Spring Quarter
| Dept | Course No and Title | Instructor |
|---|---|---|
| FLM&MDA (S24) | 85A INTRO FILM ANALYSIS | HILDERBRAND, L. |
| In this introductory course, you will develop the tools for analyzing film and other moving-image media. We will focus on understanding how filmmakers use narrative, mise-en-scène, cinematography, sound, and editing to produce meaning and elicit emotional responses. Popular narrative films often encourage audiences to become absorbed in the world of the film and to forget that we are watching a movie. In this course, you will learn to recognize the techniques that filmmakers have developed to make the film apparatus (the camera, the microphones, the technology) disappear, and we will consider the ways in which filmmakers have departed from and embellished this "invisible" style. In the process, we will also discuss some of the debates that animate scholarship on film aesthetics. All class meetings will be held in person. Warning: In order to examine film's power to move and disturb us, we will be viewing R-rated films and film clips that you might find too explicitly sexual, violent, startling, and/or disgusting for your comfort. | ||
| FLM&MDA (S24) | 85C NEW MEDIA & DIGITAL | KAMIL, M. |
| What is the relationship between power and digital media technologies? New media, from devices including cell phones to platforms like X to search engines such as Google, shape users’ perceptions of race in ways that are often invisible. This course traces the history of computing, its roots in American counterculture and the military-industrial-educational complex. We will examine the issue of digital labor and power, how technologies create new relationships of power and disempowerment for specific groups and individuals, and how culture is being transformed through these technologies. | ||
| FLM&MDA (S24) | 101B STUDIO ERA | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (S24) | 110 FILM & MEDIA THEORY | LIU, C. |
| This class will focus on genre theory as it applies to feature film production, distribution and reception, with a special focus this quarter on the politics and economics of the Romantic Comedy. We will investigate its history and its generic limitations and innovations. We will investigate genre theory in relationship to the contemporary rom com and emphasize its importance as a mode of production for maximizing studio profits and audiences while diversifying its cast through the expansion of race, gender and sexuality representations. | ||
| FLM&MDA (S24) | 110 FILM & MEDIA THEORY | EKANAYAKE, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 110 FILM & MEDIA THEORY | SODERMAN, A. |
| This course will explore contemporary new media theory, including the analysis of digital media forms such as algorithms, software, platforms, networks, the cloud, and other related digital systems. In addition, we will apply theoretical texts to recent developments in digital media culture, such as the metaverse and virtual worlds, NFTs and cryptocurrency, digital companions, artificial intelligence, social media, and games. | ||
| FLM&MDA (S24) | 112 FILM NOIR | LIU, C. |
| This course explores the historical and political importance of film noir as an American genre that shaped the way that films looked and felt. Film noir, this course will argue contained within it the seeds of critique and negation with regard to social crises and was able to marry high and low culture in producing art works as genre films that questioned the legitimacy of law and order while producing new kind of protagonists in a vicious and violent world. Film noir's cognitive mapping of exploitation and criminality as seen from an underworld of marginal characters and families. Beginning with silent cinema and moving onto the evolution of film noir through the imposition of the Hays Code, we will also see how globally important the genre became for different national film industries, especially those in France and Hong Kong. | ||
| FLM&MDA (S24) | 117A INTRO SCREENWRITING | CARTIER, M. |
| Introduction to the technique and format of the screenplay, with a particular focus on its three act structural elements: coverage, treatment, and 60 beat outline. Materials fee. | ||
| FLM&MDA (S24) | 120A BASIC PRODUCTION | CANE, E. |
| No detailed description available. | ||
| FLM&MDA (S24) | 120B INTERMED PRODUCTION | CANE, E. |
| No detailed description available. | ||
| FLM&MDA (S24) | 120C PRODUCTION WORKSHOP | DAUCHAN, D. |
| This advanced production workshop is designed to develop your creative vision and your ability to apply the technical skills necessary to realizing your vision. Emphasis is placed on thorough pre-production, organized production shoots and work-in-progress screenings. Class is structured as a workshop. It is designed to deepen your experience as a filmmaker, from discussing script ideas, shot lists and storyboards, to work-shopping scenes and work-in-progress screenings. By the end of the quarter, you will have completed an 8-12 minute polished short digital film with multiple sound tracks and titles. University-owned equipment and are financially responsible for the University equipment on loan to them. The prerequisite for this course is FLM&MDA 120B | ||
| FLM&MDA (S24) | 130 LATINAS/OS IN MEDIA | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (S24) | 139W WRITING ON FILM&MDA | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (S24) | 139W WRITING ON FILM&MDA | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (S24) | 144 TECH OF HORROR | KAMIL, M. |
| From Poltergeist (1982) to The Ring (1998), One Missed Call (2003) to M3gan (2022), horror movies center technology as conduits for malevolent spirits and villains. This course will take a closer look at the horror genre in relation to cultural attitudes of technology to consider why techno-horror continues to be a key genre. What anxieties about surveillance and new media are at the root of these representations? | ||
| FLM&MDA (S24) | 146 FILM MUSIC | KRAPP, P. |
| A historical and aesthetic survey of the styles, trends, and important figures in the development of narrative film music, from the invention of moving pictures to the present day. Students will develop analytic skills and learn about the diegetic and nondiegetic roles of music in cinema. The course emphasizes critical listening and viewing skills and offers a film-music history survey that pivots on the introduction of sound, the introduction of stereo, and the introduction of digital sound. Each of these three technological advances alters the structural relationships among dialogue, music, and effects in cinema. This course will focus on film music, and not as much on sound design, effects, foley, editing, etc. But a background in reading music or performing music is not required. | ||
| FLM&MDA (S24) | 161 THIRD CINEMA | MIMURA, G. |
| This course will comparatively examine a variety of political cinema, with particular emphasis on Third Cinema––an international leftist movement radical in its politics and approach to film, emerging in the 1960s in the wake of decolonial and anti-imperialist movements in Latin America, Africa and Asia. Third Cinema synthesized Marxist theory and film practice into a cultural-political praxis committed to advancing the interests of the ‘non-aligned’ Third World. By the late 1960s, it had inspired the development of ‘guerilla filmmaking’ among New Left and minoritarian constituencies in the First World. How did Third Cinema––and political cinema generally––reframe intellectual debates over art, politics and entertainment? How did it engage questions of gender, sexuality, and race; of nationalism, diaspora, and identity? We will approach film as a political object and practice as it has been taken up in multiple geopolitical and historical contexts. | ||
| FLM&MDA (S24) | 190 BLCK WOMEN&STARDOM | PAYTON, P. |
| This course is designed to complicate notions of stardom, agency, and authorship as it relates to Black women performers on the stage and on the screen. Moving beyond representational politics, we will interrogate the ways Black women have utilized performance as a means of expression and survival. We will begin by viewing some of the earliest appearances of Black women in sound film to inform how we comprehend and discuss contemporary media images centering Black women. We will also explore other media texts like recorded live performances, photography, music, etc. to think about performance expansively and juxtapose these various texts across bodies, time, and mediums. Over the course of the quarter, we will conduct close-readings of different forms of audio-visual material in order to bear witness to Black women’s performative strategies over time. | ||
| FLM&MDA (S24) | 192 ADVANCE SOUND | OH, J. |
| No detailed description available. | ||
| FLM&MDA (S24) | 192 EDITING | STAFF |
| No detailed description available. | ||
| FLM&MDA (S24) | 193 ADAPTATION | DAUCHAN, D. |
| Focuses on special topics in screenwriting. Topics include adaptation, alternative screenwriting, writing the first feature, act two construction, and rewriting. Prerequisite: FLM&MDA 117A or FLM&MDA 118A. Satisfactory completion of the Lower-Division Writing requirement. Repeatability: Unlimited as topics vary. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 197 INTERNSHIP | STAFF |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 198 CREATIVE PROJECT | STAFF |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (S24) | 199 DIRECTED RESEARCH | STAFF |
| No detailed description available. | ||