Department fees support film and video rentals and purchases in history and criticism courses, plus the purchase, maintenance, and replacement of equipment used in the film and video production courses.
The College of Fine Arts’ Department of Cinematic Arts is dedicated to the study and practice of film and video as art. In the hope of understanding and enhancing moving image productions, the curriculum offers students a broad foundation in sound and visual culture. Although one may approach film and video for commercial purposes, our Department emphasizes the value of the aesthetic achievements and cultural contexts of the works we make and critique.
Cinematic Arts students establish ties to the intellectual and creative pursuits of the College of Arts and Sciences as well as to parallel efforts in our own school. Transdisciplinary in nature, our offerings resonate with current practices in history, cultural studies, literary theory, visual and performing arts studies, anthropology, psychology, sociology, political theory, women and gender studies, and science studies. Through these lenses we encourage analysis and thoughtful representation of the way “race,” gender, class, sexuality, age, ability, and other elements of our identities intersect in cinema and video.
Given the global nature of moving images, we also offer students an outlook that is international as well as interdisciplinary. To learn about world cinema is to explore diverse cultures. The Media Arts curriculum includes courses devoted to various national and regional cinemas; students interested in Latino, Hispanic, Chicano, and Latin American cinemas, for instance, can focus their investigations on local cultures vis-à-vis global concerns. In these and in other courses, our department seeks to collaborate with a variety of academic departments such as Spanish and Portuguese or American Studies, where transcultural work is similarly promoted.
Students who major (or minor) in Media Arts are expected to maintain a grade point average in the major (or minor) of 3.0. More details about the major in Media Arts follow.
Courses
NONE 110.
Introduction to Mass Communication.
(3)
(Also offered as CJ 110)
Study of the development of the mass media with emphasis on television in the areas of programming, policy, regulations, economics, and technology. Examination of the social, cultural, and political impact of the mass media on contemporary society.
NONE 111.
Technical Introduction to Video Production.
(3)
For the student who has no practical knowledge of video technology. Students learn about the camera and lens, sound recording, lighting, editing, and other elements of production. Special fee required.
NONE 210.
Introduction to Film Studies.
(3)
Analysis of film as a unique art, and a survey of main trends in film history. Screenings and critical study of major films. Special fee required.
210 is a prerequisite to 300 and 400 level Media Arts courses.
NONE 212.
Beyond Hollywood.
(3)
An introduction to marginalized cinemas with screenings of major works. Special fee required.
NONE 216.
Topics in Video Making.
(3 to a maximum of 6 ?)
These courses strengthen students’ skills in video technology while helping them write, direct, and edit video projects that begin to reflect a personal, artistic vision. Special fee required.
Prerequisite: 111
NONE 310 / *410.
Latin American Film.
(3)
This course surveys key moments in Latin American cinema including Mexico’s influential “Golden Age” of the 1940s and various “new cinemas” of the ’60s and ’70s. Also considered are Hollywood films about Latin America. Special fee required.
NONE 324.
Introduction to Screenwriting.
(3 to a maximum of 6 ?)
(Also offered as ENGL 324)
Writing workshop on basics of character structure, scenes, visualization, and good old story telling as it applies to the screenplay. Students read scripts, watch film clips, and begin writing an original screenplay.
Prerequisite: ENGL 224
NONE 326 / *426.
History of Film I: Silent.
(3)
History of the motion picture from its beginnings to the era of sound. Screening and analysis of major films. Special fee required. May not receive credit for both 326 and 426.
Prerequisite: 210
NONE 327 / *427.
History of Film II: Sound.
(3)
History of the motion picture from the advent of sound to the present day. Screening and analysis of major films. Special fee required. May not receive credit for both 327 and 427.
Prerequisite: 210
NONE 330.
Studies in Film.
(3 to a maximum of 24 ?)
Studies in film and video genres, regional and national cinemas, and the work of individual artists. Special fee required. May be repeated if subject matter varies.
NONE 331 / *431.
Film Theory.
(3)
A lecture survey of major currents in film theory from film’s beginnings to the present. Screening and analysis of major films. May not receive credit for both 331 and 431. Special fee required.
Prerequisite: 210
NONE 332 / *432.
Documentary Film History.
(3)
History and theory of documentary, with emphasis on how this knowledge is applied in the making of a documentary. Screenings of work by Robert Flaherty, Trinh T. Minh-ha, and others. Special fee required.
NONE 333 / *433.
Film Noir.
(3)
An examination of a distinct type of American film prominent in the 1940s and early ’50s that often deals with crime, corruption, and disillusionment in the city. Special fee required.
Prerequisite: 210
NONE 334 / *434.
Teen Rebels.
(3)
An examination of Hollywood films of the 1950s, ’60s and ’70s, whose youthful main characters challenge convention and authority. Special fee required.
NONE 335 / *435.
International Horror Film.
(3)
A study of major horror films from various countries, with related readings in fiction, philosophy, psychology, and film studies. Classics such as Nosferatu and Frankenstein are screened. Special fee required.
NONE 336 / *436.
Images of (Wo)men.
(3)
Our study will regard films about women, men, and everybody else. With feminism, queer theory, critical race studies, and transgender film theory, we’ll consider cinema from “women’s pictures” to films about the permutations of gender. Special fee required.
Restriction: junior or standing
NONE 337 / *437.
Alfred Hitchcock.
(3)
An exploration of cinematic suspense, surprise, and shock in relation to Hitchcock’s cinema. Special fee required.
NONE 339.
Russian Culture and History through Film.
(3)
(Also offered as HIST 335 and RUSS 339)
In this course we study films and read secondary sources from the Soviet and post-Soviet eras (with English subtitles) and examine how they comment on current Russian social and cultural issues. Taught in English. Special fee required.
NONE 390.
Topics in the Elements of Filmmaking.
(3 to a maximum of 9 ?)
Practicum in basic conceptual aspects of independent filmmaking. Each student creates cinematic work in this course. Special fee required.
NONE 391.
16mm Filmmaking.
(3 to a maximum of 6 ?)
This course provides an introduction to basic 16mm filmmaking techniques, with an emphasis on film as a creative art form. Students take up all aspects of filmmaking, from pre-production planning through the final edit. Special fee required.
NONE 394.
Computer Generated Imagery and Animation.
(3)
(Also offered as ARTS 394.)
Introduction to story boarding, modeling, rendering, animation, and dynamics. Class uses high-level commercial animation software. Course emphasizes both the development of technical skills and the aesthetic aspects of computer imagery. Not allowed for graduate credit for computer science majors, nor as a technical elective for undergraduate computer science majors.
NONE *409.
Advanced Video Art.
(3 to a maximum of 6 ?)
(Also offered as ARTS 409/509)
This class helps students to develop more complex artistic statements on video. Critiques of student work, plus readings and discussions about various arts and media. Special fee required.
Restriction: permission of instructor.
NONE *410 / 310.
Latin American Film.
(3)
This course surveys key moments in Latin American cinema including Mexico’s influential “Golden Age” of the 1940s and various “new cinemas” of the ’60s and ’70s. Also considered are Hollywood films about Latin America. Special fee required.
NONE *412.
?Third World? Cinemas: Cultures in Contact.
(3)
Considering cultures in (uneasy) contact, this course examines “Third World” cinematic representations of political, economic, or social subordination and resistance to domination. Special fee required.
NONE *426 / 326.
History of Film I: Silent.
(3)
History of the motion picture from its beginnings to the era of sound. Screenings and analysis of major films. Special fee required. May not receive credit for both 326 and 426.
Prerequisite: 210
NONE *427 / 327.
History of Film II: Sound.
(3)
History of the motion picture from the advent of sound to the present day. Screenings and analysis of major films. Special fee required. May not receive credit for both 327 and 427.
Prerequisite: 210
NONE *429.
Topics in Production.
(1-3 to a maximum of 6 ?)
Workshops in specific production topics conducted by guest artists in film and video as their schedules permit. Special fee required.
May be repeated if subject matter varies.
Restriction: permission of instructor
NONE *430.
Topics in Film History.
(3 to a maximum of 24 ?)
Studies in film and video genres, regional and national cinemas, and the work of individual artists. Special fee required.
May be repeated if subject matter varies.
NONE *431 / 331.
Film Theory.
(3)
A lecture survey of major currents in film theory from film’s beginnings to the present. Screening and analysis of major films. May not receive credit for both 331 and 431. Special fee required.
Prerequisite: 210
NONE *432 / 332.
Documentary Film History.
(3)
History and theory of documentary, with emphasis on how this knowledge is applied in the making of a documentary. Screenings of work by Robert Flaherty, Trinh T. Minh-ha, and others. Special fee required.
NONE *433 / 333.
Film Noir.
(3)
An examination of a distinct type of American film prominent in the 1940s and early ’50s that often deals with crime, corruption, and disillusionment in the city. Special fee required.
Prerequisite: 210
NONE *434 / 334.
Teen Rebels.
(3)
An examination of Hollywood films of the 1950s, ’60s and ’70s, whose youthful main characters challenge convention and authority. Special fee required.
NONE *435 / 335.
International Horror Film.
(3)
A study of major horror films from various countries, with related readings in fiction, philosophy, psychology, and film studies. Classics such as Nosferatu and Frankenstein are screened. Special fee required.
NONE *436 / 336.
Images of (Wo)men.
(3)
Our study will regard films about women, men, and everybody else. With feminism, queer theory, critical race studies, and transgender film theory, we’ll consider cinema from “women’s pictures” to films about the permutations of gender. Special fee required.
Restriction: junior or senior standing
NONE *437.
Alfred Hitchcock.
(3)
An exploration of cinematic suspense, surprise, and shock in relation to Hitchcock’s cinema. Special fee required.
NONE *484.
Evaluating the Arts.
(3)
(Also offered as ARTH, DANC, MUS, THEA 484)
Examines the practice of criticism, with emphasis on critical processes that penetrate a variety of art forms. Also explores aesthetic theories and cultural outlooks that underpin practical criticism. Special fee required.
Restriction: permission of instructor
NONE *485.
Problems in Interdisciplinary Studies.
(3 to a maximum of 6 ?)
(Also offered as ARTH, MUS, THEA 584)
An independent study in either critical studies or studio, beyond the scope of the Fine Arts interdisciplinary courses, which may occur within or outside the College of Fine Arts. Special fee required.
Restriction: permission of instructor
NONE *487.
Contemporary Interdisciplinary Topics.
(3 to a maximum of 6 ?)
(Also offered as ARTH, DANC, MUS, THEA 487)
Analyzes major instances of interdisciplinary influence and collaboration in the present day. Special fee required.
Restriction: permission of instructor
NONE *494.
Advanced Computer Generated Imaging and Animation.
(3 to a maximum of 6 ?)
(Also offered as ARTS 494/594)
A continuation of Computer Science 394. Students are expected to research and make presentations on advanced topics in CGI. Significant term project required. Not allowed for graduate credit for computer science majors, nor as a technical elective for undergraduate computer science majors. Special fee required.
Prerequisite: CS 394
NONE 496 / 596.
Undergraduate Production Project.
(1-3 to a maximum of 24 ?)
Media Arts majors undertake individual projects and internships that arise outside the boundaries of other Media Arts production courses. In order to sign up, the student enlists the support of a Cinematic Arts faculty member. Special fee required.
Restriction: permission of instructor.
NONE 497 / 597.
Undergraduate Independent Study.
(2-3 to a maximum of 24 ?)
Individual investigation or reading, plus the writing of an essay, under faculty direction. Special fee required.
Restriction: permission of instructor.
NONE 499.
Honors Thesis.
(3-6 to a maximum of 6 ?)
Directed independent study in a field of special interest, culminating in a written thesis and, if appropriate, a film or video project. Open only by invitation to department honors candidates. Special fee required.
NONE 596 / 496.
Graduate Production Project.
(1-3 to a maximum of 24 ?)
Media Arts majors undertake individual projects and internships that arise outside the boundaries of other Media Arts production courses. In order to sign up, the student enlists the support of a Cinematic Arts faculty member. Special fee required.
Restriction: permission of instructor.
NONE 597 / 497.
Graduate Independent Study.
(2-3 to a maximum of 24 ?)
Individual investigation or reading, plus the writing of an essay, under faculty direction. Special fee required.
Restriction: permission of instructor.
