This course teaches video production basics through a series of short creative exercises in videography, location lighting, sound recording, non-linear editing, and video effects. This course is designed as an entrée into our full-semester video production workshops (e.g., 362, 364) and may be taken concurrently with one of those courses. Enrollment is by permission; students enrolled concurrently in a full-semester video workshop have first priority. Same as ART 162. Moss
An introduction to the way movies are put together, to basic critical terms and concepts used in the study of movies, videos and television and to the complex roles that cinema and television play in society — as art, business, entertainment and a medium of information and ideology. Eitzen
Explores the process of transforming plays and dances designed for live stage performance into movies—a process not unlike turning poems into paintings, inasmuch as it involves a different medium and a whole other language of expression. The course includes both hands-on production experience and studies in theory and analysis. Eitzen
An introduction to film studies using black film as a genre of Hollywood and independent film. Covers the work of Oscar Michaux through the “blaxploitation” films of the 1970s and beyond. Explores films as social commentary in their particular historical contexts. Particular attention is given to screen analysis of segregation, sexuality, class differences and more. Same as AFS/AMS/ WGS 213. Willard
An examination of the first 100 years of the medium from its invention to the documentary photography produced under the Farm Security Administration in the late 1930s. Emphasis will be placed on the relationship of photography to the arts of painting and literature, as well as on contextualizing photographs as documents of scientific investigation, ethnographic research, social history and personal expression. Prerequisite: Strongly recommended that students have had at least one art history course. Same as ART 245. Kent
An introduction to doing history with movies. Treats movies from the 1890s to the 1960s. Provides an overview of the evolution of popular movies and of influential artistic and rhetorical counter- currents, including national film movements, experimental cinema and documentary. Same as ART 267. Moss
Examines the interrelationship between the mass media (including print, broadcast and new media), public opinion and American politics, giving particular attention to ways in which the media and public opinion both help influence and are influenced by the political process. (Previously GOV 214) Prerequisite: GOV 100. Same as GOV 318. Medvic
An intensive workshop in visual storytelling. Students work in teams to develop, shoot and edit short narratives. This course requires an unusual amount of outside-of-class work. Pre- or corequisite: TDF 173, “Sight and Sound.” Same as ART 362. Moss
Advanced seminar devoted to applying classical and contemporary film theory to particular problems and movies. Topic varies from term to term. Same as ART 363. Eitzen
An intensive video production workshop, focusing on documentary as a means of community building and grass-roots activism. Students work in small groups to produce short documentaries, frequently with a community partner. The topic or focus of the course varies from term to term. Students may take this course twice. Pre- or corequisite: TDF 173, “Sight and Sound.” Same as ART 364. Moss
Introduction to Italian film history, with an emphasis on the relationship between cinema and society and culture. May include influential auteurs (Visconti, De Sica, Antonioni, Pasolini, Fellini) and movements (Neorealism, cinema politico), as well as popular forms (commedia all’italiana), genre films, experimental filmmaking, and documentary. Taught in Italian. Prerequisite: ITA 310. Same as ITA 366. G. Lerner
Independent study directed by the Theatre, Dance and Film staff. Permission of chairperson.
Peeping Toms/Big Brothers.