FLS 245  BRITISH FILM AND TELEVISION
Instructor: Jefferson Hunter
Offered:  Wed-Fri, 11:00am.-12:15p.m., Additional screening time to be announced.
Location: TBD
This is a survey, cross-listed in English, of the British cinema from the Thirties to the present day, with some attention to literary parallels and adaptations, and with a sampling of television drama and comedy.  We’ll begin by watching two representative works, David Lean’s Brief Encounter and Mike Leigh’s Secrets and Lies, working toward an understanding of the themes they share (class distinctions, the repressed English heart), of their techniques and style, and of possible approaches (historical, auteur-based, formalist, critical) to their study.  After that, we’ll view and discuss a broad range of British screen work, including (this is a tentative list) crime films from Carol Reed’s The Third Man and the Boulting brothers’ Brighton Rock to John Mackenzie’s The Long Good Friday, and then Dennis Potter’s magisterial television crime miniseries The Singing Detective, to which we’ll give sustained attention; spy dramas such as Alfred Hitchcock’s The 39 Steps and Alan Bennett’s based-on-real-life television drama A Question of Attribution; documentary cinema (short features like Night  Mail, Listen to Britain, Housing Problems, Pett and Pott, and Michael Apted’s 35 Up); film by and about multicultural and multinational Britain (Stephen Frears’ My Beautiful Laundrette, Danny Boyle’s Trainspotting); comedy from the Ealing Studio (Robert Hamer’s Kind Hearts and Coronets), from British television (Monty Python’s Flying Circus), and from contemporary filmmakers like Peter Cattaneo (The Full Monty); literary adaptation in Merchant-Ivory’s The Remains of the Day and Tony Richardson’s Look Back in Anger.  At the end of the semester we’ll study a film picked by the class.   There will be regular short readings in criticism (and one or two novels), but the main work of the course will be viewing the films, and as I trust the list above makes clear we’ll see a lot of them—two a week.  I’ll set up regular screening times to suit the largest number of students, but if you can’t make those times you will always have the option of seeing the films on your own in Neilson Library, where all the screen work for the class will be kept on reserve.
Written work: a midterm exam, a group exercise in annotation, two short papers, a final exam.  In class I’ll lecture but also ask questions and encourage discussion whenever it seems called for.
Prerequisite: at least one college course in film or English literature, or permission of the instructor.

FLS 280  INTRODUCTION TO VIDEO PRODUCTION
Instructor: Lucretia Knapp
Offered:  Wednesday, 7:30 p.m. - 9:30 p.m., Thursday, 1:00 p.m. - 4:50 p.m.
Location: TBD
Topic II:  This course offers an introductory exploration into the moving image as an art form outside of the conventions of the film and television industries.  This class will cover technical and aesthetic aspects of media art production and will also offer a theoretical and historical context in which to think about independent cinema and video art.  Prerequisite:  200 (which may be taken concurrently).  Enrollment limited to 13.

FLS 350  QUESTIONS OF CINEMA
Instructor:  Alexandra Keller
Offered:  Monday, 1:00 p.m. - 4:50 p.m. Location: TBD
Topic:  Film and the Other Arts: Visual Culture from Surrealism to MTV.
This class investigates cinema and its relationship to the rest of 20th century art, especially visual culture.  Working with the premise that film has been arguably the most influential, powerful and central creative medium of the age, the course examines how film has been influenced by, and how it has influenced, interacted with, critiqued, defined, and been defined by other media.  Historically, we shall examine how film has moved from a marginal to a mainstream art form, while still often maintaining a very active avant-garde practice.  The class also looks at how cinema has consistently and transhistorically grappled with certain fundamental issues and themes, comparing the nature of cinematic investigation with that of other media.  Enrollment limited to 12.  Prerequisite: FLS 200.  {A}

FLS 351  FILM THEORY  4 credits
Instructor:  Alexandra Keller
Offered:  Tuesday, 1:00 p.m. - 4:50 p.m. Location: TBD
Not open to first-years, sophomores.
This seminar explores main currents in film theory, including formalist, realist, structuralist, psychoanalytic, feminist, poststructuralist, cognitivist, and cultural-contextualist approaches to questions regarding the nature, function, and possibilities of cinema.  The course is designed as an advanced introduction and assumes no prior exposure to film theory.  Fulfills film theory requirement for the minor.  Prerequisite: 200 or the equivalent.  {A}

ART 263 INTERMEDIATE DIGITAL IMAGING  4 credits
Section 01: MW 9:00-11:50
Barbara Lattanzi
This course will build working knowledge of multimedia digital work through experience of web design and delivery; sound and animation software. Prerequisite: ARS 162. (E)

ART 361 INTERACTIVE DIGITAL MULTIMEDIA 4 credits
Section 01: MW 1:10-4:00
Barbara Lattanzi
This art studio course emphasizes individual projects and one collaborative project in computer-based interactive Multimedia production. Participants will extend their individual experimentation with time-based processes and development of media production skills (3D animation, video and audio production skills introduced in ARS 162, 263) – developed in the context of interactive multimedia production for performance, installation, CD-ROM or Internet. Critical examination and discussion of contemporary examples of new media art will augment this studio course. Prerequisites: ARS 162 and permission of the instructor. Enrollment limited to 14. (E)