ENROLL

Catherine Licata

This course explores the creative practice of developing stories or ideas for a range of cinematic forms, including fiction, nonfiction, animation, and experimental films. Students will draw inspiration from a variety of sources that are personal, cultural, or observational, and in doing so, develop confidence in their own artistic practice and perspective. We will learn the fundamentals of dramatic tools, use these tools to make screen ideas evolve, consider audience reception, and practice giving and receiving constructive critique. By the end of term, students will have generated ideas for future production projects that reflect their thematic concerns, and have one fully developed outline for a project that may be realized in an upper level production course.

Prerequisite: Cinema and Media Studies 111

Sophomore Priority

Waitlist for Juniors and Seniors: CAMS 170.WL0 (Synonym 45054)

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

Jay Beck

This course is designed to introduce students to recent film history, 1970-present, and the multiple permutations of cinema around the globe. The course charts the development of national cinemas since the 1970s while considering the effects of media consolidation and digital convergence. Moreover, the course examines how global cinemas have reacted to and dealt with the formal influence and economic domination of Hollywood on international audiences. Class lectures, screenings, and discussions will consider how cinema has changed from a primarily national phenomenon to a transnational form in the twenty-first century.

Extra Time required. Evening Screenings.

Cecilia Cornejo

This course explores the relevance and influence of documentary films by closely examining the aesthetic concerns and ethical implications inherent in these productions. We study these works both as artistic undertakings and as documents produced within a specific time, culture, and ideology. Central to our understanding of the form are issues of technology, methodology, and ethics, which are examined thematically as well as chronologically. The course offers an overview of the major historical movements in documentary film along more recent works; it combines screenings, readings, and discussions with the goal of preparing students to both understand and analyze documentary films.

Extra Time Required, weekly evening in-person screenings Tuesdays

John Schott

This class combines exploration and discussion of art exhibitions in three major European cities, along with creative media projects tailored to each student's skill set and technical resources. A highlight of this course is the production of a series conceptual, photographic projects that will be gathered into a photo-book designed and produced by each student.

OCS New Media Program

John Schott

This edition will be oriented to photo projects on the CAMS Off-Campus Study Program in the winter of 2017. This foundational course deals with vision, technique and publication.

Prerequisite: Students should have their own digital camera, laptop and Adobe Lightroom software

OCS New Media Program

Laska Jimsen

Prerequisite: Cinema and Media Studies 111 and one Cinema and Media Studies 200-level studio production course or instructor permission

Extra Time Required

Jay Beck, Cecilia Cornejo

Prerequisite: Cinema and Media Studies 295

Winter Break Program, CAMS 295 req'd 16/FA

Carol Donelan

The purpose of this seminar is guide students in developing and consolidating their conceptual understanding of theories central to the field of cinema studies. Emphasis is on close reading and discussion of classical and contemporary theories ranging from Eisenstein, Kracauer, Balazs, Bazin and Barthes to theories of authorship, genre and ideology and trends in contemporary theory influenced by psychoanalysis, phenomenology and cognitive studies.

Prerequisite: Cinema and Media Studies 110 or instructor permission

Noah Salomon

Beyond the mystic ideal of approaching the divine without intermediary, all believers have encountered religious truth only by the use of certain material objects, certain media that act as tools to help the believer develop piety or communicate theological truth. This course is interested in these "in-betweens," these media, objects and material that religious people use to approach the divine, as well as the impact of new medias (electronic or otherwise) on the development of modern religiosity. Students will be asked to roll-up their sleeves and delve into primary source material gathered from internet, television, popular literature and material culture.