Course Descriptions
Winter Quarter
| Dept | Course No and Title | Instructor |
|---|---|---|
| FLM&MDA (W25) | 85 INTRO FILM ANALYSIS | MIMURA, G. |
| Introduces the language and techniques of visual and film analysis. Teaches students to analyze the moving image; emphasize framing, camera movement, and sound; and conveys how editing produces meaning, reproduces historical ideologies, fosters or disrupts narrative, and cues spectators. Materials fee. Prerequisite: Satisfaction of the UC Entry Level Writing requirement. | ||
| FLM&MDA (W25) | 86 INTRO TV | 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 television and its meaning and how this relates to the way it has been developed, used, interpreted, and critiqued. We focus on television as complex and multifaceted social institution: as an industrial/economic/business interest, as a venue for cultural and artistic expression, and as a site of audience engagement, criticism, and activism. We will particularly be concerned with the relationship between TV and the social, political, and economic context or culture in which it is imagined, received, and challenged through analysis and interpretation of the “texts” of television. | ||
| FLM&MDA (W25) | 101D RADIO TV HISTORY | GUTIERREZ, A. |
| This course surveys U.S. broadcasting history from the radio era through cable television. We will examine how historically specific economic and political forces, regulation, technological innovation, creative producers, and audiences have interacted to shape the development of radio and television. In addition, we will explore how radio and television have become part of our social history. In assessing the many changes across this span, the course will explore the proliferation of broadcasting in the U.S., media policy, industrial operations, programming strategies, and how radio and television have reflected and influenced cultural, political, and social transformations through the decades. | ||
| FLM&MDA (W25) | 110 FILM & MEDIA THEORY | LIU, C. |
| Survey of major directions in film and media theory. Various theories of mass culture, realism, auteurism, semiotics, feminism, cultural studies, and theories of other media, with an emphasis on developing the student’s ability to analyze and articulate a theoretical argument. Materials fee. Prerequisite: FLM&MDA 85 and FLM&MDA 86 and FLM&MDA 87 and (FLM&MDA 101A or FLM&MDA 101B or FLM&MDA 101C or FLM&MDA 101D or FLM&MDA 101E). Satisfactory completion of the Lower-Division Writing requirement. | ||
| FLM&MDA (W25) | 110 FILM & MEDIA THEORY | LIU, C. |
| Survey of major directions in film and media theory. Various theories of mass culture, realism, auteurism, semiotics, feminism, cultural studies, and theories of other media, with an emphasis on developing the student’s ability to analyze and articulate a theoretical argument. Materials fee. Prerequisite: FLM&MDA 85 and FLM&MDA 86 and FLM&MDA 87 and (FLM&MDA 101A or FLM&MDA 101B or FLM&MDA 101C or FLM&MDA 101D or FLM&MDA 101E). Satisfactory completion of the Lower-Division Writing requirement. | ||
| FLM&MDA (W25) | 110 FILM & MEDIA THEORY | DAULATZAI, S. |
| Survey of major directions in film and media theory. Various theories of mass culture, realism, auteurism, semiotics, feminism, cultural studies, and theories of other media, with an emphasis on developing the student’s ability to analyze and articulate a theoretical argument. Materials fee. Prerequisite: FLM&MDA 85 and FLM&MDA 86 and FLM&MDA 87 and (FLM&MDA 101A or FLM&MDA 101B or FLM&MDA 101C or FLM&MDA 101D or FLM&MDA 101E). Satisfactory completion of the Lower-Division Writing requirement. | ||
| FLM&MDA (W25) | 111 THEORY AND PRACTICE | DAUCHAN, D. |
| 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 (W25) | 112 FILM & TV COMEDY | HAGGINS, B. |
| This course will examine how the contemporary film and television comedies from 1990-2010s (rom coms, bromances, workplace comedies, friends as family comedies) can complicate and enriches the old paradigm of " A meets B, A loses B, and A gets B back" in terms of age, class, gender, race and sexuality | ||
| FLM&MDA (W25) | 117A INTRO SCREENWRITING | CARTIER, M. |
| No detailed description available. | ||
| FLM&MDA (W25) | 118B WRITING TV II | SARACENI, M. |
| An intermediate level screenwriting class that uses the narrative television format to explore character, storytelling, and scene development. Students will write and workshop their own original one-hour script. We will analyze the creative decisions, approaches and techniques of the individual writer in the workshop. This course continues to expand concepts introduced in Writing Television 1 (118-A) and culminates with students completing a draft of their original pilot. Prerequisite for this course is FLM&MDA 118A | ||
| FLM&MDA (W25) | 120A BASIC PRODUCTION | CANE, E. |
| This course introduces the fundamentals of filmmaking using digital video. Assignments provide hands-on learning of the basic elements of filmmaking. From cinematography, lighting, and sound, to writing a short script and editing with Adobe Premiere Pro, this class takes you through the production process culminating in each student's completion of their own short 4-6 minute digital film. At times students will be divided into production teams and will be expected to collaborate. Class is organized as a workshop; everyone will know your characters, your script, etc. You will be expected to share and participate at every stage of the production process. | ||
| FLM&MDA (W25) | 120B INTERMED PRODUCTION | CANE, E. |
| This course is designed to expand your filmmaking skills and to help you develop your vision as a director. We will cover a variety of approaches such as documentary and experimental narrative, as well as traditional narrative filmmaking. Class is structured to help you find your voice as a filmmaker and to improve your ability to collaborate with others. There will be lectures, in-class exercises, outside projects, screenings and discussions. You will be required to share and participate at every stage of the production process. | ||
| FLM&MDA (W25) | 120B INTERMED PRODUCTION | DAUCHAN, D. |
| This course is designed to expand students' filmmaking skills introduced in 120A. The focus will be to deepen students' understanding of the filmmaking process, the medium as a whole and developing the individual artist’s creative voice. The class will consist of discussions, lectures to strengthen the students’ knowledge of the general mechanics of filmmaking and further their understanding of aesthetics. Students screen, analyze and discuss experimental, documentary and narrative films. Technical workshops in which students collaborate and rotate as crew, will prepare them to take on their projects. Students will cultivate story and images in advance in a “pre-production phase” through short script development and previsualization. The results of workshops, student projects and film clips will also be the subject of class discussion and critique. Students a collaborative documentary (3-5minute) and an individual scripted narrative (3-5 minute). | ||
| FLM&MDA (W25) | 130 RADICAL CINEMA | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (W25) | 130 NATIVE AMERICAN AND | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (W25) | 139W WRITING ON FILM&MDA | HAGGINS, B. |
| This course fulfills a writing requirement so... you will be doing a lot of writing. This class is about developing and enhancing your critical writing skills by focusing on three forms of critical writing: 1)the hot take; the review, and the academic critical essay. Each offers interesting perspectives, and you’ll have to write all of them. In the end, is for you to be able to write a well-reasoned, well-written, and well-theorized critical article/essay. | ||
| FLM&MDA (W25) | 139W WRITING ON FILM&MDA | BENAMOU, C. |
| This course will provide an intensive opportunity to view, think, and write critically about film and media practice through an introduction to the “essay film” as it has developed for over a century in various cultural and political contexts. How are audiovisual essays different from written essays? How has the essay format been used as a tool for self-expression as well as a means of commenting on the observable world? What does the essay film contribute to our understanding of documentary? To the exploration of history and memory? Special attention will be given to the blurring of factual and fictional discourse, the presentation of historical evidence, the reckoning with traumatic events, the launching of new social identities, and the bridging of individual and collective experience. The work of major directors across the globe will be discussed, and students will work with a variety of writing formats and genres. Prerequisites are FMS 85A, FMS 85B, FMS 86, or FMS 87, and successful completion of the lower division writing requirement. | ||
| FLM&MDA (W25) | 139W WRITING ON FILM&MDA | BENAMOU, C. |
| This course will provide an intensive opportunity to view, think, and write critically about film and media practice through the study of sound and voice-over narration in documentary and fiction film. After a brief historical and technical introduction, we will consider the creative manipulation of sound elements across genres and in the work of influential filmmakers such as Francis Ford Coppola, Agnès Varda, Orson Welles, and Ousmane Sembène. How did documentary help to launch the use of voice-over? How have fictional genres featured voice-over as a core element of their narrative discourse? What role has voice-over played in the development of feminist cinema and films from the Global South? Segments of films from a wide range of cultural sources will be shown in class. Prerequisites are FMS 85A, FMS 85B, FMS 86, or FMS 87, and successful completion of the lower division writing requirement. | ||
| FLM&MDA (W25) | 144 DIGIT MDIA & ENVIRO | CRANO, R. |
| This course will examine topics including mining and mineral extraction; data center energy and water consumption, especially with the growth of generative AI; industrial pollution stemming from hardware manufacture; cables, satellites, and other artifacts of infrastructural buildout; environmental racism; ecological collapse; and exposed Big Tech greenwashing campaigns. Students will develop a research project of their choice investigating some aspect of the environmental effects of digital media networks. | ||
| FLM&MDA (W25) | 145 90S BLACK POP CULTU | PAYTON, P. |
| This course is a survey of the shifting signs of blackness through the lens of popular culture from the late 1980s to the millennium. Focusing on politics, film, television, and music, we will discuss the interrelated evolution of these forms in order to understand the persistent impact of racial capitalism on culture. Before arriving into the nineties, we will begin with a summary of Ronald Reagan’s presidency and the implications of his term on low-income Black communities. From here we will assess the many socio-cultural responses that gained mainstream traction in the late eighties and early nineties, as seen particularly, in film and music. Often glossed over and under-studied, this course will largely focus on how Bill Clinton’s presidency and policies conflicted with mainstream and marginalized perceptions of his overall cultural impact. Overall, we will focus on the ways in which politics and Black cultural production in the nineties merged to produce a unique assemblage of material that continues to resonate in today’s media. | ||
| FLM&MDA (W25) | 151 DOCUMENTARY | EKANAYAKE, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 160 BRAZILAN CINE & RAC | KUNIGAMI, A. |
| What happens when we shift the lens through which we look at the history of a national cinema? How can we read critically the history of Brazilian cinema—among the most thriving film cultures in Latin America—when we consider that film in Brazil is historically a white medium? This course will introduce key films and debates of Brazilian cinema, from its early silent years until the current decade, through the lens of racial difference and the violence that comes with it, promoting a critical approach to the relation between aesthetics, technology, and politics. Through the study of a broad range of works—documentary films, musicals, experimental films, and commercial blockbusters—alongside historical issues of industry and labor, this course will explore the centrality of racial difference for the consolidation (and the critique) of Brazilian cinema. | ||
| FLM&MDA (W25) | 192 CINEMATOGRAPHY | ELIZONDO, L. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | LIM, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | STAFF |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | STAFF |
| No detailed description available. | ||
| FLM&MDA (W25) | 197 INTERNSHIP | STAFF |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | LIM, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | STAFF |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | STAFF |
| No detailed description available. | ||
| FLM&MDA (W25) | 198 CREATIVE PROJECT | STAFF |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | KUNIGAMI, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | PERLMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | GUTIERREZ, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | SODERMAN, A. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | HAGGINS, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | RUBERG, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | BENAMOU, C. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | DAUCHAN, D. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | LIM, B. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | RONY, F. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | MIMURA, G. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | HATCH, K. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | KRAPP, P. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | HILDERBRAND, L. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | LIU, C. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | KAMIL, M. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | PAYTON, P. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | DAULATZAI, S. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | JOHNSON, V. |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | STAFF |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | STAFF |
| No detailed description available. | ||
| FLM&MDA (W25) | 199 DIRECTED RESEARCH | STAFF |
| No detailed description available. | ||
For the most up-to-date information, check the Schedule of Classes.