20511 FST Introduction to Film Study Same as Kase, J. W 900am-1215pm K101 M am K104

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1 CRN Course Class Name Description Instructor Time Room (1) Time (2) Room (2) MJR Restriction, Pre/Co-reqs FST Concepts in Film NOT RECOMMENDED FOR FILM STUDIES MAJORS. An introduction to film form and style designed to help students move from passive viewers to active readers of cinema. Weekly film screenings and lectures explore the many cinematic concepts and techniques filmmakers use to convey story, mood, and meaning. We ll study the concept and practice of genre, examine major filmmaking movements, and explore the relationship between form and content. This course is designed for non-majors in film studies. Rawitsch, E. F 900am-1245pm K FST Concepts in Film Same as McNamara, L. Online FST Concepts in Film Same as McNamara, L. Online FST Introduction to Film Study Designed to prepare students to major in Film Studies, this course teaches students how to analyze the aesthetics of cinema. We will study cinema s stylistic properties, including mise-en-scène, cinematography, editing, and sound. Students will then learn how sounds and moving images work together to structure a film or render a narrative. Along the way, students will develop writing and analytical skills applicable to film study. The films we will study represent diverse styles, periods, genres, national cinemas, and production modes in order to give students an understanding of the wide range of cinema s aesthetic possibilities. Kase, J. W 900am-1215pm K101 M 900a-1015am K FST Introduction to Film Study Same as Kase, J. W 900am-1215pm K101 M am K FST Introduction to Film Study Same as Kase, J. W 900am-1215pm K101 M 900a-1015am TL FST Introduction to Film Study Same as Kase, J. W 900am-1215pm K101 M am TL FST Intro to Production Study and application of cinematic concepts and techniques. Students complete a Pack, G. W 900am-1145am KE 1114 & KE 1122 PFST or FST majors only. Preseries of collaborative exercises exploring narrative, documentary and experimental film or co-requisite: FST 200. forms FST Intro to Production Same as Linehan, T. R 930am-1215pm KE 1114 & KE 1122 PFST or FST majors only. Preor co-requisite: FST FST Intro to Production Same as Monahan, D. M pm KE 1114 & KE 1122 PFST or FST majors only. Preor co-requisite: FST FST Business of Film Introduction to the business aspects of the motion picture industry with an emphasis on decisions regarding creative development, financing, legal, marketing and exploitation FST Intro to World Cinema This course examines the histories of international filmmaking, while analyzing how particular film movements respond to local and global changes in political, social, and cultural climates over time. Barrow, J. F 12-2:45pm KI 104 Great, A. W pm K101 M pm K104 Pre-requsite: FST FST Intro to World Cinema Same as Great, A. W pm K101 M pm K104 Pre-requsite: FST FST Intro to World Cinema Same as Bircher, J R pm K101 T pm K104 Pre-requsite: FST FST Intro to World Cinema Same as Bircher, J R pm K101 T pm K104 Pre-requsite: FST FST Moviemakers & Film Scholars This course is designed to teach students a variety of perspectives on filmmaking and film studies. Combining presentations by local and visiting filmmakers with lectures and film screenings conducted by film scholars, the course introduces students to a wide variety of film styles, film scholarship, and professions in the industry. Linehan, T. F pm K FST d Computer Graphics This class provides an introduction to the artistic and technical field of computer graphics and animation, focusing on basic 3-D modeling, shading, lighting and rendering. Major concepts are covered and applied in several projects using advanced software, building to a final course project where comprehensive knowledge gained is applied in an interdisciplinary nature. Brown, B. M W pm BR 165 Pre-requsite: CSC 105 or FST Women in Film Survey and analysis of films by women filmmakers throughout the world. Diverse film styles, periods, and genres will be represented. Screening and discussion of cinematic works in their original language with English subtitles when needed. Cami-Vela, M. T & R LH 104 W 5:30-7:15pm MO FST Film Tools & Techniques Instruction in the techniques and technologies of digital filmmaking, including camera, lenses, lighting, grip, sound, and set protocol. Pack, G. T pm KE 1114 & KE 1133 FST majors only. Pre-requisite: FST Intermediate Film Production: Narrative This class is a comprehensive practicum in motion picture pre-production, production, and post-production. Students will be introduced to basic camera, lighting, grip and sound techniques while emphasizing non-equipment duties (producing, directing, casting, locations and assistant directing). Pack, G. W pm KE 1114 FST majors only. Pre-requisite:

2 20576 FST Intermediate Film This course will explore issues and concepts that characterize documentary production Silva, S. R pm KE 1114 FST majors only. Pre-requisite: Production: Documentary as students study and discuss different modes of documentary filmmaking (Poetic, Expository, Observational, Participatory, Performative and Reflexive). Working in groups, students will apply this knowledge to the making of four short (2-3 minute) video assignments that come together by the end of the semester to create one short (5-7 minute) festival-ready documentary film. In addition to developing a stronger aesthetic and conceptual understanding of documentary filmmaking, each assignment will allow students to gain experience with various production techniques associated with non-fiction video such as location shooting, interviewing, lighting, sound and editing FST Intermediate Film Production: Animation This course offers comprehensive instruction in a variety of 2D animation modes from motion graphics to character animation. Students are introduced to and gain proficiency in After Effects, Photoshop and Illustrator in order to create a series of short animations. Additionally, students learn production management techniques and workflow strategies unique to the realm of animation. Silva, A T 930am-1215pm KE 1122 FST majors only. Pre-requisite: FST Screenwriting I: Introduction FST Screenwriting I: Introduction Theory and practice of screenwriting with an emphasis on the fundamentals of narrative structure. Students write, revise, and workshop original short scripts. Monahan, D. M am KE 1114 Pre- or co-requisite: FST 201; Or pre-requisite PCRW, PFST, FST, CRW, and CRW 207, CRW 208, or CRW 209. Same as Barrow, J. F am K104 Pre- or co-requisite: FST 201; Or pre-requisite PCRW, PFST, FST, CRW, and CRW 207, CRW 208, or CRW FST Screenwriting I: Introduction Same as Linehan, T. R pm KE 1114 Pre- or co-requisite: FST 201; Or pre-requisite PCRW, PFST, FST, CRW, and CRW 207, CRW 208, or CRW FST Computer Animation This course continues material introduced in FST 220 and concentrates on character animation including its related theory, production and industry. Advanced 3D modeling, shading, rendering, character-design and rigging skills are developed in conjunction with traditional principles of story, animation, lighting and cinematography. Students complete several projects and the production cycle for a final animated short-film project. Morago. B. MWF BR 165 Pre-requisite: FST 220/ART 220/CSC FST Producing: Documentary Focuses on duties of a producer through a project life cycle : development, financing, pre-production, production, post-production, marketing and distribution. Emphasizes production management, budgeting and scheduling. Silva, S. R pm ( ) KE 1122 FST majors only. Pre-requisite: FST Intro to Editing An introduction to the techniques and aesthetics of non-linear editing for motion pictures. Students will learn through the instruction and use of Premiere Pro digital editing software to explore editing in a variety of genres: narrative, documentary and found footage experimental. Koszulinski, G. T pm KE 1122 Pre- or co-requisite: FST Intro to Editing Same as Kramer, M. R pm KE 1122 Pre- or co-requisite: FST 333 Modes of Animation: Micro-animation and the Gif More dynamic than a still image but shorter than a video, gifs combine a series of animated images into a single web-friendly file. Students receive instruction in Photoshop, After Effects and Illustrator to create gif animations in a variety of styles, while examining the role of gif animations within a cultural context. Additionally, students explore the practice of creating larger multi-gif themed projects. Silva, A. M pm KE 1122 Pre- or co-requisite: FST Acting for the Camera Explores acting techniques particular to the mediums of film and video. Holmes, M. T & TH 1-2:50pm CA 1099 Pre-requisite: THR 231 or THR 332. Pre- or co-requisite: FST FST Producing the Undergraduate Film Magazine This class will introduce students to the publication process of an undergraduate film magazine. Depending upon the needs of the magazine, students will create magazine policy and protocol, based upon research of different publication models; set and disseminate calls for themed issues; solicit and review content from peers throughout the world; liaise with contributors and publishers; write original content; prepare content for publication; design layouts, incorporating images to enhance texts; and promote and market the resulting product. Students will gain real-world experience, partnering with Intellect a scholarly press based in Bristol (UK) and Wilmington and producing actual magazine issues that will be distributed globally. Palmer, L. Online Online Pre- or co-requisite: FST 205.

3 20637 FST Film Authors: Interrogating the Hollywood Star System FST History of Documentary Film FST Film Styles And Genres: The Classic Hollywood Musical Using critical frameworks from Richard Dyer and Paul McDonald which describe ways stardom serves as a symbolic, cultural and commercial phenomenon, students in this course will study and deconstruct the Hollywood star system, star personae, and stars as economic commodities, assessing ways these values interconnect to help shape and to define Hollywood stardom. Also, principles of film acting will be covered to augment student understanding of the role of the star. As part of the course research project, each student will be asked to do a case study of a Hollywood star. In this course we will study the history of documentary film, grappling with the many debated issues, both theoretical and practical, related to the cinematic representation of reality. How does documentary differ from other kinds of filmmaking? How do documentaries make claims to trust and how these claims influence the ways in which these films are received and circulated? Students will be exposed to multiple genres (e.g., ethnographic, cinema verite, experimental) and documentary directors (e.g., Vertov, Rouch, Morris), their various formal strategies, as well as the historical, social and political contexts in which such strategies have been used. Richardson, G. TH LH 246 T pm LH 246 Pre- or co-requisite: FST 205. Johnson, M. T pm K101 R pm K104 Pre- or co-requisite: FST 205. A study of original film musicals (not screen adaptations of Broadway shows) from The Furia, P. F KE 1114 Pre- or co-requisite: FST 205. Jazz Singer (1927) through Gigi (1958), including Paramount operettas such as Love Me Tonight, Warner Brothers "back-stagers" such as 42nd Street, RKO films featuring Fred Astaire and Ginger Rogers such as Top Hat, and MGM "anthology" musicals such as Singin' in the Rain. The emphasis will be on how songs are presented--as "performances" before an on-screen audience or "expressively" as the outpouring of what characters are feeling at a particular dramatic moment. There will be some attention to the musical and lyrical structure of songs by Irving Berlin, the Gershwins, Cole Porter, and other great songwriters, but no musical background is required FST Studies in Global Film History: Classical French Cinema FST Studies in Global Film History: Classical French Cinema FST Studies in Global Film History: British Television FST Studies in Global Film History: British Television FST American Cinema Since FST American Cinema Since 1960 This class explores the historical complex of classical French cinema: the final flourishes of pre-sound filmmaking, the coming of sound, the Golden Era of the 1930s, the Occupation and after, the commercial boom of the 1950s, right up to the rupture of the French New Wave. Varied critical models will situate key historical tendencies in French classicism: the legacy of Impressionism in practice and theory; the role of popular genres like poetic realism and the crime thriller policier; the dialogue between French and American studio systems; the star phenomenon and figures like Jean Gabin; the influence of the State on French cinema; the evolving relationship between aesthetics and representation; the growth of film criticism and its debate of major discoveries in cinematic expression. In these contexts we will consider many masterpieces both notorious and unknown, different modes of film practice (features, shorts, animations, fictions, documentaries), as well as brilliant iconoclast filmmakers, from Jean Epstein to Jean Renoir, from Jean-Pierre Melville to Jacques Tati. Palmer, T. M 900am-1215pm K101 W am K104 Pre- or co-requisite: FST 205. Same as Palmer, T. M 900am-1215pm K101 W am K104 Pre- or co-requisite: FST 205. This course provides an overview of longform visual storytelling in the United Kingdom using audience studies as a historical research method. While we will examine a variety of media formats, our primary case study will be the British television industry. How has the narrative structure of both fictional and nonfictional programing changed over time, especially in long-running programs like Panorama (1953 present), Coronation Street (1960 present), and Doctor Who ( ; 2005 present)? How has the advent of time-shifting as a viewing practice affected programing strategies? And, given that a single episode can last over 90 minutes, where do we draw the boundary between the British feature film and British television as an art form? Rawitsch, E. T pm K101 R pm K104 Pre- or co-requisite: FST 205. Same as Rawitsch, E. T pm K101 R pm K104 Pre- or co-requisite: FST 205. This course introduces students to the history and form of American cinema since the end of the studio system, a period that gave us movies as diverse as The Man Who Shot Liberty Valance, Bonnie and Clyde, Faces, Star Wars, Taxi Driver, Die Hard, Do the Right thing, Unforgiven, Jerry Maguire, and Mulholland Drive. Studying these and many other films, we will consider the major historical topics pertinent to the period, including the ratings system, blockbuster syndrome, home video, indie filmmaking, and other stuff like that. But we will always study American movies as movies (as experiences for spectators) and will never be far from our central question and the only question about the cinema that I care much about: What is it about the movies people enjoy that makes people enjoy them? Same as Berliner, T. Berliner, T. M pm M pm K101 K101 W pm W pm K104 K104 Pre- or co-requisite: FST 205. Pre- or co-requisite: FST 205.

4 23182 FST Studies in Film History: The Post-Soul era represents an important moment of transformation in American Post-Soul Cinema : Black- cinema. During this period, Hollywood made an unprecedented number of films that American Film After the Civil Rights Movement attempted to target Black audiences in the 1970s. This course will analyze films that highlight the complexities and contradictions of Black-American life and culture during and after the end of the Civil Rights era, and the social, political, cultural, and industrial factors involved in the development of a "Post-Soul" aesthetic FST Introduction to Spanish Cinema Analysis of representative films by Spanish directors including Luis Buñuel, Carlos Saura, Pedro Almodóvar and Bigas Luna, as well as a discussion of recent cinematic works by filmmakers of the younger generation. Films represent a diversity of styles, periods and genres FST Lighting Training and analysis of lighting style and manipulation, exposure variation, color balance, rigging, pre-lighting, special effects and safety FST Sound Recording This course will cover the essential elements of recording sound for film and television with a lecture and exercise structure. Our lectures will cover the mechanics, esthetics and politics of recording audio for production. Students will be instructed in the proper techniques of recording production dialog, voice over. Students will be using a wide variety of sound equipment including production digital recorders, audio mixers, boom and radio microphones. Great, A. M pm K101 W pm K104 Pre- or co-requisite: FST 205. Cami-Vela, M. T & R 5-6:15pm LH 104 W 7:30-9:15pm MO 100 Pack, G. M pm KE 1114 & KE 1133 Pre-requisite: FST 301. Markowski, A F am KE 1122 & KE 1133 FST majors only. Pre-requisite: FST Sound Design This course will cover the world of film and television post production audio with lecture Markowski, A F pm KE 1122 FST majors only. Pre-requisite: and hands on activities with an emphasis on Pro Tools audio editing. Our activities will include the use of a variety of advanced recording and editing equipment to create and fully understand the essential elements of a professional sound track. This course is designed to demystify the world of audio and empower students with the advantages of uncompromised audio. Topics include audio theory, recording techniques, sound editing skills, sound design artistry, digital media management, sound processing and final mixing FST Practicum In Film Production: Production Design FST Practicum In Film Production: Environmental Filmmaking: Classroom in the Wild? This course will examine, study and learn about Production Design for Film and Television. To course will study several commercial films such as Metropolis, Gone With The Wind, Bladerunner, Alien; and then go in depth behind the scenes with production sketches, renderings, models, construction photos and on-set shots with the production designers. Some of the Production Designers studied include Otto Hunte, Erich Kettlehut, William Cameron Menzies, Ken Adam, Lawrence G. Paull. Course will also examine and discuss influencial art movements such as art deco, art nouveau, and artists including Alphonse Mucha, H.R. Giger, Stan Winston and Syd Mead. There will be a series of hands-on projects for detailed story-boards, drafting, In this course, students create observational/documentary media that explores ecological and environmental issues in order to marry a contemplative appreciation of the natural environment with the creative impulse. Part of the course functions as a "classroom-in-the-wild" where students collect media from a variety of regional ecosystems (salt marsh, river, etc.). Furthermore, students have an opportunity to learn about and connect with local and regional environmental organizations and advocates. Enlow, R. F 9-11:30 CA 2021 Silva, A. T KE 1114 FST majors only. Pre-requisite: FST Film Directing Class exercises focus on blocking and staging, communicating with actors, and using the camera to effectively capture action and performance FST Screenwriting II: Writing the Feature Film Students plan a feature-length screenplay, and write, workshop, and complete the first act FST Film Rhetoric Geared towards film majors in both critical studies and production, this course will approach film using principles of rhetorical theory and criticism to explore ways that films operate and function persuasively. Understanding how films can create meaning visually, explicitly (through dialogue and sound), and implicitly will help students to learn ways that they as future filmmakers can use film to manipulate, shape, guide, or persuade an audience. And, as students of film criticism, individuals in this course will learn how film form and film style can mean rhetorically. This course satisfies the Building Competencies requirement for the Qualitative and Logical Reasoning component of University Studies and partially satisfies the writing-intensive requirement. Assignments may include oral presentations, active participation, weekly class exercises, short writing assignments, and several analytical essays. Richardson, G. Hackler, F. M pm KE 1114 & KE 1133 FST majors only. Pre-requisite: Hackler, F. W pm KE 1114 FST and CRW majors only. Prerequisite: FST 318 / CRW 318. T pm LH 246 Pre-requisite: FST 205.

5 20601 FST Visions Film Festival & Students will gain real-world experience while producing, programming and hosting the Silva, S. W pm KE 1122 Permission of the Conference Management VISIONS Film Festival and Film Scholars Conference which celebrates the work of undergraduate filmmakers from around the world. This class will introduce students to the producing and programming process of a film festival and conference. Students will: create festival/conference policy and protocol, based upon research of different existing models; write, design and promote calls for both production and critical studies entries; solicit and jury films and abstracts from peers throughout the world; network with university film programs internationally; design press materials and a resulting DVD compilation of work; and promote and market the final event. Chair (application). Pre- or corequisite: FST 201 and FST FST Senior Seminar In An intensive capstone course in which Film Studies students work in collaborative Monahan, D. T 930am-1215pm KE 1114 Permission of the Film Production: Narrative teams to complete the preproduction and production of short, narrative motion pictures. All students interested in having a script considered for production should come to the Chair (application). Pre-requisite: FST 301 or FST 302. first class with a polished script of twelve pages or less. Students will apply for crew positions to be assigned by instructor after class consultation. Only serious students motivated to collaborate on a festival quality project should register for this course. Footage from this course will be edited by post production students the following semester FST Senior Seminar in Film Production: Doc/Exp/Anim FST Senior Seminar In Film Study: Hollywood Aesthetics An intensive capstone course in which Film Studies students work in collaborative Koszulinski, teams or alone to complete the preproduction and production of short (up to 15 G. minutes) documentary, experimental or animated films. Students should be prepared to submit a project proposal for one of these three genres (or a hybrid) in the weeks preceding the first class meeting. Projects are then selected based on equipment availability, crew experience and the initial written project pitch. T pm KE 1114 Permission of the Chair (application). Pre-requisite: FST 301 or FST 302. Hollywood movies are probably the most widely successful pleasure-giving art objects the world has known. People are passionate about Hollywood movies, their engagement active and exhilarated. This course studies the aesthetic pleasure that mainstream cinema offers its audiences. We will study some of Hollywood s most enduring movies, as well as a few beloved Hollywood oddities, and attempt to figure out what makes them pleasurable. We will also read pertinent literature in film studies and aesthetics to provide a framework for understanding Hollywood s aesthetic features. The course satisfies both the oral and writing competency requirements in the Film Studies major: Students will make oral presentations and work on independent research projects. Berliner, T. M am LH 246 W am LH 246 Junior or Senior. Pre-requisite: FST FST Senior Seminar in Film Studies: The Essay Film FST Senior Seminar in Film Study: Film Comedy FST Senior Seminar in Film Studies: Counter Cinema & Third Cin. This senior seminar studies the essay film, a fascinating hybrid cinema that draws on both documentary and fictional modes of practice. Truly international, essay films have for decades attracted some of the world s most trailblazing innovative filmmakers, writers and critics. The class will explore where and how essay films have particularly flourished, as well as investigating their shared means of creating a poetic, stream-ofconsciousness personal style; their rhetorical design and political and social interventions; and the ways essayistic features have been debated by writers, artists, and film scholars. Among a vanguard of major global filmmakers, the course will particularly focus on the brilliant careers of Agnès Varda and Chris Marker. Why do jokes and comedy films make us laugh? To what degree is humor subjective, and to what degree is it science? Are its mechanisms culturally specific or arethey universal? And are there inherent differences between film comedy andother comedic media forms, such as televised stand-up or viral videos? Drawing upon the work of philosophers and scholars including Aristotle, Dante, Sigmund Freud, and Henri Bergson, we will analyze a series of case studies from diverse styles, periods, and national cinemas. From slapstick to screwball, gross-out to cringe comedy, why should we take humor seriously? Palmer, T. M pm LH 246 W pm LH 246 Junior or Senior. Pre-requisite: FST 205. Rawitsch, E. T am LH 246 R am LH 246 Junior or Senior. Pre-requisite: FST 205. Over the course of this semester, we will study an array of radical, challenging, and politically confrontational films from the Third World and elsewhere including Brazil, the Philippines, Bolivia, Ethiopia, Cuba, Senegal, India, Mauritania, the African American Diaspora, and Jamaica (as well as France, England, Yugoslavia, and Germany) that openly assault, criticize, and undermine commercial cinema, its formal conventions, and its long-standing ideological ties to imperialism, racism, sexism, monopoly capitalism, and institutionalized violence. We will watch defiant, extremist, and provocative films (from the second half of the 20th Century to the present), including work by Mambety, Rocha, Hondo, Sanjinés, Burnett, Sembène, Tahimik, Makavejev, Farocki, Van Peebles, Solás, Sen, Mulvey, Marker, and Godard, as we read the writings of filmmakers and critics, from Eisenstein and Brecht, to Trinh and Fanon. Kase, J. W pm LH 246 Junior or Senior. Pre-requisite: FST 205.

6 20599 FST Applied Post-Production Hands-on application of editing theory, techniques, practices and technology. This advanced course allows students to take a narrative, documentary, experimental or animation project from raw footage to release print. (All students will edit projects shot in the previous semester's Senior Production Seminars. Exceptions only with instructor permission.) Students will analyze scripts, production notes, and footage; and edit and workshop a rough cut, fine cut, sound edit, credit sequence and picture locked final edit. This class is designed to allow advanced students an in-depth editing experience. Koszulinski, G. M pm KE 1122 Pre-requisite: FST 331.

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