Film Studies Immersion
Overview for Film Studies Immersion
The film studies immersion allows students to engage in the study of global cinema using a variety of interdisciplinary methodologies and perspectives. Coming from the disciplines of English, anthropology, philosophy, fine arts/visual culture, political science, history, and modern languages, the immersion investigates cinema’s mass appeal as a form of entertainment, but also the power it wields as a disseminator of ideas, history, values, aesthetics, behavior, and cultural norms.
Notes about this immersion:
- This immersion is closed to students majoring in film and animation.
- Students must take courses in more than one discipline, e.g., two in fine arts (FNRT) and one in anthropology (ANTH).
The plan code for Film Studies Immersion is FILMST-IM.
Curriculum for Film Studies Immersion
|Choose three of the following:|
Native Americans in Film
This course will examine the parallels of anthropological works and resulting government policies in the late-19th and 20th centuries as they relate to the genre of Native Americans film, both popular and ethnographic works. In addition, an extensive regional and historical literature review will complement the possible films. Lecture 3 (Fa/sp/su).
We see others as we imagine them to be, in terms of our values, not as they see themselves. This course examines ways in which we understand and represent the reality of others through visual media, across the boundaries of culture, gender, and race. It considers how and why visual media can be used to represent or to distort the world around us. Pictorial media, in particular ethnographic film and photography, are analyzed to document the ways in which indigenous and native peoples in different parts of the world have been represented and imagined by anthropologists and western popular culture. Lecture 3 (Fall, Spring).
This course familiarizes students with a number of different critical approaches to film as a narrative and representational art. The course introduces students to the language as well as analytical and critical methodologies of film theory and criticism from early formalist approaches to contemporary considerations of technologies and ideologies alike. Students will be introduced to a selection of these approaches and be asked to apply them to a variety of films selected by the instructor. Additional screening time is recommended. (Prerequisites: Completion of First Year Writing (FYW) requirement is required prior to enrolling in this class.) Lecture 3 (Spring).
This introductory survey course examines the history, aesthetics and style of Japanese animation or anime. The course provides a vocabulary for the analysis of anime as well as the critical and analytical skills for interpreting anime as an art form. This course will develop students' skills in viewing, analyzing, interpreting and evaluating the art of anime. Students will learn to analyze important series and films, and connect anime with contemporary and historical trends in Japan. Emphasis will be placed on the analysis of works by major directors and studios including: Tezuka, Sugii, Miyazaki, Oshii, Kon, Takahata, Shinkai, Watanabe, Studio Ghibli, Studio 4C, and Madhouse. Background knowledge of animation, film or anime is helpful but no specific knowledge is required or expected. Lecture 3 (Fall).
Screening the Trenches: The History of WWI Through Film
This course uses popular films to examine World War I as the global conflict that set the stage for the rise of communism, fascism, and subsequent wars in twentieth-century Europe. Students will gain an understanding of the major causes and outcomes of World War I while investigating how the war transformed class, gender, and racial politics in Europe. Special attention will be paid to the combat/trench experience, the home front/war front divide, the German occupation of Belgium and Northern France, “total war,” the politics of shell-shock and disability, and the legacies of grief, mourning, and commemoration. Because World War I so greatly divided its participants, little consensus about the war’s meaning emerged in its aftermath. Filmmakers have consequently used World War I as a blank slate on which to project political fantasies, condemn elements of their own societies, or imagine the future. Students will use secondary historical literature and original primary sources to analyze filmic representations of World War I and consider how filmmakers have deliberately misrepresented the past or constructed particular narratives about the war to serve their own ends. This course will therefore equip students to think critically about representations of the historical past in popular culture. Lecture 3 (Spring).
Japan in History, Fiction, and Film
An introduction to Japanese history, highlighting social and aesthetic traditions that have formed the foundations for Japanese literature and cinema. Explores how writers and directors have drawn on this heritage to depict historical experiences. Lecture 3 (Spring).
Film, Comics, and French Culture
The course focuses on French culture through feature films, animated films, and comic books. France is the strongest film industry in Europe and is one of the world’s major movie export powers after the U.S. Franco-Belgian comics are one of the main groups of comics, together with American and British comic books and the Japanese manga. France is Europe’s largest producer and the world’s third largest exporter of animated film. What do French films and comics tell us about French culture? The course explores aspects of contemporary French society. It addresses a broad range of topics including multiculturalism in France, French cuisine and the French paradox, fashion in France, the impact of the two world wars on French society, the legacy of the French colonial experience, and ethnic and sexual minorities in France. The course examines the interconnectedness of French culture with other cultures in the world, particularly American culture and the cultures of former French colonies. Students will also have to interpret and evaluate French films and comic books considering the cultural context in which they were created. They will learn about the specificity of French cinema as opposed to Hollywood productions, of French animated films versus American animated films and Japanese anime, and of Franco-Belgian comics as opposed to American and British comics and the Japanese manga. The course also offers a brief introduction to spoken French. Lecture 3 (Spring).
French Films and Hollywood
A comparative study of French films and their American remakes from the 1930s to the 21st century to determine what these films reveal about the cultural and cinematic contexts from which they emerge. The course examines differences as well as similarities in the construction of identities in France and the United States. Devotes particular attention to the (re)construction of race, space, gender, and national histories. Conducted in English. Lecture 3 (Spring).
The French Heritage in Films
Heritage films are central to the French cinematographic production. They enable the transmission and the reevaluation of a tradition that lies at the core of French cultural identity. This course examines a selection of French films adapted from both canonical and non-canonical texts representative of major events, trends, social issues, and artistic movements that contributed to shaping modern France. Students will become familiar with world-renowned French novels, short stories, comic books, and films. The course deals with topics such as aristocratic culture, racial identity in France, the myth of the resistance and the legacy of the Second World War, France’s rural past, the French colonial experience, women and bourgeois culture, the long-standing tradition of comic books and comedy in France, the Tradition of Quality, the French New Wave, and heritage films. The course also examines the interconnectedness of French culture and the cultures of the United States, England, and former French colonies. It notably explores how the French colonial experience informed the development of French cinema, and how French heritage films were both inspired and reinterpreted by British and American cinematographic industries to reflect the cultures and values of those societies. Conducted in English. Lecture 3 (Spring).
This course provides an introduction to Hispanic Caribbean culture through cinema studies. We will study the role of film in Hispanic Caribbean societies as well as the unique artistic and technical achievements and obstacles of Cuban, Dominican, and Puerto Rican filmmakers. Topics covered include: The Basics of Film Analysis; An Introduction to Caribbean Film History; The Social Context of the Hispanic Caribbean Film Industry; Art and Revolution; Race, Ethnicity, and Religion; Occupation, Dictatorship, and War; Gender, Sexuality and Exile; Transnationalism and Migration, and Hispanic Caribbean Film in a Global Context. This course will take a cultural studies approach to the study of film as a social practice. Weekly films (1.5-2 hours in length) must be watched outside of class hours. All films with dialog have English subtitles. Lecture 3 (Spring).
Philosophy of Film
Introduces students to models of film interpretation and critique that arose in pre-war Europe and that have burgeoned since; these models combine philosophical, aesthetic, economic and psychoanalytic methods of analysis. Among the topics considered are the nature of the image, ideology and alienation, trauma, fetishism, magical realism, realism and anti-realism in film. Lecture 3 (Fall).
Politics Through Film
This course explores the enduring issues facing the American and global political order through the lens of film. Particular attention will be paid to the principles of sound political deliberation, the limitations of political leadership and the theory and practice of American political principles both at home and abroad. Lecture 3 (Spring).
American Film Since the Sixties
This course examines the history and aesthetics of the motion picture in the United States since the late 1960s, when the classical studio era ended. Emphasis will be placed on the analysis of both the work of major American filmmakers and the evolution of major American film genres between 1967 and 2001. Among the filmmakers to be studied are Kazan, Cassavetes, Penn, Coppola, Scorsese, Spielberg, Allen, Seidelman, Lee, Burton, Altman, Tarantino, Coen, and Lynch. The course will consider the evolution of such traditional Hollywood genres as the gangster film, the romantic comedy, and the Hollywood movie, study the development of new, blended genres, investigate the rise of the blockbuster, explore the rise of the Independents, and follow the aesthetic changes that occurred since the 1967. The films will be studied within the context of contemporary cultural and political events, and will be discussed from several viewpoints, including aesthetic, technical, social, and economic. The ways in which gender, race, and class are constructed through the movies will also be a major focus of study. Lecture 3 (Spring).
Deaf Art & Cinema
Students will examine the context in which specific cultural groups have chosen to create works about their experiences. They will go on to explore a wide range of artistic works representing the Deaf experience in visual arts and cinema. Students will be expected to analyze works in terms of cultural symbols and themes. Attention will be given to historical context (personal and collective) that has helped to shape many of these works, motifs, and messages. Students will write and present in-depth papers examining specific works and artists/filmmakers. In addition, students will be expected to create an original artwork and a collaborative short film. Lecture 3 (Fall, Spring).
* Students must take courses in more than one discipline, e.g., two in VISL and one in ANTH.