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Cinema Studies - Spring 2014

ART 241A - Introduction to Photography
4 credit hours
McInnis, Daniel - Koch Hall

No prerequisite.
This course introduces students to traditional black and white and digital photographic techniques.  Instruction covers the understanding and use of traditional and digital cameras and their functions, the process of developing black and white negatives and creating black and white 8x10 prints.  Some areas of photographic capture covered:  depth of field control, motion control, portraiture and experimental approaches.  Basic digital image editing will also be explored.
This course is intended to be the introductory course to the photography concentration for the Department of Art.  It is also a course designed for students who want an introduction to the medium as part of a broad liberal arts experience.  A $250.00 chemistry/supplies fee and a $50.00 camera/tripod rental fee are required for the course.
TEXT:              London/Stone , A Short Course in Photography, 8th edition


ART 341 – Advanced Photography
4 credit hours
McInnis, Daniel - Koch Hall

Prerequisite: Art 241A and permission of instructor.
Designed as a continuation of Art 241A, this course will ask students to further explore their personal expression and hone their skills as artists through the photographic medium.  Traditional and digital cameras (and their functions) will be explored.  Alternative processes, abstraction, the zone system, large-format cameras, self-portraiture, photojournalism, and the bridge between digital and analog photography are some of the areas that may be explored. Special emphasis will be placed on the student’s ability to use the medium to effectively capture documents, express concepts and explore narratives.   A $300.00 chemistry/supplies fee and a $50.00 camera rental fee are required for the course.
TEXT:  The Fundamentals of Creative Photography, David Prakel


CINE270 01  Film Language in the Curriculum
1 Credit
Smith, M.

Prerequisite:  CINE 200.
FLIC modules accompany selected courses in several disciplines presenting students with the opportunity to do additional research in Cinema Studies and earn credit for that work. Students will work with a faculty member from the Cinema Studies minor to design and complete a project that expands on a course topic, working in conjunction with a professor who has agreed to work with the FLIC module. Students must register both for a course offering the FLIC option and for the FLIC module. FLIC modules allow students the opportunity to enrich their learning by acquiring interdisciplinary perspectives on film and television. This course may be repeated for credit, but no more than four semester hours may be counted for the minor.


CINE 490  Independent Study
1-4 Credits
Smith, M.

Prerequisite:  Declaration of Cinema Studies Minor and permission of instructor.


CINE 492  Internship
1-8 credits
Smith, M.

Prerequisite:  Declaration of Cinemas Studies Minor and permission of instructor.


COMM 301  Critical Methods:  Television Criticism
4 credits
Smith, Matthew

Pre-requisite:  COMM 200 and COMM 280 or  290S.
This course studies television as a form of intentional message making and encourages students to develop an active, critical response to the television they consume and to examine the effects it has on the world around them. The course explores the production of television as texts and considers multiple approaches that scholars have used to analyze the form and products of this medium. Students can gain a vocabulary for the production of these texts and learn to develop planned, in-depth critiques of their messages. Writing intensive.


COMM 350 Topic:  Feminist Theory on Film and TV
4 Credits
Cunningham, Sheryl

This advanced course begins with a brief overview of basic terms from film studies (mise en scene, camera shots, diegesis, etc.) as well as a review of feminist movements, particularly 2nd wave feminism and its link to the development of film criticism in the 1970s and early 80s. The main focus of the course will be reading feminist theory and utilizing concepts and ideas developed by theorists to analyze contemporary films and television. We will focus most of our analysis on films and television series that are gendered in their targeting of either men or women as audiences. Students will demonstrate their learning through written assignments, exams, and presentations. 


English 180A – Chick Flicks: From Melodrama to Rom-Com
4 semester hours
Inboden, Robin

Prerequisite:  ENGL 101E
From Bette Davis’ eyes and Joan Crawford’s shoulders to Rita Hayworth’s legs and Judy Garland’s ruby slippers, classic Hollywood stars defined, for better or worse, American ideas of modern womanhood.  But how much has really changed? This course will interrogate women’s changing roles as stars, as filmmakers, and as audience members. We will begin by learning some basic terminology and approaches to analyzing film as an art form.  Centering on the Classical Hollywood Cinema (1930-1960), with comparisons to contemporary films, we will then turn to a thematic and historical consideration of the various kinds of roles assigned to women in different films and film genres, from classic melodrama, screwball comedy, and film noir to today’s rom-com.  We will see how many classical Hollywood movies have created conformist role models for women even while subverting them.  Short readings may include work by Jeanine Basinger, Molly Haskell, Laura Mulvey, Mary Anne Doane, and Mick LaSalle, among others. The graded work of the course will consist of a shot-by-shot analysis, several short papers, and a final exam.  Writing Intensive.  Counts towards Cinema Studies minor and Women’s Studies minor.


ENGL 180A – Film Noir
4 semester hours
Hinson, Scot

Prerequisite: ENGL 101E
Film noir, or “black film,” has been variously labeled as a period in film history, a style of film, and as a separate film genre with its own themes and conventions.  No matter how you define it, films labeled as film noir are “deeply unromantic” films that “take a sneaking delight in their displays of passion gone wrong and of murderous calculation confounded.”  This course will examine the distinctive “noir” visual style and the characteristic “noir” thematics of lives ruled by an unkind fate.  We will also trace the history of film noir from its origins in German expressionism and postwar nihilism, to its golden period in the 1940's and 1950's, and to its persistence through the rest of the 20th century in neo-noir and retro-noir.  We will also look at the debt that these films owe to what the French called “serie noir,” the searing crime and detective fiction of the 1930's, 40's, and 50's.  We will examine particularly closely the cultural work of these films and the questions film noir raises about the nature of masculinity, femininity, and homosexuality and their representations in film noir.  Writing intensive. Cross-listed with Women’s Studies


ENGL 180A – Vampires in Fiction and Film
4 semester hours
Hinson, Scot

Prerequisite: ENGL 101E
For millennia, creatures of the night have descended upon us to drink our blood, drain the life from us, and ignite our imaginations.  Succubi, lamiae, great white worms, and debonair counts all want one thing and one thing only--blood, for "the blood is the life."  Vampires have fascinated us from their first appearances as creatures of our nightmares, to their manifestations as the undead, swollen with grave gases, to the reluctant, beautiful, and sensitive outcasts we find in today's vampire novels and films.  This course will study vampires across time and cultures in fiction and film with a special emphasis on understanding what our obsessions with vampires can tell us about our cultures and ourselves.  What explains our obsession with vampires?  Why are we seeing an epidemic of vampire stories and movies?   And what explains the evolution of the vampire from a bloated, soulless corpse to a brooding, romantic hero?  Writing intensive.  Cross-listed with Women’s Studies.


ENGL 380 – Screening Fiction: Novel to Film
4 semester hours
Hinson, Scot

Prerequisite:  ENGL 200 or permission of instructor
So-called “classic” literature, as well as popular or “pulp” literature, has always been a rich source for film both in and out of Hollywood.  In recent years Hollywood has drawn more and more heavily on popular writers and familiar literary giants like William Shakespeare and Jane Austen, among others, for its blockbuster movies.  However, the moviemaker’s love affair with literature has been fraught with questions: Should films be “faithful” to the original?  Is the “original” or source more important than the adaptation?  When is an adaptation an adaptation and when is it something else?  Does literature love the cinema as much as cinema seems to love literature?  What does the cinema gain from its close association with literature?  We will consider these questions by looking at a number of literary works and their film adaptation(s) like Frankenstein, Dracula, Fight Club, The English Patient, Romeo and Juliet, Do Androids Dream of Electric Sheep? (Bladerunner), I Am Legend, and others.  Writing intensive.  One shorter and one longer essay, midterm and final exam.


SOCI 201A & C:  Topics:  Japanese Film
4 Credits
Moskowitz, Nona

Prerequisite:  None 
Films tell multiple stories.  In this course, we will explore those stories through the art and tradition of Japanese cinema. To do so, we will examine Japanese film along three dimensions. First, we will examine the pieces as individual works of art.  Japanese cinematographers began exploring the medium during the silent era of film.  We will follow the history of Japanese cinema through famous works that have received national and/or international acclaim.  Second, we will use the medium as a lens into Japanese culture.  Films are cultural texts that give insight into the culture in which they were produced.  We will learn about Japanese culture through the films we watch.  Finally, films say something about the nation in which they were produced and the individuals that produce them—they make claims about individual and national selves through idealized representations and social critique.  For this analysis, we will examine the films as commentary that the Japanese make about themselves. 


SPAN 263/1.2:  El cine y el cambio social (Film and Social Change)
(2 semester hours)
R. Hoff

Prerequisites:  Spanish 112, 150 or 200 level placement
This course introduces students to films from Spain and Latin America that intersect with social and historical transitions.  Students will explore the cultural context of each film, analyze major themes, and discuss the role of film as a reflection of and catalyst for social change.  Course also includes selected grammar topics and focuses on colloquial vocabulary that triggers opportunities for class conversation.


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