* Indicates a course topic
FILM 130 Introduction to Digital Filmmaking for Non-Film Majors (4)
A video production course for non-film-majors seeking a basic introduction to digital filmmaking technology and the film production process. Introduces students to the basic uses of current digital film equipment: cameras, lighting kits, editing software, and on-set safety procedures. Offers a survey of media landscapes (fiction, non-fiction, commercial, and experimental forms), production disciplines (live-action, animation, game design, virtual reality, visual effects). There is no pre-requisite for the course.
FILM 131 Film Analysis (4)
An introductory course in film appreciation with special emphasis on cinema as a dramatic art. Elements to be considered will include cinematography, performance, edited image, and sound. Selected films will be shown.
FILM 132 Introduction to Digital Filmmaking (4)
A video production course for film majors seeking a basic introduction to digital filmmaking technology and the film production process. Introduces students to the basic uses of current digital film equipment: cameras, lighting kits, editing software, and on-set safety procedures. Offers a survey of media landscapes (fiction, non-fiction, commercial, and experimental forms), production disciplines (live-action, animation, game design, virtual reality, visual effects). Prerequisite: FILM 131, Film major.
FILM 199 Digital Culture (4)
Our day to day lives are increasingly defined by digital screens -- from smartphones to tablets to computers and televisions. Video content comes from all directions -- group chats, social media applications, streaming video, and more. Amidst all these technologies, how do we think critically about the production and consumption of digital media culture? How can we take seriously the cultural achievements of YouTubers and TikTokers and Instagram influencers, while critically examining the ways these platforms surveil us and shape our tastes? In this class, we will explore these tensions, developing our own critical media projects in dialogue with a range of readings and screenings about the role of digital culture in contemporary life.
FILM 231 Advanced Film Analysis (4)
Builds upon the concepts related to the formal analysis of film and presents students with complementary, advanced methodologies, including genre study, narrative, historical research, and industry studies. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade, Film major.
FILM 257 Narrative Film Production I (4)
An introductory study of aesthetic, technical, and content-related principles of digital filmmaking in fictional narrative formats. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade, Film major.
FILM 258 Documentary Film Production I (4)
An introductory study of aesthetic, technical, and content-related principles of digital filmmaking in nonfiction, documentary formats. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade, Film major.
FILM 280 Classical Film Theory (4)
Introduces the significant trends of the first fifty years of Western film theory via primary and secondary source essays. Topics may include realism, authorship, conceptions of modernist representation, and Soviet montage. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade, Film major.
* FILM 299 SPST: The Video Essay (4)
In this course, you will write a strong analysis of a film and then transform the paper into a videoessay. All levels are welcome but this is designed for beginners. Instructor approval required to register. Suggested prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade, Film major.
FILM 331U Understanding Movies (4)
An intermediate course in film appreciation with special emphasis on cinema as a dramatic art. Elements to be considered will include cinematography, performance, edited image, and sound. Selected films will be shown. Recommended prerequisite: upper-division standing.
FILM 358 Narrative Film Production II (4)
An intermediate study of aesthetic, technical, and content-related principles of digital filmmaking in fictional narrative formats. Prerequisite: FILM 131, FILM 257, Film major.
FILM 359 Narrative Film Production III (4)
An advanced study of aesthetic, technical, and content-related principles of digital filmmaking in fictional narrative formats. Prerequisite: FILM 358, Film major.
FILM 360 Topics in Film Production (4)
Focused study of a variety of specialized skills and/or genres related to digital film production. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or Film 258; Film major.
*FILM 360 Branded Media (4)
In this class, students will work in small production units to produce professional quality, short form branded media videos for real clients. Students will meet with clients to determine their needs as they relate to the communication of the organization’s brand to a target audience. Students will prepare and deliver a formal pitch presentation to the clients—feedback from which will be integrated into the final concepts for the projects. Students will manage all aspects of production—from ideation to delivery. Topics include: brand strategy, producing and delivering video content for the web, client communications, pitching ideas, budgeting, and scheduling. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or Film 258; Film major.
*FILM 360 Directing Actors for the Camera (4)
Directing for the Camera breaks down the many roles of the film director: script and character breakdowns, writing treatments, casting, directing actors, working with crews, shooting to edit, and more. Through discussions, exercises, screenings and projects, we will work to better understand the complicated job of the director and develop our own skills and creative decision making. Students will work in groups and should be prepared for a significant amount of work outside of the classroom. This is an advanced production course, students should have completed at least DVP 1 prior to taking this class. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Directing for Film (4)
Through discussions, screening, and demonstrations, you will explore scripts, and previsualization along with directing actors, directing camera coverage in relationship to story, practical on-set directing, and directing for camera for single-camera film/video production. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Environmental Documentary Filmmaking (4)
Films about nature have been central to documentary cinema since its inception. In an era of accelerating climate change, however, the significance of these films has exploded. In this “production seminar” students will develop their own short documentary film projects about a local environmental issue in the Portland area while simultaneously exploring key concepts in ecological thought and environmental aesthetics. A range of readings and screenings will address topics including environmental justice, non-Western concepts of nature, human-environment interactions, and more. Open to non-film majors with instructor approval. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Multicam Sports Production(4)
Have you ever wondered how ESPN broadcasts sports games? The Multicam Field Production course focuses on media production using industry multi-camera approaches. Students will learn hands-on multicam techniques for broadcast television and related fields. This concentration emphasizes theory and execution of live directing and production of multicam broadcasts. Students will establish an understanding of production techniques for media distribution including traditional broadcast, mobile networks and web formats. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Music Videos: Theory and Practice (4)
Music Videos: Theory and Practice is a hybrid studies/production course that will explore the intersection of music and the moving image. In every class period there will be screenings, and discussion of selected readings and of the works we screen. We will also workshop our own productions, including written pitches, and entire from-the-ground-up music videos. In addition to an examination of the music video marketplace and production model, we will learn how to analyze music videos, and explore the relationships between music, lyrics, image, narrative, experiment, technology, editing, and design. After a look back at early incarnations of music in film and on television, and early attempts at music video production, we will depart on an in-depth examination of MTV, of music videos, and of the use of music in visual media production. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 New Directions + New Media (4)
This course addresses the influence, proliferation and production of non-fiction new media in the internet age. Each student will create their own non-fiction short stories with the goal of producing compelling, emotionally-engaging, modern work for the digital age. We will examine different storytelling styles and genres - including short documentary, podcasting and animation - across multiple platforms. We'll also consider legal and ethical issues in new media. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Post Production Workshop (4)
In this workshop, students will learn to identify key story moments, make creative decisions about what clips to delete, trim or rearrange, and use best practices to go from concept to completion using industry standard programs. You'll get hands-on experience using Adobe Premiere and After Effects with pre-recorded footage that will be packaged and be broadcast on local cable networks. Prerequisites: FILM 131 and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Producing on Set (4)
If you've wanted to produce a short film, this is your chance. In this course you will learn what it takes to produce a short film from development to final product. We'll cover development, prep, production, post, budgeting, crew, and working with a director. This course will collaborate with FILM 360: Short Film Production to bring together a production team. This is an advanced production course. Prerequisites: FILM 131 and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Stop Motion Animation Basics (4)
This hands-on theory course includes screenings of shorts and feature film segments to introduce essential principles of stop motion which students put into practice through exercises using clay, paper, and simple puppets constructed in class. Exercises involve timing, squash & stretch, slow in & slow out and other principles of animation. Techniques of stop motion are introduced including pixilation, object, replacement, cut-out, shadow and puppet animation. Students are encouraged to experiment, be imaginative, explore and innovate. Participants gain a functional understanding of Dragonframe software while planning, setting up, and animating stop-motion scenes. Students will demonstrate familiarity with navigating software, setting up camera, handling puppet construction materials and animating several short scenes. Animation lab will be available for practice and completing assignments. Students will need an SSD drive with at least 500 gig free space and their laptop as required by the School of Film. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Stop Motion Animation Practice (4)
This second class combines animating with other aspects of stop-motion production such as shot planning, storyboarding, set mockup, camera placement, blocking, and lighting. Students are tasked with creating a series of simple sequences demonstrating their understanding of pre-visualization of stop motion animation projects. Participants use Dragonframe software while planning, setting up, and animating stop-motion scenes. Students learn the pros and cons of different animation styles and how choice of techniques and materials serve a story. Films are studied for production design with guest artists/production designers visiting class to add more depth to the discussion. At the end of the course, students will submit a one-page story idea describing a short stop-motion film no longer than 5 minutes that is conceivably achievable within a 10-week schedule for possible production in the third class in the series. Successful students will be able to evaluate a story for feasibility of stop-motion production while achieving a level of wherewithal and reliability on set in preparation for Team Production. Animation lab will be available for practice and completing assignments. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 Studio Production (4)
The purpose of this course is to introduce you to the tools, "grammar," and procedures that will allow you to more fluently use the medium of multi-cam webcasting as a means of communication and expression. This class will focus on in-studio fiction, 3 camera show production and directing. At the completion of this course it is hoped that you will realize that webcast production is not only a process that involves commitment, hard work, cooperation, respect and a strict attention to detail, but also an extremely enjoyable and satisfying pursuit. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 VFX After Effects I (4)
This class focuses on fundamentals of visual effects and motion graphics, and an exposure to some of the theory, language, techniques and workflows involved in commercial, TV and Feature Film VFX production. Learning with Adobe After Effects, this class is a natural progression for students who are interested in graphic design, Photoshop image manipulation, video editing and digital film production. By following in class demos, we'll expand your imagination to beyond what can be seen with only a camera. And we'll take time out to learn how to digitally fix common student production mistakes, too! Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 VFX After Effects II (4)
This class picks up where VFX I leaves off, and with the fundamentals out of the way, the focus shifts to creative exploration. Students will add a dimension to their capabilities, and create digital 3d assets to place into their live action footage and blend seamlessly. The class will be utilizing foundational Autodesk Maya skills teamed with advanced compositing in Adobe After Effects. Color will also be a focus, with additional exploration into Adobe SpeedGrade and other advanced applications, time permitting. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 360 VR Filmmaking (4)
In this workshop, students practice immersive storytelling using virtual reality toolsets and techniques. With a full 360° at your disposal, how will you direct your audience’s attention to the action in your scene? What elements of embodied presence will you use to your advantage? And what makes a story specifically well-suited for VR? Through film analysis and hands-on practice, you will learn the answers. Topics include: VR audience experience, aesthetics, theory, terminology, idea development, pre-production planning, recording techniques, editing techniques, and post-production workflow. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film 258; Film major.
FILM 361 Documentary Film Production II (4)
An intermediate study of aesthetic, technical, and content-related principles of digital filmmaking in nonfiction, documentary formats. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 258; Film major.
FILM 362 Documentary Film Production III (4)
An advanced study of aesthetic, technical, and content-related principles of digital filmmaking in nonfiction, documentary formats. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; FILM 358 or 361, Film major.
FILM 363 Topics in Experimental Film and Media Production (4)
Introduction to new scenarios for cinema and new reasons for deploying it in different spaces, particularly in public. In using various combinations of cameras, screens, projectors, participants, and spaces it challenges students to design and construct moving image-based works that address unique historical, spatial, and social situations and struggles in public and semi-public spaces. This course is repeatable for up to 12 credits. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 363 TOP: Essay Film Production (4)
Essay filmmaking combines experimental and documentary modes of production to engage in explorations of identity and culture through the lens of literary and philosophical investigation in conjunction with personal experience. This class will combine case studies of historic films and readings in this genre to support the development and production of a personal 8-10 minute film essays. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 363 TOP: Experimental Film Production (4)
“Experimental film” is a broad and difficult term to define, but at its core it is an approach to filmmaking that prioritizes creativity, exploration, and personal expression. In this course, students will be encouraged to break the boundaries of traditional filmmaking and explore their own creative curiosities. Whether coming from a narrative or documentary background, this course will embolden students to think outside the box and expand their creative vocabulary. We will explore the history of alternative cinema while engaging in various artistic and technical exercises designed to heighten our creative and mechanical understanding of movie-making. This will be a fun and stimulating course that widens our understanding of film and challenges us to become more artistically astute filmmakers. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
*FILM 363 Found Footage (4)
With film production severely disrupted, how might we make films entirely from footage that we didn't shoot ourselves? What can we learn from artists who build their own cinematic visions from creatively reassembling archival film clips? This course looks closely at multiple traditions of found-footage filmmaking, from experimental filmmakers like Bruce Conner, contemporary video artists like Christian Marclay and Shambhavi Kaul, to popular video essayists on YouTube and Vimeo. A combination of readings and screenings will inform video research and editing exercises that culminate in the production of a short found-footage film. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
FILM 364 Sound: Production and Design (4)
Students will study and apply production and post-production sound techniques for fiction and non-fiction film and video applications. The technical aspects and aesthetic considerations of storytelling through sound in lectures, screenings, demonstrations, exercises, creative projects, and class critiques will be assessed. Topics include: principles of sound, production sound recording equipment, positioning microphones, audio software, sound mixing, effects editing, using music, editing dialogue, and careers in production and post-production audio. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
FILM 365 Editing (4)
Introduction to the fundamental theories of fiction and non-fiction editing techniques, technologies, and skills required to produce well- edited work. Topics include rhythm, continuity, style, space, and motion contextualized within global film practices. Learn how to use editing to shape and structure moving images and sound to invest them with intention, narrative and meaning. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
FILM 367 Producing (4)
This course addresses the skills required to produce commercial films, both studio and independent, of various budgets from initial concept through development, production, post-production, marketing and distribution. Most of the films screened during the course include two intended outcomes of all produced films: commercial and critical success. Topics include how a film idea is identified, developed, translated into a script, sold to a production company/financier and studio, assembled with the necessary elements (director, writer, cast), strategized through a realistic producing plan, and ultimately made into a film. We’ll also cover post-production, marketing, and distribution. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
FILM 366 Digital Cinematography (4)
Students will study and apply camera and lighting techniques for fiction and non-fiction film and video applications. We will address the technical aspects and aesthetic considerations of visual storytelling through lectures, screenings, demonstrations, exercises, creative projects and class critiques. Topics include: pre-production visualization, methods for shooting coverage, principles of composition, employing 2D and 3D space, the moving camera, using available light, production lighting techniques, how focal length impacts the shot, controlling depth of field, and managing exposure. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
FILM 368 Visual Effects (4)
This class addresses the fundamentals of visual effects, exposing students to the terminology, techniques, and workflows used in commercial, television, and feature film VFX production. Using Adobe After Effects, students will practice techniques to improve production value and enhance the visual aesthetic of digital video projects through compositing, key framing, motion tracking, camera tracking, and masks. Class demonstrations are designed to help students imagine and produce visuals beyond what can be captured with a camera and show students how to digitally fix common student production mistakes. No prior knowledge of After Effects is required. Prerequisites: FILM 131 and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
FILM 370U Topic in Film, Media, and Culture (4)
Study of a variety of cultural and historical issues as they relate to film, television, and other media.
*FILM 370U The American Acting Style: Brando, Newman, De Niro (4)
An exploration of post-World War II American movie acting, with an emphasis on the Method Actors Marlon Brando, Paul Newman and Robert De Niro. We will acquaint ourselves with the theories of Method Acting and examine the ways in which these three icons of the screen embodied, molded and advanced the technique in their roles in such films as "On the Waterfront," "The Hustler," "The Godfather," "Taxi Driver," "The Verdict" and "Raging Bull."
*FILM 370U Comic Book Films (4)
Today, it is impossible to ignore cinema's heavy reliance on comics. From superheroes to Spartan warriors, comics have moved from the fringes of pop culture to the center of mainstream film production. We take a look at the historical, textual, and cultural context of the larger comic universe that has overtaken Hollywood as the leading movie genre. We will study the similarities between the two mediums, and what makes each medium unique.
*FILM 370U Contemporary Documentary (4)
With its growing popularity, new funding models, and ever-increasing technological possibilities, “documentary film” has become more prolific and democratic than ever. This course will look at documentary films made in the past 10 years and consider their relationship to both the larger history of non-fiction filmmaking and to other filmic forms. From recent critical hits such as 'Leviathan' or 'The Act of Killing' to cutting edge interactive and live/performed works, this course will look at the latest trends and sub-genres in documentary filmmaking and consider the ethical, historical, and aesthetic methodologies that inform them.
*FILM 370U Contemporary Korean Cinema (4)
This course examines contemporary South Korean cinema created after the mid-90s. It aims to help students understand its historical, political, industrial, and aesthetic contexts as well as its relationships with other film cultures such as Hollywood, Hong Kong cinema, and Japanese cinema. By doing so, students will be able to appreciate Korean film genres, auteurs, styles, and historical and national allegory. It welcomes all students to this class including those with no prior knowledge of South Korea or exposure to South Korean film. This class will count towards the Film major's International Cinema requirement.
*FILM 370U Film and Fascism (4)
What is the relationship between political regimes and mass cultural forms of entertainment like the cinema? In this course, we will look at periods of great political turmoil in three different countries and analyze the roles played by film. In what ways did cinema give shape to political conflict? In what ways did it fuel turmoil or, alternatively, offer implicit solutions? We look at America during the period of Jim Crow or racial fascism, Germany under the Nazis, and China during the Mao years. We conclude by asking what our study can tell us about contemporary American cinema and the political conflicts the country faces today.
*FILM 370U Film Noir 1940 to 1960 (4)
This course examines film noir from the twenty-year period considered to be the classic or first wave of film noir in the United States. Although critics, scholars, filmmakers and audiences have not developed a consensus about term film noir, we will consider it in relation to genre, ideology, aesthetics, and the representation of social difference. We will also investigate several recurring themes: suspicion of legal authority, the intersection of sexuality and violence, and the social displacement of individuals marked as other. Films shown for the course might include The Maltese Falcon, Double Indemnity, The Killers, The Night of the Hunter, Gun Crazy, In a Lonely Place, and Touch of Evil.
*FILM 370U Film Noir from 1960 (4)
This course examines film noir and neo-noir as concepts that, after the studio era, are referenced explicitly by filmmakers and audiences. We will consider film noir in relation to genre, ideology, aesthetics, and the representation of social difference in the post-studio era. Our study will include several recurring themes: suspicion of legal authority; the intersection of gender, sexuality, and violence; and the social displacement of individuals marked as "other" by notions of race, ethnicity, and region. Films shown for the course might include The Long Goodbye, Chinatown, Blue Velvet, The Grifters, L.A. Confidential, Devil in a Blue Dress, The Man Who Wasn't There, Memento, and Kiss Kiss Bang Bang.
*FILM 370U Girlhood on Film (4)
This course will provide a broad survey of films and scholarship which center the perspectives, experiences and thoughts of girls. Taking a global focus, this course will cover films that explore the social, political and emotional experiences of girls from a range of racial, ethnic, class and gender experiences. Using the work of film and cultural scholars, historians and poets, students will study the formal and social context of films in addition to breaking down the visual, narrative and ethical strategies they employ. Neither this syllabus nor this course are intended to provide a complete overview of the filmmakers, films or scholarship related to girlhood on film. Rather, this course will attempt to center the experiences of girls from the global majority in an effort to raise larger questions about gender discrimination, labor politics, migration, queerness, reproductive rights and land sovereignty. As this is a film course, students will also be expected to explore and consider cinematic form, genre, memory, history and representation. This seminar will be discussion driven. The major focus of the class will be on the discussion and in-class analysis of the assigned films and readings. All students should come on time and prepared, having completed and thought about assigned watching and readings prior to class time.
*FILM 370U Graphic Novels (4)
Comics share many features with films. They resemble movie storyboards, and both genres ask us to think about the space “in between”— between moments, between the visual and the verbal, and between images and time. In this course, we will read both comics and graphic novels (essentially comic books that tell one long, self-contained story) to examine their cinematic qualities but also to appreciate what is unique to this art form. Rather than focusing on the usual superhero history of comics, we will read an eclectic variety of books centered on the theme of “growing up.” For several, we’ll have the opportunity to compare the printed story to its film adaptation.
*FILM 370U History of Stop Motion Animation (4)
This course will chart the history of stop motion animation, from the earliest experiments and the earliest surviving feature length animated film, Lotte Reiniger’s shadow puppet film The Adventures of Prince Achmed, to the contemporary boom in stop motion features. Along with an examination of the technological innovations and artistry of the pioneers of clay, puppets, cut outs, and object animation, we will examine the historical and social importance of the works, treating animation not as films for children, but as a medium for expression and artistry. We will study the groundbreaking creations of Willis O'Brian like King Kong, and the legacy of Ray Harryhausen's many creatures in Jason and the Argonauts, Clash of the Titans and others. Holiday classics like Rudolph the Red Nosed Reindeer and The Nightmare Before Christmas will be studied alongside experimental and avant garde work from France, Japan, Chile, and Czech master Jan Svankmajer. The legacy of groundbreaking animator Helena Dayton Smith will frame the work of Caroline Leaf, Suzie Templeton and Kirsten Lepore. We will look at Britain’s long history of productions, from one of the very first animated films ever made, to the Wallace and Gromit films of Aardman Studios, Wes Anderson’s Fantastic Mr. Fox and the Brothers Quay. We will discuss the pioneers of special effects, such as Phil Tippet’s work for Star Wars alongside intimate character studies like Charlie Kauffman’s Anomalisa. And we will also focus on the special place Portland holds in the history of stop motion animation, from the work of Will Vinton to the current films from Laika studios, the recent releases of Henry Selick's Wendell and Wild, and Gulliermo del Toro's Pinocchio. Please note, although this is an online course, it will coincide with the upcoming Guillermo del Toro Pinocchio exhibit at the Portland Art Museum, and we will plan a visit if possible.
*FILM 370U New Wave Cinemas (4)
In this course we examine key elements, themes and problems associated with the New Wave movement. The late 1950s/early 1960s saw the emergence of several groups of young, movie-obsessed, iconoclastic artists and critics who made conscious efforts to develop a new film aesthetic – one that rejected what they saw as the pretension and sentimentality of mainstream cinema. We will become familiar with the most famous of these movements, the French New Wave (La Nouvelle Vague), and with contemporaneous movements in Japan and Czechoslovakia. This transnational perspective will help us to understand how and why some themes became relevant in multiple contexts, and also how geo-political and cultural differences resulted in varied treatments of similar issues. “New Wave” has continued to be used as a blanket term to describe film aesthetics concerned with upsetting the status quo. We’ll conclude by looking at how the New Wave phenomenon continued as an influence in the late 20th century, and use it to question some of the ways scholars have studied and categorized film history.
*FILM 370U Pacific Northwest on Screen (4)
What images and stories come to mind when you think of the Pacific Northwest? Mountains and primeval forests? Quirky, rain and beer soaked cities? Reese Witherspoon “finding herself” in the “Wild”? Narcoleptic hustlers and drugstore cowboys? Glittery, well-groomed vampires falling love? This class will explore why and how the Pacific Northwest has been represented in film. This is an interdisciplinary course that will combine film studies with cultural studies and cultural geography in order to understand the values, identities and power relations that have been historically attached to this landscape and geographic region. In addition to looking at how place is represented in individual films, we’ll consider the influence of globalization, and production and distribution practices.
FILM 374 Topics in Screenwriting (4)
Course in screenwriting involving short and long form screenplays, the analysis of narrative structure for the screen, and the practical application screenwriting techniques. Course may be repeated for credit with different topics. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 374 Topics in Screenwriting: Feature Film (4)
Learn how to write a film spec screenplay that will get you noticed from someone who’s done it. This is a writing workshop with someone who has worked in Hollywood for almost 20 years. They will help you understand why writing for film is different to any other type of creative writing and guide you in maximizing the potential of your story. Learn how to develop compelling characters and write successful scenes that encourage a reader to keep turning the page - easier said than done! Students may come with an idea they wish to develop into a first draft, or an existing script they want to take to the next level. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 374 Topics in Screenwriting: Genre Screenwriting (4)
Comedy, Crime, Science Fiction, and Horror cinema all use similar conventions when it comes to structure, tension, and timing. In this course, students explore effective genre writing for the screen through the examination of the evolution of genre film, writing exercises, and critical analysis. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 374 Topics in Screenwriting: Long Form Feature Workshop (4)
This course will take the form of a traditional writing workshop, with a focus on the feature film screenplay. Screenwriting is among the only types of writing that is ultimately never meant to be read by any level of mass audience. That is, you are composing texts that are intended to be realized in a non-literary medium – one grounded in audiovisual dimensions. The challenges of that undertaking will form the core focus of our workshops – issues such as story structure, dialogue, theme, voice, format, character development, action, setting, and descriptive writing. The main project in this course will be the first part of a feature film screenplay that you develop and write over the course of the term. As part of that process, you will have pitched your screenplay in class, written a pitch, directed a staged reading, and of course workshopped your script with your classmates. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 374 Topics in Screenwriting: Screenwriting Workshop (4)
This course will take the form of a traditional writing workshop, with a focus on the feature film screenplay. Previous screenwriting experience or classwork is assumed, as we will not spend considerable time exploring screenwriting theory. If you are concerned about your level of experience, please see the professor before registration. Screenwriting is among the only types of writing that is ultimately never meant to be read by any level of mass audience. That is, you are composing texts that are intended to be realized in a non-literary medium—one grounded in audiovisual dimensions. The challenges of that undertaking will form the core focus of our workshops—issues such as story structure, dialogue, theme, voice, format, character development, action, setting, and descriptive writing. The main project in this course will be the first part of a feature film screenplay that you develop and write over the course of the term. As part of that process, you will have pitched your screenplay in class, written a proposal, directed a staged reading, and of course workshopped your script with your classmates. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 374 Topics in Screenwriting: Short Form (4)
This course will introduce you to the art and craft of screenwriting and encourage you to explore and develop your own ideas and interests and your own writing. Among the topics explored will be story structure, dialogue, theme, voice, script format, and development and continuity in characterization, action, and setting. The main project in this course will be a short film screenplay that you develop and write over the course of the term. As part of that process, you will have also written a treatment and created biographies for your main characters. Before you begin your screenplay, you will also complete a number of short writing journal exercises which will aid you in developing a sense of story structure, dramatic conflict, characterization, visual and descriptive writing, and the expression of ideas on paper. This course will be conducted entirely online, there will be no on-campus meetings. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 374 Topics in Screenwriting: Situation Comedy (4)
In this class students will learn the structure of one of the oldest and most adaptable forms of television writing--the Situation Comedy. Tracing its roots from the ancient Greeks and Romans all the way to modern times, students will explore character development, comedic models, and the classic two act six beat structure, before applying what's been learned by writing their original situation comedy script as a final project. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 374 Topics in Screenwriting: TV Script Analysis: Writing in Different Genres (4)
Any one wanting a career as a TV writer, or wanting a look behind the scenes, must understand how to write in the voice of any show. In this class, students will examine several top TV shows such as Breaking Bad through the lens of a staff writer. Each week we will read, watch, discuss and analyze an hour TV show. Students will then write in the voice of that show. PPrerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 374 Topics in Screenwriting: Writing the TV Spec Script (4)
Aspiring and experienced TV writers use spec scripts as calling cards to attract agents and get on a writing staff. Students in this course will work on a spec script, either of original material or based on an existing show. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
FILM 381 Film History I (4)
A study of the evolution of film language from the silent era to the introduction of sound; how the influences of a broad range of cinematic art movements, including Expressionism, Impressionism, Surrealism and Poetic Realism, contributed to the classical Hollywood style. Also examines the artistic, economic and technological forces that led to the Hollywood studio system and the popularity of genres such as the western, the musical and the gangster film Co-requisite: TA 381L Film History I Lab (Zero Credits.) Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
FILM 382 Film History II (4)
A study of the major artistic, economic and technological trends of motion picture production during the post-war era; how directors such as Hitchcock and Welles were able find a unique expression within the parameters of the classical style and the commercial pressures of the studios. Explores how world cinema movements presented aesthetic and political challenges to the Hollywood model. Co-requisite: TA 382L Film History I Lab (Zero Credits.) Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
FILM 383 Film History III (4)
A study of contemporary world film production from the struggles of an independent and avantgarde cinema to the CGI effects of today's blockbuster. Also examines how world cinema production has adapted to new digital technologies and the demands of a global market. Co-requisite: FILM 383L Film History I Lab (Zero Credits.) Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
FILM 384U: Topics in American Cinema and Culture (4)
Examines topics within American film/culture, including studies of specific industry practices, artistic movements, and historical moments in American culture and cinema history.
*FILM 384U: Blockbusters (4)
This course will examine the American blockbuster by looking at it as a formal style, as a “tent-pole” in service to the film industry with transmediated tie-ins throughout entertainment, and a wildly successful cultural phenomenon. In our exploration, we will consider cinema’s history of spectacle, special effects, franchises, the star system and the worlds of fandom, and staples of the blockbuster form such as action adventures, science fiction and superhero movies.
*FILM 384U: Classic Film Noir (4)
This course examines film noir from the twenty-year period considered to be the “classic” or “first wave” of film noir in the United States. Although critics, scholars, filmmakers and audiences have not developed a consensus about the term film noir, we will consider it in relation to genre, ideology, aesthetics, and the representation of social difference.
*FILM 384U: The Counterculture Strikes Back (4)
In this class, we will explore the culture and counterculture that transformed the landscape of American film culture of the 1960s. When Dr. Strangelove hit cinemas in 1964, it signaled a siege on American audiences that would last well over a decade and that would change the course of film history. Following in its wake came an onslaught of countercultural heroes who challenged the traditions and expectations of American culture and film practice. Films from The Graduate to Taxi Driver, Easy Rider to Woodstock influenced and were influenced by the signs of a decade that included drug culture, student rebellion, the women’s movement, Vietnam and anti-Vietnam, the Stonewall riots, the environmental movement, the farmers’ rights movement, and of course, the civil rights movement. Hollywood, too, was changing from the classic studio system to one run by mavericks and renegades, loners, and visionaries.
*FILM 384U: History of Documentary (4)
This course is a survey of documentary filmmaking from the 1890s through the present day. We will explore a variety of documentary forms and modes, with an emphasis on core questions in documentary studies such as the nature of truth and evidence, the relationship between media and history, and how we come to know the cultures and experiences of others.
*FILM 384U: History of Media and Technology: From Gutenberg to Google (4)
The goal of the course is to introduce students to the history of communications and its relevant technology and to explore the stakes of historical critical inquiry therein. Organized around media transitions -- what are sometimes called r"evolutions" -- we proceed from the alphabet to the internet. Only by thinking carefully about transitions and interactions among media and culture in the past can we hope to understand the pace, direction, and character of changs today. The course will proceed more or less chronologically and will focus on the interplay between media and American culture.
*FILM 399 SPST: US/UK Black Queer Cinema (4)
This course will provide a focused introduction to Black Queer Cinema in the US and UK. Using the work of Black film and cultural theorists, historians and poets, students will study the formal and social context of films in addition to breaking down the visual, narrative and ethic strategies which link them.
FILM 401 Research (1-6)
Credit to be arranged.
FILM 402 Independent Study (1-12)
Credit to be arranged.
FILM 404 Cooperative Education/Internship (1-12)
Credit to be arranged.
FILM 405 Reading and Conference (1-6)
Credit to be arranged.
FILM 406 Project (1-6)
Credit to be arranged.
FILM 407 Seminar (1-6)
Credit to be arranged.
FILM 408 Workshop (1-6)
Credit to be arranged.
FILM 409 Practicum (1-12)
Credit to be arranged.
FILM 410 Selected Studies (1-6)
Credit to be arranged.
FILM 450 Portfolio and Professional Development (4)
Requires students to investigate their interests, values, personality, and skills as the basis for discovery and communication of their personal brand as they begin their careers. Students will generate a branded digital portfolio of their work that includes marketing materials and work samples. Topics include: building a personal brand, designing a website, identifying areas of professional interest, assessing strengths, getting started on a career path, acquiring job search skills, interviewing, freelancing, and networking. This is an advanced production course. Prerequisite: Permission from the instructor is required to register.
FILM 451 Advanced Production Workshop (4)
Provides an intensive production experience for advanced students who apply acquired skills to the creation of a significant, sophisticated short film in a chosen genre. Students manage all aspects of production and generate marketing materials and a distribution plan for the finished film. In addition to producing their own work, students are required to crew on fellow classmates' projects and therefore exit the course with high quality assets to add to a reel or portfolio. Prerequisite: Either FILM 359 or FILM 362, Film major.
FILM 460 Advanced Topics in Production (4)
Advanced study of a variety of specialized skills and/or genres related to digital film production. From term to term, topics might include: Massive Media; Visual Effects; Music Videos; Web Cinema; Urban Media. Course may be repeated for credit with different topic. Prerequisite: Either FILM 359, FILM 362, or permission from the instructor, Film major.
*FILM 460 TOP: Stop Motion Animation Team Production (4)
The final class in the series assigns roles to each student in the completion of a short film from start to finish. Story selection considers submissions from Production Practice class and begins with pre-production development, assessing concept feasibility given a 10-week schedule. Roles of team members are subject to change serving the needs of the production in service to the story. The instructor serves as Producer. Students assume roles of Writer/Director, Line-Producer, Animators, Puppet Fabricators, Set Builders, Camera & Lighting, Production Assistants, etc. with each role understanding it often becomes necessary to wear different “hats” or share a “hat” just like in the outside world of animation production where getting things done on time and done well is the practice. The final product is the film that results from everyone’s team effort and brings to students the know-how and ability to work in this craft and continue to press the boundaries of Stop-Motion Animation. Animation lab will be available for practice and completing assignments. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; FILM 257 or FILM 258; Film major.
FILM 480 Contemporary Film Theory (4)
A survey of film theory and criticism the 1960s to the present day. Students are introduced to key concepts and major figures from Structuralism, Semiotics, Psychoanalysis, Feminism, and Narrative Theory. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
FILM 484 Anatomy of a Movie (4)
Operates as a case study of one well known, critically acclaimed film, examining the industrial, technical, cultural, and artistic elements in the film's production, exhibition and reception. Topics include studio ideology and production strategies, the star system, and historic context and meaning of films, independent cinema practices. Prerequisite: FILM 131 and 132, in which you must earn a minimum C+ grade.
*FILM 484 Anatomy of a Movie: Daughters of the Dust (4)
In this class, we will explore the culture and counterculture that transformed the landscape of American film culture of the 1960s. When Dr. Strangelove hit cinemas in 1964, it signaled a siege on American audiences that would last well over a decade and that would change the course of film history. Following in its wake came an onslaught of countercultural heroes who challenged the traditions and expectations of American culture and film practice. Films from The Graduate to Taxi Driver, Easy Rider to Woodstock influenced and were influenced by the signs of a decade that included drug culture, student rebellion, the women’s movement, Vietnam and anti-Vietnam, the Stonewall riots, the environmental movement, the farmers’ rights movement, and of course, the civil rights movement. Hollywood, too, was changing from the classic studio system to one run by mavericks and renegades, loners, and visionaries.
FILM 486 Topics in Film and the Moving Image (4)
Concentrated study of genre, structure and style of a particular period, topic and/or figure in film and the moving image; for example,`70's Film & TV Renaissance, Irish Cinema, and/or Robert Altman.Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 486 Advanced Digital Culture (4)
This course focuses on the academic study of the internet as a significant form of human culture. Building on the introductory level Film 199: Digital Culture, students will continue to examine the transformative impact that digital screens have on creative expression, power relations, and everyday life. In dialogue with a range of readings and screenings, students will develop creative research projects on topics such as race and the internet, surveillance capitalism, artificial intelligence, and the intersections of contemporary art with digital technology. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 486 American Independent Cinema (4)
This class will examine the practice of American independent filmmaking as it has developed in recent decades. In particular, this class will interrogate the meaning of independence as an aesthetic, institutional, and political category of filmmaking practice; analyze some of the key films that have influenced the aesthetic development and critical reception of independent filmmaking; and explore the range of aesthetic and narrative possibilities offered by the commercial and cultural parameters of independent filmmaking. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 486 Feminist Film/Theory (4)
This seminar will provide an overview of some of the major perspectives and contributions that feminist theory has made to how we think about cinema. It will also introduce several feminist directors/films, which may include Dash’s Daughters of the Dust, Chytilova’s Daisies, Ackerman’s Je, tu, il, elle, and other films that have been major topics of feminist debate, such as Stella Dallas. Topics examined may include psychoanalytic theories of the gaze, women and the avant-garde, feminism and transnational cinema, and feminist documentary. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 486 The Film Archive: Preservation and Access (4)
This seminar will involve an exploration and appreciation of non-Hollywood "Orphan" film - notably experimental, educational, home movies and various forms of time based media. Will include a basic understanding of digital preservation, modes of projection, proto cinematic devices and an overview of the role of technology in the archive. Students will be asked to consider the archive in its various forms as well as investigate issues of access and preservation when dealing with both analog and digital media. Course will include weekly film screenings, readings, discussions and creative projects. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 486 Streaming Media Platforms (4)
In this course, we will consider pre-streaming history at the outset, and then devote the remainder of the term to the study of what we now identify as the ongoing streaming era. Topics will include: industry competition and consolidation; the challenges to legacy media; the status of linear television and theatrical spectatorship; the emergence of the new studios; home viewing and mobile viewing; distribution and exhibition fractures and distinctions (e.g., a Twitch stream is not a Netflix program is not a YouTube channel); and different models of streaming (e.g., SVOD, AVOD, TVOD, FAST). We will draw on journalism and peer-reviewed scholarship as well as our own experiences as scholars-spectators-viewers-users-creators-participants (an inelegant phrase that highlights the flux of the current moment). Streaming is not limited to audiovisual motion picture industries, but given the disciplinary focus of our school, we will examine motion picture examples within our assigned material. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 486 Use/Re-Use of Archival Film (4)
In this course students will consider how archival film – including but not limited to news footage, home movies, television broadcasts, surveillance/police bodycam – is used to promote various points of view in moving image productions. Students will think critically about how this type of material is utilized but also how it is accessed practically, notably through university special collections, public libraries + archives and over the internet. Costs, copyright, aspect ratio and media format + history will be discussed. In addition to general documentaries, there will be special emphasis on experimental film + video as well as local Pacific Northwest productions and history. By the end of the course students will have a general understanding of how to contextualize, access and use archival material. The course will include weekly film screenings, readings, and discussions. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
FILM 487 Topics in International Film and the Moving Image (4)
Concentrated study of national cinema (non-US) or national cinema movement. Students will consider the cinema in relation to: national context and cinematic history; other national/transnational cinemas; and independence and nationalism, censorship, and political and artistic movements. Examples include Irish Cinema, Italian Neorealism, and New Wave Cinemas. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Art Cinema in the Islamic Republic of Iran(4)
This class fulfills requirements for the Film Major and the university’s RESR, International Component, requirement. On the registration system and DARS, the class appears as FILM 487 ART CINEMA ISLAMIC REB IRAN. Art Cinema in the Islamic Republic of Iran will focus on Iran’s most prominent cinema movement, the internationally renowned post-revolutionary “Art Cinema” or “Quality Cinema,” which includes a diverse set of filmmakers who negotiate: the local and the global; imperialism and the revolutionary state; the sometimes competing threads of anti-western revolution; western cultural and cinematic elements alongside (or versus) Iranian contexts; representations of gendered identities; international and intrastate audiences; state-sanctioned hostility towards the cinema; and shifting censorship codes. We will examine the work of five major directors while we also discuss additional filmmakers, aspects of the Iranian Revolution, and aspects of international film exhibition. Required readings will be provided through the PSU Library databases and electronic resources, and as such, this course meets the no cost designation for the state. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Brazilian Cinema (4)
This course examines the stylistic diversity and historical development of Brazilian Cinema. While exploring Brazil's most significant movements and genres, we will analyze and discuss how the core of Brazilian cinema comes from its desire for artistic and economical independence from Hollywood and European cinema. We will cover topics such as Cinema Novo, Cultural Anthropophagy and Tropicalismo. Through selected articles and films students will learn not only about the various styles and aesthetics of Brazilian filmmaking, but also to appreciate a series of cultural and ideological themes that helped shape Brazil’s cinematic identity.Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Cinemas of Taiwan and Hong Kong (4)
In the cinemas of Hong Kong and Taiwan, the spectator can trace the emergence of a “national” identity constructed out of the complicated colonial and postcolonial histories of each region and its mix of indigenous and immigrant populations. By the end of Hong Kong’s existence in 2020 as an autonomous city-state, “Hong Konger” had become an identity that signaled Hong Kong’s “adulthood” as no longer a British foster child but also not the offspring of the People’s Republic of China. Similarly, in Taiwan over the last decade, an identity has emerged that blends indigenous, Taiwanese, and mainland immigrant populations into one, thereby proposing that history itself, rather than ethnicity or language, defines Taiwan. With the aid of secondary readings, we will build an understanding of the two cinematic canons by asking how the aesthetic choices of our films shape their larger meaning. What do the directors’ decisions regarding narrative structure, point of view, use of language and dialects, cinematography, editing, and sound tell us about each film’s exploration of history, power, and identity? We will watch films by directors Fruit Chan, Wong Kar Wai, Ann Hui, Hou Hsiao Hsien, Edward Yang, Zero Chou, and others. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Contemporary Cinema of Mainland China (4)
Film 487/587 is a critical introduction to mainland Chinese film that covers the Second Golden Age, the Cultural Revolution period, 5th and 6th generations, commercial and “Main Melody” dramas, and the New Documentary Movement. Our goals are to understand cinema’s development within the sociopolitical history of China from Mao to now; articulate thoughtful analyses of key film texts; and deepen our understanding of Chinese film’s place within world cinema. No prior knowledge of Chinese cinema and culture required. All films have English subtitles and readings are in English. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Contemporary Eastern European and Russian Cinema (4)
From the Czech New Wave to Tarkovsky's poetic works (Solaris, Stalker) to the award-winning Ida and the devastating recent films of Andrei Zvyagintsev (Leviathan, Loveless), the Soviet Bloc and the ex-Soviet Bloc have been home to some of the most important filmmaking of the late twentieth and early twenty-first centuries. This course begins in the 60s with the Czech New Wave and then explores Hungarian (Jansco, Szabo) and Polish (Wajda, Kieslowski) cinema, and ends in Russia by moving from Tarkovsky through Sokurov to Zvyaginstev. Topics will include: the aesthetic of the long take ("sculpting in time"), magical realism and surrealism, black comedy and satire, and the fraught history of cinematic representations of Eastern European and Russian involvement in the Holocaust. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Contemporary Korean Cinema (4)
This course examines contemporary South Korean cinema created after the mid-90s. It aims to help students understand its historical, political, industrial, and aesthetic contexts as well as its relationships with other film cultures such as Hollywood, Hong Kong cinema, and Japanese cinema. By doing so, students will be able to appreciate Korean film genres, auteurs, styles, and historical and national allegory. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Gender + Sexuality in Global Digital Culture (4)
Can digital technology materialize utopian dreams of gender or sexually marginalized groups by disturbing established social systems? Or does it elicit a harsher, more discriminating reality for women and LGBT populations? To answer these questions, this course examines a diversity of complex issues related to gender and sexuality in digital culture within the global community as well as the U.S. culture. Students will read cutting- edge scholarship and investigate the ways in which digital technology forms and re-forms gender and sexuality from feminist and queer perspectives. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 High Economic Growth Cinema of Japan (4)
This course addresses the intersection of consumption and political-economy through film during the heyday of Japan’s High Economic Growth Period. Addressing films produced between 1955 to the early 1970s this course will consider the nature of popular film production in the waning days of Japan’s studio system. Through a variety of genres; yakuza, gangster, jidaigeki, musical, comedy, and thrillers we will seek to analyze films that were commercial successes in an era often noted for auteurs and “new waves” that played to festivals and art houses. What were the politics of the mainstream? Who were the notable figures in front of and behind the camera? What factors led to the downfall of the studio system precisely when Japan’s economy was skyrocketing? Screenings in Japanese w/English subtitles. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Japanese Cinema + Media Survey (4)
This course surveys major developments in Japanese film history examining how patterns of distribution, exhibition, and reception have influenced film aesthetics and film style over the last century. Through the course films will be analyzed in relation to broader movements such as the rise and fall of Benshi, Pure Film, occupation cinema, Japan’s new wave, high-growth anxiety, blockbuster cinema, and media convergence in the 21st century. Through this course students will be able to critically assess films of this national cinema and understand how Japanese cinema as an institution responds to and intervenes in the social, cultural, and political history of Japan. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Japanese Pop Cinema Kadokawa Auteurs (4)
This course addresses large scale shifts in the production, marketing, and exhibition of commercial cinema in Japan between 1974-1993. This course will consider a host of auteur directors who were able to use the emerging dominance of Kadokawa Pictures to develop, expand, or seek refuge during a period critics consider the cultural nadir of Japanese cinema. Through filmmakers like Ichikawa Kon, Sōmai Shinji, Sai Yoichi, Obayashi Nobuhiko, and company president Kadokawa Haruki we will analyze their productions in conjunction with the political, social, and economic environment in which they were produced. Screenings in Japanese w/English subtitles. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 New German Cinema (4)
This course examines the stylistically diverse film movement known as New German Cinema, which flourished between the 1960s and early 1980s in West Germany. The filmmakers included under this banner made oppositional films that challenged dominant filmmaking practices, critiqued the current social and political order, and grappled with the complexities of German history. We will study the cultural, political, and historical context in which this movement developed as well as major films and filmmakers that came out of this context. Directors will include (among others) Rainer Werner Fassbinder, Werner Herzog, Margarethe von Trotta, Wim Wenders, Alexander Kluge and Helma Sanders-Brahms. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Transnational Stardom (4)
What do John Wayne, Jackie Chan, and Japanese silent film star Sessue Hayakawa all have in common? As stars, each of these actors have circulated globally and their “meanings” have varied depending on the cultural context in which their work was received. This class will examine what it means to study “star texts” and how they can contribute to the study of films and film industries through a transnational framework. We will analyze a variety of stars from film history in diverse cultural and national contexts through the perspectives of masculinity and femininity, race and class, and other culturally variable categories. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.
*FILM 487 Yakuza Gangster Film (4)
This course surveys one of the most resilient genres in Japan’s domestic film production; the gangster film. Known by a variety of terms including Yakuza, bakuto, ninkyo-eiga, borderless action, or jitsuroku eiga. The variety of names points to the longevity and malleability of the genre to time, place, and production methods of separate studios all wanting to take part in the fervor for gangster stories. The course will engage with how Yakuza films depict concepts such as duty, honor, masculinity, patriarchy, and gender within changing production patterns over the past century. Screenings in Japanese w/English subtitles. Prerequisites: FILM 131 and and FILM 132, in which you must earn a minimum C+ grade; Film major.