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.
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
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
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.