Mount Holyoke College

An introduction to film as a visual art. The best films of the past century have commanded our attention and imagination in part because of their artistry and the way they tell stories visually. This course closely examines a selection of those films from around the world that can be considered serious art. Among them are Broken Blossoms, Battleship Potemkin, Citizen Kane, Le Mepris, The Bicycle Thief, Days of Heaven, Ugetsu, Woman in the Dunes, The Marriage of Maria Braun, and Rear Window.
Satisfies Humanities I-A requirement (P. Staiti)
Prereq. soph, jr, sr, or permission of instructor; 4 credits; 2 meetings (2 hrs), 1 screening (2 hrs)
Meets: M 1-3:50 (class and screening) , W 1-2:50

The seminar will examine a selection of films in relation to India's urban culture in the twentieth century.  We will screen old and new films, those belonging to the commercial industry - the Bollywood - and those made by directors who remain outside that industry. Our challenge will be to develop possible ways to understand the many facets of film culture in India. Using critical essays, class discussions, and research, we will explore the relationship of film to national politics, examine the global circulation of Indian films, analyze how films reflect the desires and fantasies of their audiences, and evaluate India's place in the history of world cinema. Satisfies Humanities I-A requirement (A. Sinha)
Prereq. jr, sr, or permission of instructor; 8 credits in art (history) or film studies, including Film Studies 201 or permission of instructor; 4 credits; enrollment limited to 15
Meets: TU 1-3:50, M 7-10 (film screening)

Film Studies 250s  HISTORY OF WORLD CINEMA (core)
 This course offers an historical survey of the cinema as a developing art form and a means of communication. We will consider the national, economic, and social conditions of an international medium that has existed for over a century. The national and thematic focus of the course shifts through the semester. For example, we will focus on U.S. film in studying the earliest developments in film technology and narrative, Soviet and French films to study the formal and social experimentation of the 1920s, and films made in Cuba and Brazil to elucidate political filmmaking in the 1960s. The course provides a background for understanding film history and pursuing further studies in the field.
Satisfies Humanities I-A requirement (R. Blaetz)
Prereq. Film Studies 201 or permission of instructor; 4 credits; 2 meetings (75 minutes), 1 screening (2 1/2 hours) Meets: TUTH 8:35-9:50, W 7-9pm (film screening)

Film Studies 260s (01) FILM GENRE: THE MUSICAL FILM (core)
This course offers a critical, historical and theoretical approach to a specific film genre. Some examples of genres that might be studied are: the science fiction, horror, melodrama, musical, western, detective, or gangster film. This course explores the American musical film from its earliest appearance in the early 1930s in the films of Busby Berkeley to its recent revival in films such as Baz Luhrmann's Moulin Rouge. The course also examines musical films from other national cinemas that either comment self-reflexively on the genre and its American context and/or expand common definitions of the genre.
Satisfies Humanities I-A requirement (R. Blaetz)
Prereq. Film Studies 201 or permission of instructor; 4 credits; 2 meetings (75 minutes) and 1 screening (2 hours, 30 minutes) Meets: TUTH 2:40-3:55, W 7-9pm (screening)

Film Studies 320s (English 374s) TOPICS IN FILM STUDIES: HITCHCOCK AND AFTER (core)
This course will examine the films of Alfred Hitchcock and the afterlife of Hitchcock in contemporary U.S. culture. We will interpret Hitchcock films in a variety of theoretical frames, including feminist and queer theories, and in historical contexts including the Cold War. We will also devote substantial attention to the legacy of Hitchcock in remakes, imitations, and parodies. Hitchcock films may include Rebecca, Notorious, Strangers on a Train, Rope, Rear Window, Vertigo, North by Northwest, Psycho, The Man Who Knew Too Much, and The Birds; additional works by Brooks, Craven, De Palma, Lynch, and Sherman. Readings in film and cultural theory; screenings at least weekly. Satisfies Humanities I-A requirement
(E. Young) Prereq. jr, sr; at least 4 credits in film studies, including Film Studies 201, and at least 4 credits in English beyond English 101; or permission of instructor; 4 credits; 1 meeting (3 hours)
Meets: W 1-4, M 7-9pm (film screeing)

(Professor Ann Steuernagel) E-mail: (core)
Class meetings:  Tuesday  (7 - 9 PM) Dwight 101
Wednesday  (10 AM - 12) Art Building, Room 221
Advanced Video Production: Exploring Sound and Sound as Art will focus on the exploration of sound and the creation of sound art as a stand-alone entity as well as an accompaniment to moving images.
Each week students will be asked to complete one of a variety of aural experiments that may include creating instruments, performances, installations, and videos. Students will also be asked to listen to and record or recreate various soundscapes; natural, plastic, and imagined. Classes will include weekly "listenings" and screenings. These will be supplemented by readings that offer a theoretical and historical context in which to think about sound and sound as art.

This course will concentrate on a specific writer, movement, genre, theme, or literary phenomenon. Students will do close textual readings, prepare reports, do extensive research, and write substantial papers. The seminar will challenge students to demonstrate an understanding of literary analysis, critical skills, and theoretical approaches at an advanced level. Since the topic varies each time the course is offered, a student may receive credit more than once. This course examines the development of Latin American cinema over the past 50 years in relation to the rising, defeat, and rebirth of Latin American resistance against U.S. and European economic and cultural imperialism. Of particular interest will be an engagement with film and cultural theories as they help us situate the cinematic medium, especially its speed, in relation to the particular form of cultural domination exercised by Hollywood. We will view and analyze films from Argentina, Brazil, Colombia, Cuba, Mexico, and Uruguay. Satisfies multicultural requirement; satisfies Humanities I-A requirement (C. Gundermann) Prereq. Spanish 235, 237, 244, or 246 or permission of instructor; 4 credits; 2 mtgs (75 minutes) Meets: M 1-3:50, W 7pm (film screening)

This course offers a variety of approaches to creative writing in the dramatic form. Topics include screenwriting, radio drama, and specific issues in play construction.
(Writing-intensive course) Screenwriting is visual storytelling. This course provides the student with the necessary tools for script construction and storytelling in pictures. An emphasis on structure and character will prepare the student for the step outline of a feature-length film. Writing exercises and script analysis are included. Satisfies Humanities I-A requirement (R. Down) Prereq. permission of instructor; 4 credits; enrollment limited to 14; 1 meeting (3 hours) Meets: TU 1-4

Mount Holyoke RELATED COURSES (Do NOT count towards the UMASS film certificate)

First-year seminar (Writing-intensive course) This course examines the various ways the multicultural family in contemporary American and British culture is imagined by writers, filmmakers, and performance artists. Issues to be explored include: generational conflict, the struggle to "break away," the claims of memory and nostalgia. Above all, the course seeks to compare how these themes find expression in a range of American and British cultural forms. Satisfies Humanities I-A requirement (D. Weber) 4 credits; enrollment limited to 16; 2 meetings (75 minutes); Only first-year students may pre register for this course. Sophomore, juniors and seniors may inquire if there is space available during the first two weeks of class. Meets: MW 11-12:15

This course will treat literature and film from Latin America, Italy, North and Subsaharan Africa, and South Asia that has responded to globalization. In particular, we will explore the relationship of economic labor to aesthetic creativity, of worker to artist, in our global system. Works by Che Guevara, Ousmane Sembene, Pier Paolo Pasolini, Tayeb Salih, Dario Fo and Franca Rame, Bessie Head, Luce Irigaray, Gilles Deleuze, Deepa Mehta, and Dipesh Chakrabarty, among others. Satisfies Humanities I-A requirement
(S. Ahmed)  Prereq. soph, second-semester fy with permission of the instructor; 4 credits;  enrollment limited to 30; 2 meetings (75 minutes); satisfies English department 1700-1900 requirement
Meets: TUTH 8:35-9:50

German Studies 325s  Senior Seminar
This seminar is designed to explore the complex nature of our field of inquiry. We explore such questions as: What does German studies mean? What is interdisciplinary work? What role does literature play in culture studies? What is the relationship between language and the construction of culture? What meanings have been attributed to the terms: "culture" and "civilization?" Texts from a variety of disciplines. Students compose term papers or Web projects on topics related to their major field(s) of interest. This course is required of all senior majors and fulfills a 300-level major requirement for the nineteenth or twentieth century, dependent on work pursued for the semester project.
(Speaking- and writing-intensive course) Why and how do a twentieth-century German author and director represent the terror of the French Revolution? What kind of political and psychological terror/ism led to the mysterious case of Kaspar Hauser depicted by jurists, educators, psychologists, and artists since 1828? How do writers and filmmakers reflect upon various forms of terror/ism from Nazism to RAF, PKK, and Islamist extremism, and the state's reactions to them? How do they define "terror/ism," and which strategies of resistance are depicted in their works? Authors and filmmakers include: Weiss/Zadek, Brecht, Feuerback, Böll, von Trotta, Schlöndorff, Herzog, Schnitzler.
Satisfies Language requirement or Humanities I-A requirement The department
Prereq. sr, 12 credits including one 300-level course, nonseniors by permission of the department; 4 credits; 2 meetings (75 minutes) or 1 meeting (2 1/2 hours; This course fulfills an eighteenth-, nineteenth-, or twentieth-century 300-level requirement for the
major, depending on the topic of a student's semester project.
Meets: W 1-3:50

History 241s  AFRICAN POPULAR CULTURE (component)
This class uses popular music, dance, fiction, film, street art, bus slogans, newspapers, and other sources to document African interpretations of the decades since "flag independence" in 1960. We will let African musicians, writers, filmmakers, and artists direct our investigation of the big questions of the class: Why is the gap between rich and poor in African societies increasing? What is happening to gender relations? What do African people think of their political leaders and how do they imagine political situations might improve? Satisfies multicultural requirement; satisfies Humanities I-B requirement
(H. Hanson) 4 credits; 1 meeting (3 hours) plus 4th hour Meets: M 7-10pm

Philosophy 273s PHILOSOPHY OF ART (component)
Can a pile of bricks be art? If a critic tells you that it can be but you disagree, who is right and why? Is a beautiful sunset art? Your kid sister’s latest creation? What is it that makes something a work of art? These are questions that will be explored in this course using a variety of artistic examples from a variety of different media - painting, sculpture, film, dance, music, drama, and literature - in order to understand the nature of art. Satisfies Humanities I-B requirement (T. Wartenberg) 4 credits; 2 meetings (75 minutes)
Meets: MW 11-12:15