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Film Studies Program
Bryn Mawr College
101 North Merion Ave
Bryn Mawr, PA 19010
610.526.5334

Tri-College Courses

CURRENT COURSE OFFERINGS

Bryn Mawr Schedule | Bryn Mawr Descriptions
Swarthmore Schedule | Swarthmore Descriptions
University of Pennsylvania Cinema Studies

This page displays the schedule of Bryn Mawr courses in this department for this academic year. It also displays descriptions of courses offered by the department during the last four academic years.

For information about courses offered by other Bryn Mawr departments and programs or about courses offered by Haverford and Swarthmore Colleges, please consult the Course Guides page.

For information about the Academic Calendar, including the dates of first and second quarter courses, please visit the College's master calendar.

Students must choose a major subject and may choose a minor subject. Students may also select from one of seven concentrations, which are offered to enhance a student's work in the major or minor and to focus work on a specific area of interest.

Concentrations are an intentional cluster of courses already offered by various academic departments or through general programs. These courses may also be cross-listed in several academic departments. Therefore, when registering for a course that counts toward a concentration, a student should register for the course listed in her major or minor department. If the concentration course is not listed in her major or minor department, the student may enroll in any listing of that course.

Spring 2014

COURSE TITLE SCHEDULE/
UNITS
MEETING TYPE TIMES/DAYS LOCATION INSTRUCTOR(S)
COML B214-001 Italy Today: New Voices, New Writers, New LiteratureItaly Today Semester / 1 Lecture: 2:25 PM- 3:45 PM TTH Bettws Y Coed 239 Monserrati,M.
Screening: 6:00 PM- 8:00 PM SU Carpenter Library 21
ENGL B205-001 Introduction to Film Semester / 1 Lecture: 2:40 PM- 4:00 PM MW Carpenter Library 21 Nguyen,H.
Film: 7:00 PM- 9:50 PM M Carpenter Library 21
ENGL B299-001 History of Narrative Cinema, 1945 to the Present Semester / 1 Lecture: 11:25 AM-12:45 PM TTH Carpenter Library 21 King,H.
Film: 7:00 PM- 8:50 PM M Thomas Hall 110
ENGL B334-001 Topics in Film Studies: Black Independent Cinema Semester / 1 Lecture: 2:10 PM- 4:00 PM W Thomas Hall 102 Rastegar,R.
Screening: 7:00 PM-10:00 PM T Carpenter Library 25
GERM B320-001 Topics in German Literature and Culture: Austrian Cinema Semester / 1 LEC: 1:40 PM- 4:00 PM TH Dalton Hall 212E Burri,M.
GNST B302-001 Topics in Video Production: The Documentary Body Semester / 1 LEC: 1:10 PM- 4:00 PM W Thomas Hall 116 Funari,V.
Screening: 7:10 PM-10:00 PM TH Carpenter Library 21
HART B205-001 Introduction to Film Semester / 1 Lecture: 2:40 PM- 4:00 PM MW Carpenter Library 21 Nguyen,H.
Screening: 7:00 PM- 9:50 PM M Carpenter Library 21
HART B215-001 Russian Avant-Garde Art, Literature and Film Semester / 1 Lecture: 1:10 PM- 2:30 PM MW Taylor Hall E Harte,T.
HART B299-001 History of Narrative Cinema, 1945 to the present Semester / 1 Lecture: 11:25 AM-12:45 PM TTH Carpenter Library 21 King,H.
Film: 7:00 PM- 8:50 PM M Thomas Hall 110
HART B334-001 Topics in Film Studies: Black Independent Cinema Semester / 1 Lecture: 2:10 PM- 4:00 PM W Thomas Hall 102 Rastegar,R.
Screening: 7:00 PM-10:00 PM T Carpenter Library 25
ITAL B212-001 Italy Today: New Voices, New Writers, New Literature Semester / 1 Lecture: 2:25 PM- 3:45 PM TTH Bettws Y Coed 239 Monserrati,M.
Screening: 6:00 PM- 8:00 PM SU Carpenter Library 21
RUSS B215-001 Russian Avant-Garde Art, Literature and Film Semester / 1 Lecture: 1:10 PM- 2:30 PM MW Taylor Hall E Harte,T.
Screening: 7:10 PM- 9:00 PM T Dalton Hall 1

Fall 2014

COURSE TITLE SCHEDULE/
UNITS
MEETING TYPE TIMES/DAYS LOCATION INSTRUCTOR(S)
ARTW B266-001 Screenwriting Semester / 1 Lecture: 1:10 PM- 4:00 PM F English House I Doyne,N.
COML B306-001 Film Theory Semester / 1 Lecture: 2:10 PM- 4:00 PM TH Carpenter Library 15 King,H.
Film: 7:10 PM- 9:00 PM T Carpenter Library 25
EAST B240-001 Topics in Chinese Film: The Fifth Generation Semester / 1 LEC: 9:55 AM-11:15 AM TTH Carpenter Library 17 Kwa,S.
Film Screening: 7:10 PM-10:00 PM M Thomas Hall 224
ENGL B205-001 Introduction to Film Semester / 1 Lecture: 2:25 PM- 3:45 PM TTH Carpenter Library 25 Tratner,M.
Film: 7:10 PM-10:00 PM SU Thomas Hall 224
ENGL B299-001 History of Narrative Cinema, 1945 to the Present Semester / 1 Lecture: 11:25 AM-12:45 PM TTH Carpenter Library 21 King,H.
ENGL B306-001 Film Theory Semester / 1 Lecture: 2:10 PM- 4:00 PM TH Carpenter Library 15 King,H.
Film: 7:10 PM- 9:00 PM T Carpenter Library 25
HART B205-001 Introduction to Film Semester / 1 Lecture: 2:25 PM- 3:45 PM TTH Carpenter Library 25 Tratner,M.
Film: Date/Time TBA Thomas Hall 224
HART B299-001 History of Narrative Cinema, 1945 to the present Semester / 1 Lecture: 11:25 AM-12:45 PM TTH Carpenter Library 21 King,H.
Film: 7:10 PM- 9:00 PM M Carpenter Library 21
HART B306-001 Film Theory Semester / 1 Lecture: 2:10 PM- 4:00 PM TH Carpenter Library 15 King,H.
Film: 7:10 PM- 9:00 PM T Carpenter Library 25
HIST B284-001 Movies and America Semester / 1 Lecture: 12:55 PM- 2:15 PM TTH Thomas Hall 224 Ullman,S.
Film Screening: 7:10 PM-10:00 PM T Carpenter Library 21
ITAL B229-001 Food in Italian Literature, Culture, and Cinema Semester / 1 Lecture: 1:10 PM- 2:30 PM MW Interim,R.
RUSS B258-001 Soviet and Eastern European Cinema of the 1960s Semester / 1 Lecture: 12:55 PM- 2:15 PM TTH Taylor Hall F Harte,T.

Spring 2015

COURSE TITLE SCHEDULE/
UNITS
MEETING TYPE TIMES/DAYS LOCATION INSTRUCTOR(S)
COML B110-001 Critical Approaches to Visual Representation: Identification in the Cinema Semester / 1 Lecture: 10:10 AM-11:00 AM MWF Carpenter Library 25 King,H.
Film: 7:10 PM- 9:00 PM SU
EAST B212-001 Introduction to Chinese Literature: Dream of the Red Chamber Semester / 1 LEC: 9:55 AM-11:15 AM TTH Kwa,S., Wang,M.
HART B110-001 Critical Approaches to Visual Representation: Identification in the Cinema Semester / 1 Lecture: 10:10 AM-11:00 AM MWF Carpenter Library 25 King,H.
Film: 7:10 PM- 9:00 PM SU

 

Courses at Swarthmore Fall 2012

COURSE

TITLE MEETING TYPE TIMES/DAYS LOCATION INSTRUCTOR(S)
FMST 001 Introduction to Film & Media Studies T Th 9:55-11:10am, screenings T 7-10pm

Science Center 199,

Lang Center 101

R. Rehak
FMST 009 Women & Popular Culture M 1:15-4pm, screenings Th 7-10pm Lang Center 106 P. White
FMST 013 Experimental Animation T Th 2:40-3:30pm Kohlberg 328 E. Cho
FMST 021 American Narrative Cinema T Th 11:20am-12:35pm, screenings W 7-10pm Kohlberg 115 P. White
FMST 051 European Cinema F 2-5pm, screenings M 7-9pm Science Center 199 S. Simon
FMST 055 Contemporary Chinese Cinema T Th 1:15-2:30pm Kohlberg 302 H. Kong
FMST 097 Documentary & Community Media   P. White
FMST 102 A & B Convergence (1) (2) Th 1:15-4pm Trotter Hall 215 R. Rehak

 

Courses at Swarthmore Spring 2013

COURSE

TITLE MEETING TYPE TIMES/DAYS LOCATION INSTRUCTOR(S)
FMST 002 Production Workshop: Digital Film Fundamentals M 1:15-5pm Kohlberg 330 E. Cho
FMST 005 Special Effects & Film Spectacles T Th 11:20am-12:35pm, screenings T 7-9pm Kohlberg 230, Lang Center 101 R. Rehak
FMST 025 TV & New Media F 2-5pm, screenings Th 7-9pm Science Center 199 S. Simon
FMST 041 Fan Culture T Th 2:40-3:55pm, screenings W 7-9pm Kohlberg 116 R. Rehak
FMST 045 Feminist Film & Media Studies T Th 9:55-11:10am, screeningsW 7-10pm Trotter Hall 203 P. White
FMST 090 Film & Media Capstone W 1:15-4pm, screenings M 7-9pm Kohlberg 330 P. White
FMST 097 Independent Study  

2014-15 Catalog Data

ARTW B266 Screenwriting Fall 2014 An introduction to screenwriting. Issues basic to the art of storytelling in film will be addressed and analyzed: character, dramatic structure, theme, setting, image, sound. The course focuses on the film adaptation; readings include novels, screenplays, and short stories. Films adapted from the readings will be screened. In the course of the semester, students will be expected to outline and complete the first act of an adapted screenplay of their own. Division III: Humanities Critical Interpretation (CI) Counts toward Film Studies

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COML B110 Critical Approaches to Visual Representation: Identification in the Cinema Spring 2015 An introduction to the analysis of film through particular attention to the role of the spectator. Why do moving images compel our fascination? How exactly do film spectators relate to the people, objects, and places that appear on the screen? Wherein lies the power of images to move, attract, repel, persuade, or transform its viewers? In this course, students will be introduced to film theory through the rich and complex topic of identification. We will explore how points of view are framed in cinema, and how those viewing positions differ from those of still photography, advertising, video games, and other forms of media. Students will be encouraged to consider the role the cinematic medium plays in influencing our experience of a film: how it is not simply a film's content, but the very form of representation that creates interactions between the spectator and the images on the screen. Film screenings include Psycho, Being John Malkovich, and others. Course is geared to freshman and those with no prior film instruction. Fulfills History of Art major 100-level course requirement, Film Studies minor Introductory course or Theory course requirement. Syllabus is subject to change at instructor's discretion. Division III: Humanities Critical Interpretation (CI) Inquiry into the Past (IP) Cross-listed as HART B110 Counts toward Film Studies

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COML B214 Italy Today: New Voices, New Writers, New LiteratureItaly Today Not offered 2014-15 This course, taught in English, will focus primarily on the works of the so-called "migrant writers" who, having adopted the Italian language, have become a significant part of the new voice of Italy. In addition to the aesthetic appreciation of these works, this course will also take into consideration the social, cultural, and political factors surrounding them. The course will focus on works by writers who are now integral to Italian canon - among them: Cristina Ali-Farah, Igiaba Scego, Ghermandi Gabriella, Amara Lakhous. As part of the course, movies concerned with various aspects of Italian Migrant literature will be screened and analyzed. Division III: Humanities Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as ITAL B212 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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COML B238 Topics: The History of Cinema 1895 to 1945
Section 001 (Fall 2013): Silent Film: From U.S. to Soviet Russia&Beyond Not offered 2014-15 This is a topics course. Course content varies. Division III: Humanities Inquiry into the Past (IP) Cross-listed as ENGL B238 Cross-listed as RUSS B238 Cross-listed as HART B238 Counts toward Film Studies

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COML B306 Film Theory Fall 2014 An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Division III: Humanities Cross-listed as HART B306 Cross-listed as ENGL B306 Counts toward Film Studies

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EAST B212 Introduction to Chinese Literature
Section 001 (Spring 2015): Dream of the Red Chamber
Section 001 (Fall 2013): The Films of Wong Karwai Spring 2015 This is a topics course. Topics may vary.
Current topic description: This class examines the material world of the Qing dynasty novel Hongloumeng, or Dream of the Red Chamber. Using literary theory and material culture studies, we will situate the novel in relation to ideas of circulation in late imperial China and contemporaneous cultures in other world regions. Topics include global trade, exchange, technology, etc.
Division III: Humanities Cross-Cultural Analysis (CC) Critical Interpretation (CI) Counts toward Film Studies

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EAST B240 Topics in Chinese Film
Section 001 (Fall 2014): The Fifth Generation Fall 2014 This is a topics course. Course content varies. Prerequisite: At least one course approved as an EAST core course or permission of instructor.
Current topic description: Zhang Yimou and Chen Kaige - This semester we will be examining films and related literature of two directors from the Peoples' Republic of China. We will consider representative works that extend from the 1980's to the present day.
Division III: Humanities Cross-Cultural Analysis (CC) Critical Interpretation (CI) Counts toward Film Studies

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EAST B315 Spirits, Saints, Snakes, Swords: Women in East Asian Literature & Film Not offered 2014-15 This interdisciplinary course focuses on a critical survey of literary and visual texts by and about Chinese women. We will begin by focusing on the cultural norms that defined women's lives beginning in early China, and consider how those tropes are reflected and rejected over time and geographical borders (in Japan, Hong Kong and the United States). No prior knowledge of Chinese culture or language necessary. Division III: Humanities Counts toward Gender and Sexuality Studies Counts toward Film Studies

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EDUC B320 Topics in German Literature and Culture Not offered 2014-15 This is a topics course. Course content varies. Previous topics include: Romantic Literary Theory and Literary Modernity; Configurations of Femininity in German Literature; Nietzsche and Modern Cultural Criticism; Contemporary German Fiction; No Child Left Behind: Education in German Literature and Culture. Division III: Humanities Cross-listed as GERM B320 Counts toward Film Studies

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ENGL B205 Introduction to Film Fall 2014 This course is intended to provide students with the tools of critical film analysis. Through readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory. Division III: Humanities Critical Interpretation (CI) Cross-listed as HART B205 Counts toward Film Studies

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ENGL B238 Topics: The History of Cinema 1895 to 1945
Section 001 (Fall 2013): Silent Film: From U.S. to Soviet Russia& Beyond Not offered 2014-15 This is a topics course. Course content varies. Division III: Humanities Inquiry into the Past (IP) Cross-listed as RUSS B238 Cross-listed as HART B238 Counts toward Film Studies

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ENGL B261 Topics: Film and the German Literary Imagination Not offered 2014-15 This is a topics course. Course content varies. Division III: Humanities Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as GERM B262 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ENGL B299 History of Narrative Cinema, 1945 to the Present Fall 2014 This course surveys the history of narrative film from 1945 through contemporary cinema. We will analyze a chronological series of styles and national cinemas, including Classical Hollywood, Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema. Readings will provide historical context, and will introduce students to key concepts in film studies such as realism, formalism, spectatorship, the auteur theory, and genre studies. Fulfills the history requirement or the introductory course requirement for the Film Studies minor. Division III: Humanities Critical Interpretation (CI) Inquiry into the Past (IP) Cross-listed as HART B299 Counts toward Film Studies

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ENGL B306 Film Theory Fall 2014 This course covers a selection of key texts in film theory. Our primary method of inquiry will be close analysis of primary theoretical texts. Topics of discussion may include: the ontology of the photographic image, the ethics of cinema, cinematic space and temporality, and film theory's relationship to other forms of visual media. Film screenings will serve to illustrate and complicate theoretical concepts. Fulfills the theory requirement for Film Studies minors. Division III: Humanities Cross-listed as HART B306 Cross-listed as COML B306 Counts toward Film Studies

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ENGL B323 Movies, Fascism, and Communism Not offered 2014-15 Movies and mass politics emerged together, altering entertainment and government in strangely similar ways. Fascism and communism claimed an inherent relation to the masses and hence to movies; Hollywood rejected such claims. We will examine films alluding to fascism or communism, to understand them as commenting on political debates and on the mass experience of movie going. Division III: Humanities Counts toward Film Studies

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ENGL B334 Topics in Film Studies
Section 001 (Spring 2014): Black Independent Cinema
Section 001 (Fall 2013): Middle East on Film Not offered 2014-15 This is a topics course. Content varies. Division III: Humanities Cross-listed as HART B334 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ENGL B336 Topics in Film Not offered 2014-15 This course examines experimental film and video from the 1930's to present. It will concentrate on the use of found footage: the reworking of existing imagery in order to generate new aesthetic frameworks and cultural meanings. Key issues to be explored include copyright, piracy, archive, activism, affect, aesthetics, interactivity and fandom. Division III: Humanities Cross-listed as HART B336 Counts toward Film Studies

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ENGL B353 Queer Diasporas: Empire, Desire, and the Politics of Placement Not offered 2014-15 Looking at fiction and film from the U.S. and abroad through the lenses of sexuality studies and queer theory, we will explore the ways that both current and past configurations of sexual, racial, and cultural personhood have inflected, infringed upon, and opened up spaces of local/global citizenship and belonging. Prerequisites: An introductory course in film, or GNST B290, or ENGL B250. Division III: Humanities Critical Interpretation (CI) Counts toward Gender and Sexuality Studies Counts toward Film Studies

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GERM B262 Topics: Film and the German Literary Imagination Not offered 2014-15 This is a topics course. Course content varies. Division III: Humanities Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as ENGL B261 Counts toward Film Studies

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GERM B320 Topics in German Literature and Culture
Section 001 (Spring 2014): Austrian Cinema Not offered 2014-15 This is a topics course. Course content varies. Previous topics include: Romantic Literary Theory and Literary Modernity; Configurations of Femininity in German Literature; Nietzsche and Modern Cultural Criticism; Contemporary German Fiction; No Child Left Behind: Education in German Literature and Culture. Division III: Humanities Cross-listed as EDUC B320 Counts toward Film Studies

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GNST B255 Video Production Not offered 2014-15 This course will explore aesthetic strategies utilized by low-budget film and video makers as each student works throughout the semester to complete a 7-15 minute film or video project. Course requirements include weekly screenings, reading assignments, and class screenings of rushes and roughcuts of student projects. Prerequisites: Some prior film course experience necessary, instructor discretion. Division III: Humanities Counts toward Film Studies

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GNST B302 Topics in Video Production
Section 001 (Spring 2014): The Documentary Body Not offered 2014-15 This is a topics course. Course content varies. Prerequisite: GNST B255 or ENGL/HART B205 or ICPR H243 or ICPR H343 or ICPR H278 or ANTH H207 or an equivalent Video Production course, such as Documentary Production or an equivalent critical course in Film or Media Studies. Counts toward Film Studies

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HART B110 Critical Approaches to Visual Representation: Identification in the Cinema Spring 2015 An introduction to the analysis of film through particular attention to the role of the spectator. Why do moving images compel our fascination? How exactly do film spectators relate to the people, objects, and places that appear on the screen? Wherein lies the power of images to move, attract, repel, persuade, or transform its viewers? In this course, students will be introduced to film theory through the rich and complex topic of identification. We will explore how points of view are framed in cinema, and how those viewing positions differ from those of still photography, advertising, video games, and other forms of media. Students will be encouraged to consider the role the cinematic medium plays in influencing our experience of a film: how it is not simply a film's content, but the very form of representation that creates interactions between the spectator and the images on the screen. Film screenings include Psycho, Being John Malkovich, and others. Course is geared to freshman and those with no prior film instruction. Fulfills History of Art major 100-level course requirement, Film Studies minor Introductory course or Theory course requirement. Syllabus is subject to change at instructor's discretion. Division III: Humanities Critical Interpretation (CI) Inquiry into the Past (IP) Cross-listed as COML B110 Counts toward Film Studies

Back to top

HART B205 Introduction to Film Fall 2014 This course is intended to provide students with the tools of critical film analysis. Through readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory. Division III: Humanities Critical Interpretation (CI) Cross-listed as ENGL B205 Counts toward Film Studies

Back to top

HART B215 Russian Avant-Garde Art, Literature and Film Not offered 2014-15 This course focuses on Russian avant-garde painting, literature and cinema at the start of the 20th century. Moving from Imperial Russian art to Stalinist aesthetics, we explore the rise of non-objective painting (Malevich, Kandinsky, etc.), ground-breaking literature (Bely, Mayakovsky), and revolutionary cinema (Vertov, Eisenstein). No knowledge of Russian required. Division III: Humanities Critical Interpretation (CI) Cross-listed as RUSS B215 Counts toward Film Studies

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HART B238 Topics: The History of Cinema 1895 to 1945
Section 001 (Fall 2013): Silent Film: From U.S. to Soviet Russia &Beyond Not offered 2014-15 This is a topics course. Course content varies. Division III: Humanities Inquiry into the Past (IP) Cross-listed as ENGL B238 Cross-listed as RUSS B238 Counts toward Film Studies

Back to top

HART B299 History of Narrative Cinema, 1945 to the present Fall 2014 This course surveys the history of narrative film from 1945 through contemporary cinema. We will analyze a chronological series of styles and national cinemas, including Classical Hollywood, Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema. Readings will provide historical context, and will introduce students to key concepts in film studies such as realism, formalism, spectatorship, the auteur theory, and genre studies. Fulfills the history requirement or the introductory course requirement for the Film Studies minor. Division III: Humanities Critical Interpretation (CI) Inquiry into the Past (IP) Cross-listed as ENGL B299 Counts toward Film Studies

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HART B306 Film Theory Fall 2014 An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Division III: Humanities Cross-listed as ENGL B306 Cross-listed as COML B306 Counts toward Film Studies

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HART B334 Topics in Film Studies
Section 001 (Spring 2014): Black Independent Cinema
Section 001 (Fall 2013): Middle East on Film Not offered 2014-15 This is a topics course. Course content varies. Division III: Humanities Cross-listed as ENGL B334 Counts toward Gender and Sexuality Studies Counts toward Film Studies

Back to top

HART B336 Topics in Film Not offered 2014-15 This course examines experimental film and video from the 1930's to present. It will concentrate on the use of found footage: the reworking of existing imagery in order to generate new aesthetic frameworks and cultural meanings. Key issues to be explored include copyright, piracy, archive, activism, affect, aesthetics, interactivity and fandom. Division III: Humanities Cross-listed as ENGL B336 Counts toward Film Studies

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HIST B284 Movies and America Fall 2014 Movies are one of the most important means by which Americans come to know - or think they know--their own history. This class examines the complex cultural relationship between film and American historical self fashioning. Division I or Division III Critical Interpretation (CI) Inquiry into the Past (IP) Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ITAL B212 Italy Today: New Voices, New Writers, New Literature Not offered 2014-15 This course, taught in English, will focus primarily on the works of the so-called "migrant writers" who, having adopted the Italian language, have become a significant part of the new voice of Italy. In addition to the aesthetic appreciation of these works, this course will also take into consideration the social, cultural, and political factors surrounding them. The course will focus on works by writers who are now integral to Italian canon - among them: Cristina Ali-Farah, Igiaba Scego, Ghermandi Gabriella, Amara Lakhous. As part of the course, movies concerned with various aspects of Italian Migrant literature will be screened and analyzed. Division III: Humanities Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as COML B214 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ITAL B225 Italian Cinema and Literary Adaptation Not offered 2014-15 The course will discuss how cinema conditions literary imagination and how literature leaves its imprint on cinema. We will "read" films as "literary images" and "see" novels as "visual stories." The reading of Italian literary sources will be followed by evaluation of the corresponding films by well-known directors, including female directors. We will study, through close textual analysis, such issues as Fascism, nationhood, gender, sexuality, politics, regionalism, death, and family in the Italian context. Cross-Cultural Analysis (CC) Counts toward Film Studies

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ITAL B229 Food in Italian Literature, Culture, and Cinema Fall 2014 Taught in English. A profile of Italian literature/culture/cinema obtained through an analysis of gastronomic documents, film, and literary texts. This interdisciplinary course explores the art of cuisine through the analysis of literary texts, culture, and films from the early modern period to the 21st century. We will conclude with a discussion of the Slow Food Revolution, a movement initiated in Italy in 1980 and now with a world-wide following, and its social, economic, ecological, aesthetic, and cultural impact to counteract fast food and to promote local food traditions. Prerequisite: ITAL 102 Cross-Cultural Analysis (CC) Counts toward Film Studies

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ITAL B255 Uomini d'onore in Sicilia: Italian Mafia
Section 001 (Fall 2013): The Italian Mafia in Cinema and Literature Not offered 2014-15 This course aims to explore representations of Mafia figures in Italian literature and cinema, with reference also to Italian-American films, starting from the 'classical' example of Sicily. The course will introduce students to both Italian Studies from an interdisciplinary prospective and also to narrative fiction, using Italian literature written by 19th, 20th, and 21st Italian Sicilian authors. Course is taught in Italian. Prerequisite: ITAL B102 or permission of the instructor. Division III: Humanities Cross-Cultural Analysis (CC) Counts toward Film Studies

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ITAL B299 Grief, Sexuality, Identity: Emerging Adulthood Not offered 2014-15 Adolescence is an important time of personality development as a result of changes in the self-concept and the formation of a new moral system of values. Emphasis will be placed on issues confronting the role of the family and peer relationships, prostitution, drugs, youth criminality/gangsters/violence, cultural diversity, pregnancy, gender identity, mental/moral/religious development, emotional growth, alcoholism, homosexuality, sexual behavior. Prerequisite: ITAL B102. Division III: Humanities Counts toward Gender and Sexuality Studies Counts toward Film Studies

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RUSS B215 Russian Avant-Garde Art, Literature and Film Not offered 2014-15 This course focuses on Russian avant-garde painting, literature and cinema at the start of the 20th century. Moving from Imperial Russian art to Stalinist aesthetics, we explore the rise of non-objective painting (Malevich, Kandinsky, etc.), ground-breaking literature (Bely, Mayakovsky), and revolutionary cinema (Vertov, Eisenstein). No knowledge of Russian required. Division III: Humanities Critical Interpretation (CI) Cross-listed as HART B215 Counts toward Film Studies

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RUSS B238 Topics: The History of Cinema 1895 to 1945
Section 001 (Fall 2013): Silent Film: From U.S. to Soviet Russia & Beyond Not offered 2014-15 This is a topics course. Course content varies. Division III: Humanities Inquiry into the Past (IP) Cross-listed as ENGL B238 Cross-listed as HART B238 Counts toward Film Studies

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RUSS B258 Soviet and Eastern European Cinema of the 1960s Fall 2014 This course examines 1960s Soviet and Eastern European "New Wave" cinema, which won worldwide acclaim through its treatment of war, gender, and aesthetics. Films from Czechoslovakia, Hungary, Poland, Russia, and Yugoslavia will be viewed and analyzed, accompanied by readings on film history and theory. All films shown with subtitles; no knowledge of Russian or previous study of film required. Division I or Division III Cross-Cultural Analysis (CC) Critical Interpretation (CI) Counts toward Film Studies

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Fall 2012 Course Descriptions at Swarthmore College

FMST 001. Introduction to Film and Media Studies

Provides groundwork for further study in the discipline and is recommended before taking additional FMST courses. Introduces students to concepts, theories, and histories of film and other moving-image media, treating cinema as a dominant representational system that shapes other media forms. Topics include the formal analysis of image and sound, aesthetics, historiography, genres, authorship, issues of gender, race, ethnicity, and nation, economics, technology, and reception and audience studies. Emphasis is on developing writing, analytical, and research skills. Required weekly evening screenings of works from diverse periods, countries, and traditions.
1 credit.
Fall 2012. Rehak. Fall 2013. Simon.

FMST 009. First-Year Seminar: Women and Popular Culture: Fiction, Film and Television

(Cross-listed as ENGL 009P)
This course looks at Hollywood “chick flicks” and “women’s films” and television soap operas, their sources in 19th- and 20th-century popular fiction and melodrama, and the cultural practices surrounding their promotion and reception. How do race, class, and sexual orientation intersect with gendered genre conventions, discourses of authorship and critical evaluation, and the paradoxes of popular cultural pleasures? Texts may include Uncle Tom’s Cabin, Gone With the Wind, Rebecca, The Joy Luck Club, Sex and the City, Twilight. Weekly screenings.
Writing course.
1 credit.
Fall 2012. White.

FMST 013. Experimental Animation

This course is an introduction to analog and digital animation concepts and techniques and includes workshops on cut-out animation, stop-motion, and hybrid computer based forms using Adobe After Effects and Adobe Photoshop. The course emphasizes technical and aesthetic experimentation, with the goal of developing a personal vision through the creation of high-quality, experimental works. Through reading, discussion, and exposure to a variety of artistic practices within film, video art, and animation, the course promotes a critical understanding of these media. The class concludes with a public screening of final projects.
Prerequisites: FMST 01 and FMST 02. Students with knowledge of Adobe Photoshop, Adobe Illustrator, and strong drawing skills are also encouraged to contact instructor for prerequisite questions.
1 credit.
Fall 2012. Cho.

FMST 021. American Narrative Cinema

Considers film as narrative form, audiovisual medium, industrial product, and social practice, emphasizing the emergence and dominance of classical Hollywood as a national cinema, with some attention to independent narrative traditions (“race movies,” New Queer Cinema). Analyzes how genres such as the western, the melodrama, and film noir express aspirations and anxieties about race, gender, class and ethnicity in the United States. Surveys narrative film history from the 1910s to the 2010s with an emphasis on the Hollywood studio era. Required weekly evening screenings.
1 credit.
Fall 2012. White.

FMST 051. European Cinema

(Cross-listed as LITR 051G)
The course introduces post-war directors (Bergman and Fellini), British and French New Waves, Eastern European Cinema (Tarkovsky, Wajda), Post-New Wave Italian auteurs, Spanish cinema after Franco (Erice, Saura, Almodovar), New German cinema (Fassbinder, Herzog, Wenders), British cinema after 1970 (Roeg, Leigh, Loach, Greenaway) and Danish Cinema: Dogme 95 and others. The course addresses key issues and concepts in European cinema such as realism, authorship, art cinema, and political modernism, with reference to significant films and filmmakers and in the context of historical, social, and cultural issues.
1 credit.
Fall 2012. Simon.

FMST 055. Contemporary Chinese Cinema

(Cross-listed as CHIN 055)
Cinema has become a special form of cultural mirror representing social dynamics and drastic changes in mainland China, Hong Kong, and Taiwan since the mid-1980s. The course will develop a better understanding of changing Chinese culture by analyzing cinematic texts and the new wave in the era of globalization.
1 credit.
Fall 2012. Kong.

FMST 102. Convergence

This honors seminar explores the cultures and content of the contemporary mediascape through formal, technological, and political lenses, reading emergent paradigms such as virality, paratextuality, and collective intelligence against equivalent historical moments of media evolution. Particular attention will be paid to the concepts of “the digital”; rhetorics of revolution and continuity; and the intersection of information, entertainment, and capitalism within a dominant episteme of new media. Course majors and other students with relevant background can apply for instructor’s approval to take the seminar.
2 credits.
Fall 2012. Rehak.

Spring 2013 Course Descriptions at Swarthmore College

FMST 002. Digital Film Fundamentals

This course introduces students to the expressive possibilities and rigors of the film medium while offering a sound technical foundation in digital production and post-production. We will explore documentary, experimental, and narrative approaches and also consider the opportunities and limitations-conceptual, practical and aesthetic-of exhibiting work through different venues and platforms. Emphasis will be on using the formal and conceptual palette introduced in the course to develop one’s own artistic vision. Coursework includes short assignments, discussions, screenings, and a final project.
Prerequisite: FMST 001.
1 credit.
Spring 2013. Cho.

FMST 005. First-Year Seminar: Special Effects and Film Spectacle

Focusing on the history, industry, and theory of special and visual effects, this course introduces students to the basics of studying and writing about film and other media through an exploration of “movie magic.” Related topics include the relationship of film style and technology; formal and narrative principles of “showstoppers” such as musical numbers, fight scenes, and car chases; and questions of realism and illusion, sensation, and visual pleasure. Required weekly screenings.
Writing course.
1 credit.
Spring 2013. Rehak.

FMST 025. Television and New Media

This course introduces students to major trends in critical thought regarding electronic media, including the rise of broadcast television, recent developments in narrowcast or niche programming and distribution, and the relationship among media industries, advertisers, and audiences. Special attention will be given to probing and historicizing the concept of “new” media, examining our ongoing cultural adaptation to emerging screen technologies and their attendant narrative and audiovisual forms. Coursework includes blogging, podcasting, and web-based research. Required weekly evening screenings.
Prerequisite: FMST 001.
1 credit.
Spring 2013. Simon. Spring 2014. Rehak.

FMST 041. Fan Culture

This course explores the history, philosophy, and impact of fandom in film, television, and new media. Drawing on methodologies including reception ethnography, feminism, performance, cultural studies, and convergence theory, we will consider topics such as cults of celebrity; the creation and sharing of fan fiction and videos; gendered and queer identities in fan culture; adaptive responses of media texts and industries; and digital media communities. Screenings include serial and episodic television, camp and “trash” cinema, and fan-generated content.
Eligible for GSST credit if all papers and projects are focused on GSST topics.
1 credit.
Spring 2013. Rehak.

FMST 045. Feminist Film and Media Studies

(Cross-listed as ENGL 091 and GSST 020)
This course focuses on critical approaches to films and videos made by women in a range of historical periods, national production contexts, and styles: mainstream and independent, narrative, documentary, video art, and experimental. Readings will address questions of authorship and aesthetics, spectatorship and reception, image and gaze, race, sexual, and national identity, and current media politics.
Eligible for GSST or INTP credit.
1 credit.
Spring 2013. White.

FMST 090. Film and Media Studies Capstone

This team-taught course begins by exploring a major paradigm or debate in the field and reviewing research methodology and production techniques. Students then undertake an individual or collaborative research or creative project (in some cases building upon work started in another class or independent study), meeting to workshop ideas and present works-in-progress. Research projects will incorporate multimedia presentation, and creative projects will be accompanied by written materials. The semester culminates in a panel/film festival. Required for senior majors and minors.
1 credit.
Spring 2013. Rehak, White.

FMST 097. Independent Study

Students must apply for preregistration approval in writing.
0.5 to 1 credit.

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