ENROLL

Jay Beck

This course is designed to explore the intersection between rock music and cinema. Taking a historical view of the evolution of the "rock film," this class examines the impact of rock music on the structural and formal aspects of narrative, documentary, and experimental films and videos. The scope of the class will run from the earliest rock films of the mid-1950s through contemporary examples in ten weekly subunits.

Held for Class of 20, Extra Time Required

Paul Hager

In this hands-on studio television production course, students learn professional studio methods and techniques for creating both fiction and nonfiction television programs. Concepts include lighting and set design, blocking actors, directing cameras, composition, switching, sound recording and scripting. Students work in teams to produce four assignments, crewing for each other's productions in front of and behind the camera, in the control room, and in post-production.

Extra Time Required

Carol Donelan

Extra Time Evening Screenings

Diane Nemec Ignashev

Film adaptations of pre-existing texts (from songs to novels) have been around almost as long as cinema itself, and the percent of film adaptations continues to grow. (Of the top two-thousand movies over the last twenty years fifty-one percent were adaptations.) In this course we will take a chronological journey through the history of film adaptations in a variety of film cultures, considering along the way the processes involved in translating narratives from words to visual media, and how the cinematic has come to shape the literary (reverse adaptation). Discussions and assignments will aim at both analysis and practice.

Extra Time Required

Laska Jimsen

This course addresses nonfiction media as both art form and historical practice by exploring the expressive, rhetorical, and political possibilities of nonfiction production. A focus on relationships between form and content and between makers, subjects, and viewers will inform our approach. Throughout the course we will pay special attention to the ethical concerns that arise from making media about others' lives. We will engage with diverse modes of nonfiction production including essayistic, experimental, and participatory forms and create community videos in partnership with CCCE and local organizations. The class culminates in the production of a significant independent nonfiction media project.

Prerequisite: Cinema and Media Studies 111 or instructor permission

Extra Time Required

Catherine Licata

This course introduces students to the art of motion picture editing by combining theoretical and aesthetic study with hands-on work using the non-linear digital video editing software Adobe Premiere. We explore graphic, temporal, spatial, rhythmic and aural relationships in a variety of moving image forms including classical narrative continuity and documentary storytelling. Underscoring the strong links between concept, direction, shooting, and editing, this course examines the close ties between production and post-production. Through editing assignments and class critique, students develop expressive techniques and proficiency in basic video and sound editing and post-production workflow.

Prerequisite: Cinema and Media Studies 111

Extra Time Required

Andrew Rosendorf

Prerequisite: Cinema and Media Studies 110 or instructor permission

Jay Beck

Prerequisite: Cinema and Media Studies 296 required winter term

Extra Time Required

Cathy Yandell

Incorporating the tools of film analysis, this course focuses on such questions as controversial historical moments, postcolonial culture, immigration, gender/ genre, and contemporary French society. It also attempts to answer the following questions: how does French cinema reflect, contradict, or create cultural norms? What in a particular historical moment incites the production of a particular film and catapults it to fame? In what ways does film provide another medium through which to “read” French culture?

Prerequisite: French 204 or equivalent

Extra Time required

Cathy Yandell

Incorporating the tools of film analysis, this course focuses on such questions as controversial historical moments, postcolonial culture, immigration, gender/ genre, and contemporary French society. It also attempts to answer the following questions: how does French cinema reflect, contradict, or create cultural norms? What in a particular historical moment incites the production of a particular film and catapults it to fame? In what ways does film provide another medium through which to “read” French culture?

Prerequisite: French 204 or equivalent

Extra Time required

Barbara Allen

Our analysis of media influences on politics will draw from three fields of study: political psychology, political behavior and participation, and public opinion. Students will conduct a study of the effects of campaign ads and news using our multi-year data set of content analyzed election ads and news. We study a variety of quantitative and qualitative research methods to learn how political communication affects U.S. elections. Taking this course in conjunction with Political Science 328 is highly recommended. Political Science 328 will include a component on representations of foreign policy in electoral politics that contributes to our research in Political Science 204.