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 693D: SEMINAR – INTRODUCTION TO FILM THEORY
South College Rm. 108
This course offers an overview of the major theoretical approaches to the study of international film. We will examine various formalist and realist film theories (which together constitute "classical" film theory), as well as theoretical and critical methods informed by structuralism, semiology, phenomenology, psychoanalysis, political theory, and contemporary cultural studies. These may include auteurism, feminism/gender studies and queer theory, genre studies, alternative aesthetics (including concepts of third cinema), historical spectator/audience/ reception, star and performance studies, apparatus theory (film, video, and new media), and postcolonial theory (issues of racial/ethnic and national identities, as well as globalization). Students will be responsible for watching films outside class on a regular basis. No prerequisites except a strong interest in international cinema.
(Course capacity is 15)
Course Eligibility: Doctoral and Masters graduate students. All majors; no prerequisites. This course counts as a requirement toward the graduate certificate in film studies.
COMM 593B: SEMINAR – FASHION, MEDIA, CULTURE, STYLE
South College Rm. 108
This seminar examines fashion (and the aesthetics of the clothed body and projected identity) as a socio-cultural phenomenon represented in the media, film, art, and literature. This interdisciplinary and international overview of critical fashion studies will incorporate diverse texts, case studies, theoretical perspectives, and analytical tools. (Course capacity is 20)
Course Eligibility: Open to all graduate students and all senior-level undergraduates. All majors; no prerequisites.
Course Note: Junior-level undergraduate students may be admitted by permission of instructor. This course may count toward the graduate and undergraduate film studies certificates
COMP-LIT 695C – FASSBINDER/GODARD/MELODRAMA
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 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. Pre-requisites: 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.
ITALIAN 597FB: ITALIAN FILM / HISTORY AND MEMORY
Bartlett Hall Rm. 61
D01 Mo 4:30PM-6:30PM Herter Hall Rm. 205
This course examines how major film directors, novelists, and poets have revisited the encumbering inheritance of the ventennio fascista (twenty years of fascism) in a nation whose cultural identity is based on anti-fascism and whose constitution forbids the reconstitution of the Fascist Party. Questions of national identity will be addressed. Lectures and readings shall be in English, but primary texts of fiction and poetry shall be available (and required) for those who need credits in Italian. Cross-Listed with 497FB. Open to Graduate students only.
PORTUGUESE 697A: BRAZIL IN FILM AND FICTION
Herter Hall Rm. 225
SPANISH 597T: CATALAN CINEMA
Tobin Hall Rm. 204