Winter Quarter
| Dept | Course No and Title | Instructor |
|---|---|---|
| FLM&MDA (W24) | 85B BROADCAST MEDIA | JOHNSON, V. |
| This course examines U.S. broadcast media from the radio era through digital television with particular focus on how our culture has imagined and continues to think about the possibilities of broadcast media and its meaning and how this relates to the way these media have been developed, used, interpreted, and critiqued. We focus on broadcast media as complex and multifaceted social institutions: as industrial/economic/business interests, as venues for cultural and artistic expression, and as sites of audience engagement, criticism, and activism. We will particularly be concerned with the relationship between broadcast media and the social, political, and economic context or culture in which they are imagined, received, and challenged through analysis and interpretation of the “texts” of broadcast media. | ||
| FLM&MDA (W24) | 101A SILENT ERA | KUNIGAMI, A. |
| Considered the most iconic medium of the twentieth century, film acquired some of its distinctive characteristics in the first decades of the twentieth century at the intersection of many forces, disputes, and possibilities. This course will present a historical and theoretical overview of the aesthetic, cultural, and technological aspects of the first decades of the moving pictures, from pre-cinematic technologies until the advent of synchronized sound (1880s–1930). We will look into the consolidation of film as a narrative form, a mode of production, and a cultural artifact, in its many global manifestations and implications in our cultural imagination, exploring different ways that silent film history can be narrated. From Europe, through the United States, to Asia and Latin America, the course will explore the many facets of silent film culture, taking into consideration the dimensions of race, class, gender, and nationality that helped shape it. | ||
| FLM&MDA (W24) | 110 FILM & MEDIA THEORY | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (W24) | 110 FILM & MEDIA THEORY | MIMURA, G. |
| What is primitivism, when and why did it emerge, and why and how does it persist? For more than the past 100 years, film has been the principal medium by and through which primitivism has ‘survived’ and reinvented its antiquated worldview. Indeed, the aesthetic demands of primitivism have frequently been the occasion for visual media to advance special effects technology and address, resolve, or question key problems of visual representation. This course will examine the theoretical development and critique of primitivism principally in film, and to a lesser degree, other media such as photography and painting. | ||
| FLM&MDA (W24) | 110 FILM & MEDIA THEORY | KEEVER, J. |
| This class will cover theoretical texts related to the discipline of game studies, teaching students about the history of the medium as well the historical development of the academic study of videogames. This class will approach game studies as a discipline which emerges out of fields and areas of study including film studies, media studies, literary studies, and critical theory. We will read texts which approach games and play through the lenses of Marxism, queer theory, critical theories of race, and ecocriticism. We will also read key texts from outside of the field – texts from the aforementioned disciplines of film studies, media studies, critical theory, etc. – which have influenced various trajectories of game studies. We will interrogate key concepts in the study and popular reception of videogames, such as agency, interactivity, power, and ‘fun.’ In addition to the assigned readings, students will be responsible for playing historically/aesthetically noteworthy videogames each week – these ‘playings’ will be collective in-class activities, or individual out-of-class assignments, depending on the length of the game and its system requirements/availability. Most of these games will be cheap/free. Students will leave this class understanding the historical and theoretical relationships between videogames and ‘older’ media such as cinema and television, and gain insight into the experimental and aesthetic possibilities of videogames, which extend far beyond the typical understanding of videogames as frivolous, fun distractions. | ||
| FLM&MDA (W24) | 111 THEORY AND PRACTICE | RONY, F. |
| This seminar on theory and practice in film takes as its primary focus the issue of realism in film. In addition to reading theory we will use exercises in digital film production and editing to understand film realism. We will look at montage, sound, film movement, directing, and mise en scene in order to understand how ideology works in tandem with style. We will examine films as diverse as early silent film, Soviet montage, classical Hollywood, Third cinema, documentary, and experimental video. The prerequisites for this course are FLM&MDA 85A-B-C, FLM&MDA 120A, and one course from the FLM&MDA 101 series. | ||
| FLM&MDA (W24) | 115 CINE MUJER | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (W24) | 118A WRITING TV I | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (W24) | 120A BASIC PRODUCTION | CANE, E. |
| No detailed description available. | ||
| FLM&MDA (W24) | 120B INTERMED PRODUCTION | CANE, E. |
| No detailed description available. | ||
| FLM&MDA (W24) | 130 BLACK HISTORY FILM | PAYTON, P. |
| This course will provide an introduction to the history of “Black film.” The term “Black film” is complex due to the fact that throughout film history it has functioned to group films of all genres together into one non-discriminative category. Consequently, it has been defined in various ways including films with predominantly Black casts, films made by Black directors, and/or films deemed “authentic” to the Black experience. This course will track these changing definitions by looking at a wide range of films that have been included within the category of “Black film.” We will also consider how the socio-political climate impacts and/or is shaped by Black popular culture. Furthermore, during this quarter we will explore how authorship, performative agency, and spectatorship have worked, both in partnership with and in opposition to, claims of what defines a “Black film.” | ||
| FLM&MDA (W24) | 130 RAGE AND REBELLION | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (W24) | 130 ASNAM DOCUMTRY PRAC | CHO, J. |
| We begin with the elements and evolution of documentary film language and genres in the United States as a foundation for understanding how Asian American media artists utilize mediums of film and video toward particular communication goals. We will also trace movements of documentary subjects and techniques in the context of American Americans’ historical exclusions, racialized representations, and social roles in nonfiction films. As we view a range of works by and about Asian Americans, we will consider how various makers engage strategies for production style and content, audience engagement, subjectivity, emotional truth in evolving environments of technology and access, social movements, ethnic notions. Students will pose their critical understanding of documentary film operations and social meaning to the considerations and challenges a producer faces to develop a documentary film. | ||
| FLM&MDA (W24) | 139W WRITING ON FILM&MDA | CRANO, R. |
| No detailed description available. | ||
| FLM&MDA (W24) | 139W WRITING ON FILM&MDA | CRANO, R. |
| No detailed description available. | ||
| FLM&MDA (W24) | 139W WRITING ON FILM&MDA | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 145 COBRA KAI | MIMURA, G. |
| This course will examine the surprise hit comedy-drama series, Cobra Kai (YouTube Red, six seasons, 2018–23), and its revitalization of The Karate Kid franchise; the rise and development of streaming television; and the suburban class, race, gender, and youth culture dynamics explored by the series itself. The course will screen the original film, The Karate Kid (John Avildsen, 1984); scenes from its three sequels (1986, 1989, 1994); Cobra Kai, season 1 (10 episodes, ~5 hours, 2018); and scenes from the series’ following four seasons. Other issues raised by the series to be examined include pop-culture irony, nostalgia, convergent media, and media recycling. | ||
| FLM&MDA (W24) | 151 ACTIVIST MEDIA | EKANAYAKE, A. |
| This course will consider historical and contemporary “activist” media that addresses social issues by employing the spectacle of difficulty, discomfort, and cruelty. We will begin with an introduction to early historical examples of media activism and then move to contemporary examples. The main elements we will explore include destruction, violence, forgetting, silencing, and erasure, as these elements unfold in the call for social change or abolition. In addition to the material assigned in this syllabus, students will contribute relevant material for screenings and readings for the latter portion of the term. | ||
| FLM&MDA (W24) | 160 EUROPEAN HORROR | BEY-ROZET, M. |
| No detailed description available. | ||
| FLM&MDA (W24) | 190 ANIMALS/MEDIA | KEEVER, J. |
| Film theorist Akira Lippit once posited that when animals left the infrastructure of our day to day lives – that is, when animals no longer roamed the streets – that they moved into our technologies, which, like a crypt, preserved them in their absence. Put another way, we could say that our technologies supplement and mediate our experience of ourselves as humans in much the way animals did in the past (and still do today, albeit in a different way). In this course we will explore this relationship between animals, humans, and technology, focusing on representations of animals in cinema, literature, and new media objects such as videogames. We will see how animals, preserved in various forms in our media technologies, function as metaphors which provide avenues for thinking through issues of liberation, transformation, queerness, race, and exploitation. We will also consider the tremendous violence done to animals under global (bio)capitalism, and the violence of calling animals “animals” at all. Finally, we will critically think through what it means when we say that animals are one of the human being’s “technologies,” and we will consider how to develop a more egalitarian relationship with our fellow creatures. | ||
| FLM&MDA (W24) | 192 DIRECTINGDOCUMENTRY | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (W24) | 192 ADVANCE CINEMATOGR | ELIZONDO, L. |
| This course will dissect the design elements of cinematography and cinematic lighting for ultra high definition digital filmmaking. The class will cover pre-production visualization tools and techniques for cinematographers with emphasis on lighting, lens, camera, movement, and color design. The assignments will train students on proper set etiquette and production procedures. Each week, students will participate in hands-on exercises and workshops of increasing complexity designed to understand the skills used for visualizing and executing the design, compositional balance, and exposure of digital film. Students will be divided into groups and expected to collectively write, produce, shoot and edit a non-dialog short film utilizing a digital ultra high definition camera and an advanced lighting and grip package. Prerequisite: FLM&MDA 120A. Satisfactory completion of the Lower-Division Writing requirement. Repeatability: Unlimited as topics vary. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | LIM, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 197 INTERNSHIP | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | LIM, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 198 CREATIVE PROJECT | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | LIM, B. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | STAFF |
| No detailed description available. | ||
| FLM&MDA (W24) | 199 DIRECTED RESEARCH | STAFF |
| No detailed description available. | ||