit: ArtHum | AH, VL
History of Media to 1945, with particular focus on mechanically reproduced mass media technologies including the printing press, the newspaper, photography, cinema, radio and early computing technology. Analysis of inter-related cultural and political topics.
An introduction to the intricate, inter-related strands of media history since the Second World War, focusing on the rise of the digital computer and network technology. First, in Military/Industrial/Academic research centers during the Cold War, and then across society in the last thirty years as it spread from the office to the home to our hands. Lecture 3 Hours, Section 1.
What is the impact of movies around the world? Films are international products with global audiences, and that’s how we’ll study them in this class, from the very beginning of cinema to World War Two. The spectrum of films viewed includes silent films and sound films, black and white films and color films, cartoons and live-action, made by Charlie Chaplin, Walt Disney, and many other of the era’s great filmmakers from the United States, France, Russia, China, Mexico and elsewhere.
Lecture/discussion—3 hours; laboratory—3 hours; fieldwork—6 hours. Prerequisite: Cinema & Technocultural Studies 20 or equivalent; one course in Women and Gender Studies, or consent of instructor. Media production as a mode of cultural criticism, furthering feminist and social justice goals. Fundamentals of camera, editing and distribution via a social engagement model. Study and hands-on response to key historic and contemporary feminist and social justice media discourses. (Same course as Women’s Studies 165.) Offered in alternate years.
Analysis of the contribution of outstanding designers for cinema, television and filmed entertainment. Study of diverse aesthetic theories of production design and art direction, costume design, or cinematography. Introductory principles and practice, history.
Theory and practice of the art and business of film costume design. Script analysis, costume research, developing design concepts, budgeting, and current production practices and methods. Execution of designs for period and contemporary films. Viewing of current films.
Iranian cinema of the 20th century in the context of profound cultural and social changes in Iran especially since the Iranian Revolution. Productions by representative directors such as Kiarostami, Makhmalbaf, Bahram Beizaie are included. Knowledge of Persian not required.
English language survey of Chinese film, from its inception to the end of the twentieth century. Chinese films as important texts for understanding national, transnational, racial, gender, and class politics of modern China.
Taught in English and designed for undergraduates and graduate students with no prior background in Japanese language, literature, or history, this course aims to introduce various manifestations of Japanese cultural paradigms and imagination through the medium of film by some of the most prominent talents in the Japanese cinema from the 1920s to the present-day.
Survey of films based on works of Japanese literature, emphasis on pre-modern and early modern texts. Introduction to major directors of Japan, with a focus on cinematic adaptation. Lectures and readings in English. Films in Japanese with English subtitles. (Same course as Japanese 156.) Offered in alternate years.
Critical and theoretical approaches to the emergence of new technologies since the invention of photography. Examine various approaches to media (formalist, semiotic, structuralist, Frankfurt School, cybernetics, visual and gamer theory).