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 |
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—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.
Lecture—3 hours; extensive writing. Contemporary developments in
the fine and performing arts, media arts, digital arts, and
literature as they relate to technological and scientific
practices. GE credit: ArtHum | AH, VL, WE.
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.
Study of the ubiquitous presence of CCTV, face recognition
software, global tracking systems, biosensors, and data mining
practices that have made surveillance part of our daily life.
Study boundaries between security and control, information and
Lecture/discussion—3 hours; film viewing—3 hours. Prerequisite:
course 1, upper division standing, or consent of instructor.
Group study of a special topic in film, focusing on a national
tradition, a major filmmaker, or a specific era. May be repeated
three times for credit. GE credit: ArtHum, Wrt | AH,
OL, VL, WE. —F, S. (F, S.) Clover, Constable, Fisher,
Heyer-Caput, Lu, Simmon, Smoodin
Lecture/discussion—3 hours; laboratory—3 hours. Experimental
approaches to the making of film and video in the age of digital
technologies. Opportunities for independent producers arising
from new media. Instruction in technical, conceptual and creative
skills for taking a project from idea to fruition. GE credit: VL
Lecture/discussion—3 hours; laboratory—3 hours. Prerequisite:
course 1. Introduction to object-oriented programming for
artists. Focus on understanding the metaphors and potential of
object-oriented programming for sound, video, performance, and
interactive installations. GE credit: VL.—S. Ostertag
Lecture/discussion—3 hours; laboratory—3 hours. New feature and
documentary production for radio and other audiophonic media,
including audio streaming Web sites and installation. Emphasis on
new and experimental approaches to audio production for broadcast
on community radio and in international arts programming.
Lecture/Discussion—3 hours; Term Paper. Recent evolution of the
documentary. The personal essay film; found-footage/appropriation
work; non-linear, multi-media forms; spoken word; storytelling;
oral history recordings; and other examples of documentary
Starting with a Super Mario Bros. cartridge and a Nintendo
Entertainment System (NES), in this class each student will
modify or “mod” vintage videogame equipment in order to explore
the rich materiality of technical media, the intimate
relationship between analog electronics and digital code, and the
complex ecologies formed around both hardware and software.