UMASS COURSES: GRADUATE
UMASS Graduate Film Studies Certificate Course Requirements:
- one course in film theory
- a minimum of two courses taken outside the student’s degree-granting department and college
- a minimum of two courses with an international or intercultural focus
* Category notations are specified at the end of each course description.
See the complete list of Graduate Film Studies Certificate requirements.
Note: This guide is a work-in-progress. Course info may be subject to change.
COMM 597V ADVANCED VIDEO PRODUCTION WORKSHOP
Kevin Anderson ILC N317 We 2:305:30PM Cap: 12
In this course we will workshop several student media projects, which can take a variety of forms depending on student interests and ambitions, such as short film, documentary, music video, TV or Web Series, etc. The course works as an arena in which students develop production strategies; form a crew; complete production and postproduction, including creation of a soundtrack; run test screenings; develop marketing strategies for distribution and/or festival exhibitions. Course will be a mix of lecture, instruction, guest speakers and filmmakers, screenings, and workshopping of student projects in an active and highly engaging environment. Open to Undergraduate and Graduate students by application. Contact Colleen Wetzel (email@example.com) for application form.
COMM 693D – SEM INTRO FILM THEORY
ILC S416 Tu 4:006:45PM Cap: 15
COMPLIT 695C FASSBINDER/GODARD/MELODRAMA
Don Levine TBA Wed 4:00 8:00PM Cap: 15
What were Godard's early films for Fassbinder? Instead of rejecting the most influential avant-garde film maker of the sixties, Fassbinder adopted Godard as father. Yet this fathering was a 9 highly selective progeneration. What does the juxtaposition of these film makers reveal and conceal and not only about Fassbinder's films, since we cannot now see those of Godard without having our past viewings of Fassbinder films in our heads. Fassbinder sets us on track with two remarks: "Godard believes that film is the truth 24 frames per second, while I believe film is the lie 25 frames per second," and "Both Godard and I despise our characters." The course will raise theoretical issues of spectatorship, tone (irony, distanciation, citation) gender, genre, while being firmly grounded in the formal analysis of filmic text; the construction of the filmic text and its "meaning," and the destruction of subject by means of abyssal structures (mises-en-abyme, structural or metaphoric infinite regresses); Fassbinder's ideological fatigue and complex sexual politics, Godard's political innocence (which is not the same as naivete), his cinematic energy amidst his films' increasing cultural despair. Prerequisites: familiarity with film theory and discourse, preferably by at least two courses in film analysis. Course meets as intensive seminar, once a week for 4 hours. Films selected from: Why Does Herr R. Run Amok and Breathless; American Soldier and Les Carabiniers; The Bitter Tears of Petra Von Kant and Une Femme Mariée; Effie Briest and Vivre sa Vie; Beware of the Holy Whore and Contempt.
FRENCH 597MN Literature, Film, & Fundamentalism
Kathryn Lachman TBA Mo/We 2:303:45PM Cap: 15
This seminar examines a wide range of French and Francophone responses to fundamentalism (of all kinds). Our corpus includes novels, essays, films, and graphic novels from North Africa, Iran, Afghanistan, and France, with occasional comparative readings from different contexts. We begin by considering the rise of Islamism in Algeria during the last decades of the 20th century and the diverse ways in which authors and filmmakers have responded. We then turn to examine French debates over the place of Islam in the secular nation. Finally, we will evaluate how Francophone writers have sought to address 9/11, the ongoing conflict in Israel and Palestine, the Charlie Hebdo attacks, the Syrian crisis, and the rise of ISIS. Students will encounter the work of major authors and filmmakers such as Tahar Ben Jelloun, Kamel Djaoud, Tahar Djaout, Assia Djebar, Yasmina Khadra, Boualem Sansal, Chahdortt Djavann, Marjane Satrapi, Ian Buruma, Jonathan Sfar, and Merzak Allouache. Strong reading knowledge of French is essential; class discussions will be conducted in English. The course requirements include active class participation, an oral presentation, short response papers, and a final research paper. Students may submit their papers in either English or French.
ITALIAN 597DF – THE DIVAS: FEMALE ICONS IN CINEMA
A. Malaguti TBA TU 2:305:15PM Cap: 10
The course explores the social role and meaning of some of the most important actresses of post-WWII Italian cinema (Anna Magnani, Sofia Loren, and Monica Vitti, among others) as both metamorphic representatives and problematic probes of a rapidly modernizing society, and proposes a model of the female figure as “the active face of the crisis” (Giorgio Tinazzi). Conducted in English.
SPANISH 597T CATALAN CINEMA
Barbara Zecchi, Guillem Molla TBA TU 6:30PM9:00PM Cap: 20 1 Credit
Offered in combination with the Catalan Film Festival). PassFail. Spanish cinema started in Catalunya with two important schools: the realistic school led by Fructuós Gelabert; and the fantastic trend represented by Segundo de Chomón. After the silence forced upon Catalan cinema during Franco's dictatorship in the 40's and 50's, it started to regain an important role in the film industry with the Barcelona School in the mid 60's. Presently Catalan Cinema enjoys a strong recognition thanks to the works of wellknown Catalan directors such as Bigas Luna, Ventura Pons and Isabel Coixet, among others. Class meets once a week for three hours. Students are in charge of twenty minutes film introductions and to moderate discussions. Attendance is mandatory. Films are shown in the original language (Catalan or Castilian) w/ English subtitles.
SPANISH 697VG – THEORY AND PRACTICE OF VIDEO & GRAPHIC CRITICISM
Barbara Zecchi Herter 19G Mon 4:006:30PM Cap: 10