Fall 2012 Courses

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101. Film Narrative
Patricia Welsch T 11:30 - 12:55, TH 11:30 - 12:55 Sills-Smith Auditorium
An introduction to a variety of methods used to study motion pictures, with consideration given to films from different countries and time periods. Examines techniques and strategies used to construct films, including mise-en-scène, editing, sound, and the orchestration of film techniques in larger formal systems. Surveys some of the contextual factors shaping individual films and our experiences of them (including mode of production, genre, authorship, and ideology). No previous experience with film studies is required. Attendance at weekly evening screenings is required.
230. The Reality Effect: Documentary Film
Sarah Childress M 10:00 - 11:25, W 10:00 - 11:25 Sills-Smith Auditorium
Examines documentary history, theory, criticism, and practice. From the “actuality” films of the Lumière brothers to the theatrical “reality” of Errol Morris, documentaries work to persuade audiences to see the world in particular ways. Focuses on the debates that surround nonfiction narrative films, especially their contentious claims to represent reality, by examining films that work with and against notions of objectivity, subjectivity, power, knowledge, and truth. Explores the textual strategies that create documentary films’ all-important “reality effect.” Attendance at weekly evening screenings is required.
254. Transnational Chinese Cinema
Shu-chin Tsui T 1:00 - 2:25, TH 1:00 - 2:25 HL-311 (third floor)
Introduces students to films produced in the People’s Republic of China, Taiwan, and Hong Kong. Places national cinema in a transnational framework and explores how cinema as a sign system constructs sociocultural and aesthetic meanings. Students will benefit most by bringing both an open mind toward non-Western cultural texts, and a critical eye for visual art.
333. The Films of John Ford
Patricia Welsch T 2:30 - 3:55, TH 2:30 - 3:55 Sills-Smith Auditorium
Examines the films of John Ford, from the silent period to the 1960s. Considers his working methods and visual composition, as well as consistent themes and characterizations. Investigates Ford’s reputation in light of shifting American cultural values. Attendance at weekly evening screenings is required.