The new major in Cinema and Digital Media is now open, as of
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
for additional course descriptions.
This course introduces students to the practice of screenwriting.
We examined the classical three-act structure in the various
traditional fiction genres. We develop character, dialogue, story
arc etc. However, we go further and experiment with
alternative narrative structures. We create styles of
“writing” with images and music that break the conventional
standard of what Peter Watkins refers to as the “mono-form”.
This course introduces students to current debates between cinema
studies and contemporary art and explores experimental modes of
filming, montaging, installing, screening, and displaying images
between the White Cube (gallery/museum) and the Black Box
(cinema). Guest speakers (a curator, an artist, a museum
director) will come to class to talk about their practices and we
will have one special field trip.
Studio – 6 hours. Prerequisite: course 12 or CDM 20 or CTS 20.
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 CDM 20 or CTS 20 .
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.
Studio – 6 hours. Prerequisite: course 12 or CDM 20 or CTS 20.
Use of video to expand performance art production. Exploration of
improvisation, direction, projection, and image processing in
Studio – 6 hours. Prerequisite: course 12 or CDM 20 or CTS 20 or
TCS 100; one of course 112, 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
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.
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
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 |
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
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.
Lecture/Discussion – 3.0 hours, Film Viewing – 3.0 hours
Prerequisites-Upper-division standing or consent of instructor.
South Asian cinema of last 100 years in the context of
cultural, social, and political changes. South Asian history,
Independence, Partition, urban life, class, migration,
postcolonial identity, diaspora, gender, sexuality, religion,
sport, performance, etc. Same course as MSA 131B/ANT147.GEcredit:
SocSci | AH, SS, VL, WC, WE. –
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.