Film Studies

Assistant Professor Thompson, Art History, Chair

Professor Zachau, German

Professor Malde, Art

Professor Pond, Art

Associate Professor Glacet, French

Associate Professor Skomp, Russian

Assistant Professor Beinek, International and Global Studies and Russian

Minor in film studies:  The Film Studies Minor combines study in two tracks: Film Theory (FT) and Film Production (FP). Film Theory includes film analysis and the exploration of film histories in relation to genre and diverse national cultures. Film Theory encourages students to acquire a theoretical, comparative, and critical understanding of film as well as some appreciation for film production. Film Production focuses on the practice of film and video preparation within the context of film theory. As part of declaring the minor with the Chair, each student selects an advisor from program faculty in the appropriate track. Students in the Film Theory or Film Production track then select their courses in consultation with their advisor.

The Film Studies Minor comprises three tiers of courses: introductory level courses, advanced level courses, and several additional electives with a film component.

Requirements for the minor: Students in the Film Studies Minor must complete a total of six courses. Two courses must be taken from the list of courses at the introductory level listed below; either Film Studies 105, Art History 108, Film Studies 109, or Art 108 is required as an introductory film course. At least two more courses must be chosen from the advanced courses listed below.

Students in each track choose at least two courses within the Film Studies roster that are outside their track. Thus, a film production student elects two courses in film theory and a film theory student elects two courses in film production.

Introductory Courses (two courses including either Art 108, Film Studies 105, Film Studies 109, Art History 108).

Film Production (FP)
Art 103: Introduction to Lens and Time-based Media
Art 104: Introduction to Three- and Four-Dimensional Media
Art 108: Foundations of Film and Video Production
Art 143: Beginning Video Production
Art 231: Intermediate Digital Arts
Art 263: Intermediate Documentary Projects in Photography
Film Theory (FT)
ArtH 107 (also Thea 107): The Films of Alfred Hitchcock
ArtH 108: History of Film: Invention to Mid-Century
Film 105: Introduction to World Cinema (Film foundation course)
Film 109: History of Film: Mid-Century to the Present

Advanced Courses (at least two courses)
Film Production (FP)
Art 243: Intermediate Video Production
Art 343 (also Thea 343): Advanced Video Production

Film Theory (FT)
Fren 415: History of French Cinema
Grmn 353: German Film
InGS 305: Narrating Place/Space in Contemporary World Film
Rusn 355: Russian and Soviet Film

Elective Courses
Film Theory (FT)
AmSt 333: Junior Seminar
ArtH 108: History of Film: Invention to Mid-Century
ArtH 212 (also AmSt 212): American Animation, 1910-1960
Asia 203: Chinese Martial Arts Cinema
Asia 311: Modern China in Literature and Films: Memory, Identity, and Modern Narratives
Fren 413: Modern France through Films and Other Texts
Phil 255: Existentialism in Film
Span 410: Spanish-American Short Fiction and Film

105.  Introduction to World Cinema
With the benefit of guest presentations, this course offers an introduction to essential techniques of analyzing film along with an introduction to a number of national cinemas represented in the Film Studies program, such as Chinese, French, German, Italian, Japanese, Russian, and Spanish film.  (Credit, full course.)  Zachau

109. History of Film: Mid-Century to the Present
This course traces the major developments in world cinema from the mid-twentieth century to the present day. Organized chronologically, it covers the international, aesthetic, and technological benchmarks of film history, with an introduction to the critical vocabulary necessary for film analysis. (Credit, full course.) Staff

307. Polish Film (also International and Global Studies)
An introduction to the history of Polish cinema, in historical and cultural context, from the 1950s to present day. In addition to discussing major schools such as the Cinema of Moral Anxiety, as well as influential directors such as Wajda, Polański, and Kieślowski, the course focuses on important issues of Polish culture: its location at the crossroads of East and West; its complex narratives of history, memory, and trauma; and its transformations in the aftermath of Communism’s fall in 1989. Polish cinema also serves as starting point for a broader discussion of the possibilities and limits of artistic representation of nations, cultures, historical events, and gender/class/ethnic relation. Finally, the course reviews basic film theory terms, main critical approaches to film criticism, and ways of writing about film. (Credit, full course.) Beinek

308. Body/Film: Representing the Body in Contemporary World Cinema (also International and Global Studies)
An exploration of diverse ways of representing and conceptualizing the human body in contemporary world cinema. Starting with the premise that the body is both the material reality experienced each day as well as an enigma impossible to capture through the intellectual discourses of philosophy/science or the creative endeavors of literature/arts, the course invites students to analyze the myriad of body images supplied by twenty-first-century films from around the globe. Main topics of interest are the body and mind/soul dichotomy, gendered bodies, body and the discourse of desire, body as text, body and cognition, body and trauma, politics of the body, metamorphoses of the body, persons and things, and bodies in the cybernetic age. The course’s theoretical component includes reading by Bakhtin, Baudrillard, Butler, Bourdieu, Foucault, Goffman, Grosz, and Haraway. (Credit, full course.) Beinek