Lecture—2 hours; discussion—1 hour; film viewing—3 hours. Analysis of film form and narrative, including cinematography, editing, and sound. Issues in film studies, including authorship, stardom, race, gender, class, and cultural identity. Includes introduction to selected cinematic movements and national film traditions. GE credit: ArtHum, Wrt | AH, OL, VL, WC, WE.
History of representations of vampires and horror generally from the 19th through 21st centuries. Emphasis on transnational history of the horror genre; psychologies of horror effects; issues of race, gender, and class; intersections with prejudice, medicine, modernity. (Same course as German 45.)
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)
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.
Rather than treat “videogames and culture” as two distinct categories that play off one another, in this course we will examine the community histories and material practices that have evolved alongside videogames as a mass medium, cultural commodity, and digital technology.
Prerequisite: course 1. Exploration of representations of Italian-American identity in American (U.S.) cinema. Analysis of both Hollywood and independently produced films, especially as they represent ethnicity, gender, and social class of Italian Americans.
Prerequisite: course 1. A study of one or more of the film genres (such as the documentary, the musical, film noir, screwball comedy, or the western), including genre theory and the relationship of the genre(s) to culture, history, and film industry practices. May be repeated two times for credit if topic differs.
Prerequisite: course 1 or consent of instructor. Survey of the conceptual frameworks used to study film (including semiotics, psychoanalysis, spectatorship, auteur, genre and narrative theories). Historical survey of major film theorists.
Lecture/discussion—3 hours; project. Prerequisite: course 7B or the equivalent, course 155. Traditional and new forms of documentary, with focus on technocultural issues. Skills and strategies for producing work in various media. Progression through all stages of production, from conception through post-production to critique. GE credit: VL
Lecture/discussion—3 hours; lecture/laboratory—3 hours. Prerequisite: course 7C. Introduction to the use of sound within the arts. Techniques and aesthetics of experimental contemporary practices. Creation of original sound works.
Lecture/discussion—3 hours; laboratory—3 hours. Prerequisite: course 121, 170C. Techniques of recording, editing, mixing, and synthesis to combine voice, field recordings, and electronic signals. Incorporating live, recorded, and found sounds to create multidimensional stories. Presentation of live performances, audio recordings, and sound installations.
Performance and Improvisation (4) Workshop 3 hours; practice 3 hours. Prerequisite: courses 121 and 122 or consent of instructor. Culmination of TCS sound courses. Class will focus on performance and improvisation, culminating in a final public performance. Students will be expected to do extensive reading and rehearsal outside of class time. III. (III.) Ostertag
Lecture—3 hours; laboratory—3 hours. A foundation course that teaches students the theory of three dimensional computer graphics, including modeling, rendering and animation. Development of practical skills through the use of professional software to create computer graphics.
Class will investigate the inter-relationship of subcultural groups and media technologies, in particular how media often serves as the cohesive and persuasive force of subcultural activities. Students will examine and participate in such activities as list-servs, websites, free radio, fan ‘zines, hip-hop culture, and other activities.
Lecture and intensive workshop teaching small-scale film production. Appointments as a(n) director, director of photography, actor, writer, lighting designer, sound designer and other critical positions are used to produce and submit a short film to a film festival.