FMS 132 – INTRODUCTION TO THE ART OF FILM - J. MIDDLETON
As an introduction to the art of film, this course will present the concepts of film form, film aesthetics, and film style, while remaining attentive to the various ways in which cinema also involves an interaction with audiences and larger social structures.
CRN# 52406
MW 12:30 – 13:45
Morey 321
4 credits
Cross-listed: ENG 117, AH 136
FMS 161 – INTRODUCTORY VIDEO & SOUND – TBD
This course introduces the basic aesthetic and technical elements of video production. Emphasis is on the creative use and understanding of the video medium while learning to use the video camera, video editing processes and the fundamental procedures of planning video projects. Video techniques will be studied through screenings, group discussions, readings, practice sessions and presentations of original video projects made during the course. Studio art supplies fee: $50. Enrollment limited to 10. Permission of instructor required. Not open to seniors.
CRN# 52419
TR 14:00 - 16:40
Sage Art Center
4 credits
Cross-listed: SA 161, ENG 161
FMS 205 – INTRODUCTORY DIGITAL ART– S. ASHENFELDER
For the purpose of this course, the computer and software will be a medium of artistic production. Students will use writings, and readings on contemporary art practice and theory to create work within the framework of contemporary digital art. Software, namely Adobe Photoshop and Macromedia Dreamweaver, will be the medium for materializing conceptual ideas. Prior experience with the software used in this course is not required. Studio Art Supplies Fee: $50. Enrollment limited to 10. Not open to seniors.
CRN# 52529
TR 16:50 - 19:30
RRL G108
4 Credits
Cross-listed: SA 151
FMS 205 – INTRODUCTORY DIGITAL ART– S. ASHENFELDER
For the purpose of this course, the computer and software will be a medium of artistic production. Students will use writings, and readings on contemporary art practice and theory to create work within the framework of contemporary digital art. Software, namely Adobe Photoshop and Macromedia Dreamweaver, will be the medium for materializing conceptual ideas. Prior experience with the software used in this course is not required. Studio Art Supplies Fee: $50. Enrollment limited to 10. Not open to seniors.
CRN# 98826
MW 14:00 - 16:40
Hylan 303
4 Credits
Cross-listed: SA 151
FMS 221 – NAPOLEON: IMAGE, MYTH AND HISTORY– R. DORAN
With the exception of Jesus Christ, no historical personage has been more written about, or been the subject of more iconic portrayals, than Napoleon Bonaparte. This course examines the image of Napoleon at the intersection of myth and history, for Napoleon attempts to write his own history as myth. Literary accounts of Bourienne, Chateaubriand, Stendhal, Hugo Dumas, Tolstoy, and Scott. Pictorial representations by David, Gros, Géricault. Abel Gances classic silent epic Napoleon (1927), Guitrys Napoleon (1955), as well as other cinematic treatments. Modern historical treatments by Cole, Englund, and Bell. Conducted in English.
CRN# 96811
MW 15:25 - 16:40
Meliora 221
4 credits
Cross-listed: FR 249, AH 249, HIS 224, CLT 266, CLT 466
FMS 223 – THE SOCIAL USES OF MEDIA: ANTHROPOLOGICAL PERSPECTIVES ON MEDIA IN GLOBAL & LOCAL CONTEXTS – E. KIM
This course introduces students to the study of media from an anthropological perspective. We will examine constructions of media as objects of social scientific analysis, as both textual artifacts and social practice. Questions that guide the course are, What is "the media"? How have recent transformations in global capital and communications technology altered how we consume, analyze and produce media? What can the study of media tell us about social life and the imagination? We will seek to understand the media's role in producing national and transnational public spheres, focusing on a range of media formations, from multinational corporate structures to indigenous and diasporic productions, to question media's power to shape subjectivities and conceptions of cultural difference. We will examine print journalism, television, film, radio, advertising, and visual art in both local and global contexts. Students will be encouraged to incorporate media analysis and media production in their own ethnographic projects.
CRN# 52435
TR 11:05 – 12:20
Meliora 205
4 credits
Cross-listed: AH 230, ANT 225, ANT 425
FMS 232 – POPULAR FILM GENRES: THE HORROR FILM– J. MIDDLETON
This course examines major critical issues surrounding the horror genre, through close study of Clasical Hollywood, post-Classical, and international horror films, and readings in critcal theory. Issues to be explored include boundary transgression and bodily abjection in the construction of the horror monster; gender, pregnancy, and the monstrous feminine; social Otherness (race, class, sexuality) as monstrosity; the figure of the serial killer and the shift from classic to modern horror; the grotesque and the blending of comedy and horror in the zombie film; international horro (especially Japan) and cross-cultural influences with Hollywood. As a research seminar, the course will involve the development of a substantial research project.
CRN# 94897
MW 15:25 - 16:40
Meliora 224
4 credits
Cross-listed: ENG 380, ENG 480
FMS 249 – FILM HISTORY: 1959 - PRESENT – G. NIU
This course will explore developments in world cinema - industrial, technological, social, and political - from 1959 to the present. It will consider aesthetic and technical issues, including questions like the following: What brought about the collapse of the Hollywood studio system? What's new about the French New Wave? What do we mean by "Third Cinema"? How do different national cinemas influence each other? Weekly screenings and film journals required.
CRN# 52453
TR 11:05 - 12:20
Morey 506
Screening M 19:40 – 22:00
4 credits
Cross-listed: AH 253, CLT 218, ENG 257, ENG 457
FMS 268 – THE FILMS OF MARTIN SCORSESE– G. GRELLA
The course will deal with a selection of films directed (and some also written) by the highly regarded contemporary director, Martin Scorsese. We will proceed in roughly chronological order, examining the growth and development of his career, his characteristic manner and matter, his successes and failures. We will also discuss the concept of the auteur as it applies to his work.
CRN# 52488
R 18:15 - 22:00
Dewey 2-162
4 credits
Cross-listed: ENG 260, ENG 460
FMS 291 – CONTEMPORARY FRENCH FILM – S. WILLIS
Through close analysis of popular film, this course will explore contemporary French culture as it reworks national identity. Focusing on changing definitions of "Frenchness" we will examine its articulations with shifting conceptions of tradition, of the popular, and of the nation. We will read central cultural conflicts around identity and difference in the context of the emergent European economic community, as well as the specifically French context of "immigration" and "assimilation". Of particular interest, for our purposes, will be comparative analysis of French and US popular discourses on social issues involving sexuality and gender, race, ethnicity, and "multiculturalism". Attendance at a weekly film screening will be required.
CRN# 96912
MW 14:00 – 15:15
Rush Rhees LIbrary 428
4 Credits
Cross-listed: FR 283, FR 483, AH 283, AH 483, CLT 211D, CLT 411D
FMS 294 – CHINESE CINEMAS – G. NIU
The course examines diasporic Chinese cinemas from the People's Republic of China(PRC), the Republic of China on Taiwan(ROC), Hong Kong(HK), the U.S. and Canada, mostly from the 1980s to the present. We will pay special attention to the migrations of the films and individuals, including actors such as Chow Yun-Fat, Jackie Chan, Tony Leung, and Jet Li, actresses such as Joan Chen, Gong Li, Maggie Cheung, directors such as Ang Lee, Zhang Yimou, Jia Zhangke, Wong Kar-Wai, and others. We will cover a wide variety of genres, including epic, martial arts, action, thriller, comedy, and drama. Some experience with film studies, especially world cinema, and Chinese history will be helpful but not required.
CRN# 52512
TR 14:00 - 15:15
Gavet 310
4 credits
Cross-listed: ENG 262, ENG 462
FMS 297 – HISTORY OF JAPANESE CINEMA – J. BERNARDI
A survey of Japanese cinema since its origins, this course examines the major issues, trends and moments that make up its history. Content varies according to the particular timespan offered (origins to 1960s or origins to present), but significant topics addressed include: silent film and popular culture; the import market and its influence; prewar, wartime and postwar censorship; popular genres; animation; the early international festival circuit; the art film and New Wave; and patterns of global distribution and exchange. Course taught in English (additional instruction in Japanese available for majors). Enrollment is limited to 12 students.
CRN# 52548
TR 15:25 - 16:40
Rush Rhees Library 428
4 credits
Cross-listed: JPN 283, CLT 214A, CLT 414A
FMS 308 – DANCE, ART AND FILM - D. CRIMP
This course explores relations among dance, art, and film at significant moments in the 20th and 21st centuries. We will study instances in which the forms are particularly closely aligned, including the famous productions by artists such as Gontcharova, Picasso, and Matisse, for Diaghilevs Ballets Russes; Martha Graham's partnership with Isamu Noguchi; and Merce Cunningham's work with Robert Rauschenberg. We will also look simply at how dance is filmed or how dance uses film. The course will concentrate on two figures of the post-war American avant-garde: Merce Cunningham and Yvonne Rainer. Cunningham's dances choreographed for film in collaboration with film- and video-makers and Rainer's move from choreography to filmmaking and eventually to hybrids of the two will constitute the core of the course.
CRN# 94920
M 16:50 - 19:30
Morey 205
4 credits
Cross-listed: FMS 508, AH 311, AH 511
FMS 365 – ROBIN HOOD: MEDIA CREATURE – T. HAHN
This course, part of the Kauffman Entrepreneurial Program, will address the popularity of the outlaw hero Robin Hood across six centuries and through a variety of media. The course will require shared readings (including writings on media theory and history), but much of the work will entail individual research that will be available to other class members through live discussion and through the computer and website that will constitute the "research lab". Each member of the class will be expected to produce several finished projects over the course of the semester. Students will ultimately have the chance to make their discoveries available to a wider audience through Robin Hood: A Digital Archive. The development of this website will potentially engage students in website design, market research, and issues of property rights in the private and public domains. This process of research and investigation, of assembling and editing materials, of preparing texts and images for non-academic audiences will form part of the entrepreneurial focus of the course. Ultimately, the course, like the site, will attempt to enable mixed audiences to have digital access to those material objects and practices that provide the basis for reconstructing our understanding of popular culture over the last 500 years, insofar as Robin Hood and outlawry provide a focus. Open to graduate students in offering department (English) only.
CRN# 94954
MW 15:25 - 16:40
Morey 501
3 credits
Cross-listed: ENG 380K, ENG 480
FMS 390 – SUPERVISED TEACHING
FMS 391 – INDEPENDENT STUDY
FMS 392 – SPECIAL TOPICS
FMS 393 – SENIOR PROJECT
FMS 394 – INTERNSHIP