Instructor: Alexandra Keller

Offered: T-Th 10:30-11:50 AM (Lecture)

T 7:00-11:00 PM (Screening)

This course examines national film movements after the Second World War. The post-war period was a time of increasing globalization, which brought about a more interconnected and international film culture. But it was also a time during which certain key national cinemas defined, or redefined, themselves. We will investigate both of these trends, as well as focus on the work and influence of significant directors and landmark films, emphasizing not only cultural specificity, but also crosscultural and transhistorical concerns. Films and film movements to be examined will include: Italian Neo-realism, French New Wave, New German Cinema, Brazilian Cinema Novo, Chinese Fifth Generation, Hong Kong Action Cinema, and the films of Ousmane Sembene, Thomas Gutierrez Aléa, Satyajit Ray, Akira Kurosawa, Julie Dash, and

Spike Lee. {A} 4 credits



Instructor: Lucretia Knapp

Offered: M 1:00-4:00 PM (Studio)

W 7:00-9:00 PM (Screening)This video production course introduces the history and contemporary practice of video art and provides the technical and conceptual skills to complete creative individual video projects. Over the course of the semester, students will gain experience in pre-production, production and post-production techniques. Projects are designed to develop basic technical proficiency in the video medium as well as practical skills for the completion of the creative project. Prerequisite: 200 (which may be taken concurrently). Enrollment limited to 13. {A} 4 credits


Enrollment limited to 13. {A} 4 credits

Instructor: Baba Hillman

Offered: W 1:10-4:00 PM (Studio)

Th 7:00-9:00 PM (Screening)This video production/theory class will introduce students to scripts and texts by video and filmmakers who are working with subjects of displacement, exile, and migration. These filmmakers are working in hybrid combinations of essayist, poetic, fictional and non-fictional forms that explore the experiences of wanderers and migrants whose relationships to ideas of home, sexuality and gender, continuity of life history, belonging and language, are in question. They work in a context of multiple languages and transnational histories and seek to express the rupture of cultural displacement and the ways in which it impacts questions of gender, language, and representation. Screenings will include videos and films by Mona Hatoum, Anri Sala, Ximena Cuevas and Kidlat Tahimik among others. Readings by Hélène Cixous, Hamid Naficy, Guillermo Gomez-Pena, and Dubravka Ugresic. Students

will write and shoot two short projects and one longer final project. The course will include workshops in writing for spoken text and visual text as well as workshops in non-linear editing, sound recording and lighting. Prerequisites: 280 or permission of the instructor


Instructor: Alexandra Keller

Offered: T 1:00-4:50 PM (Seminar)

This seminar explores main currents in film theory, including formalist, realist, auteurist, structuralist, psychoanalytic, feminist, poststructuralist, genre studies, queer studies and cultural studies approaches to questions regarding the nature, function, and possibilities of cinema. Film theory readings are understood through the socio-cultural context in which they are developed. Particular attention is also given to the history of film theory: how theories exist in conversation with each other, as well as how other intellectual and cultural theories influence the development, nature and mission of theories of the moving image. We will emphasize the written texts (Bazin, Eisenstein, Kracauer, Vertov, Metz, Mulvey, DeLauretis, Doty, Hall, Cahiers du Cinema, etc.), but will also look at instantiations of film theory that are themselves acts of cinema (Man with a Movie Camera, Rock Hudson’s Home Movies, The Meeting of Two Queens). The course is designed as an advanced introduction and assumes no prior exposure to film theory. Fulfills film theory requirement for the minor. Priority given to seniors, then juniors. Enrollment limited to 12. Prerequisite: 200 or the equivalent. {A} 4 credits



1-4 credits

Offered both semesters each year



Barbara Lattanzi

T/R 1:10-4:00

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.


ARH-374 STUDIES IN 20TH-CENTURY ART: Performance, Video, New Media

Frazer Ward

T 3:00-4:50

Topic: Performance, Video, New Media. Beginning with the emergence of performance and video in the 1960s and 1970s, this seminar will examine art practices, issues, and ideas which have driven the development of new media into the 21st century. Key topics include duration, forms of presence, relations to technology, and questions of audience address and community formation.


FRN-244 FRENCH CINEMA 4 credits Offered in French {A/F/L}

Dawn Fulton

TTh 1:10-2:30 and M 7:30-9:30

Topics course. Section 01: Cities of Light: Urban Spaces in Francophone Film From Paris to Fort-de-France, Montreal to Dakar, we will study how various filmmakers from the francophone world present urban spaces as sites of conflict, solidarity, alienation and self-discovery. How do these portraits confirm or challenge the distinction between urban and non-urban? How does the image of the city shift for "insiders" and "outsiders"? Other topics to be discussed include immigration, colonialism, and globalization. Works by Sembene Ousmane, Denys Arcand, Mweze Ngangura, and Euzhan Palcy. Prerequisite: FRN 230, or permission of the instructor. Weekly required screenings


GER-230 TOPICS IN GERMAN CINEMA: Haunted Utopia? Weimar Cinema (1919-1931): From Caligari to M

Reg # Section Credits Instructors Meeting Times Location Notes

36235 01 Lecture 4 Davis, Robert MW01:10-02:30

Topics course.: A study of such representative films from Germany's "Golden Age" as Wiene’s The Cabinet of Dr. Caligari, Lang’s Metropolis and M., Murnau’s Nosferatu and Pabst’s Joyless Street. Emphasis on investigating historical and sociological background; influence of Expressionist theater; advent of sound; the ‘New Woman’; genesis of horror, action, and utopian film; influence on New German Cinema and contemporary popular culture. Includes such contemporary ‘remakes’ as Herzog’s Nosferatu, the 2002 anime Metropolis, and music videos by Queen and Madonna. Collaborative course between Smith College and Mt. Holyoke College via the Interactive Networked Classrooms. Includes discussion with specialists and students in the U.S. and Germany. No knowledge of German required. (E)



Reg # Section Credits Instructors Meeting Times Location Notes

36239 01 Lecture 4 Botta, Anna TTh10:30-11:50, M07:00-09:00

Examining Italian cinema from neorealism to today, this course will investigate how the Italian national self image on the screen has changed in response to the changes of the political and cultural context over the last fifty years. In particular, we will focus on the determining role that landscape and interiors play in constructing the screen image of Italy, noting how characters and their movements are framed within these chosen locations. Directors include Visconti, Fellini, Antonioni, Bertolucci, Risi, Moretti, Amelio, Soldini, Ozpetek. Conducted in English. This course does not count as a senior seminar for Italian Language and Literature majors. It counts as a course toward the major in Italian Language and Literature only if it is taken in conjunction with ITL 341.



Mario D'Amato

TTh 3:00-4:50

A number of contemporary films contain reflections on a specific religion or on major religious themes such as the meaning of life and death, the possibility of salvation, and the ultimate potential of human existence. In this course, we will closely examine some of these films in conjunction with other primary and secondary sources on religion. Possible films will include: The Apostle, Jesus of Montreal, Europa Europa, Love and Death, The Mission, The Quarrel, The Seventh Seal. We will also introduce students to the growing literature in the area of Religion and Film. The primary aim of the course will be to train ourselves to be more reflective about the religious messages conveyed in contemporary film.