Hunter, Jefferson

W F 11:00 AM-12:10 PM, Screening times TBA A L 4

Same as ENG 241. Lectures, with occasional discussion, on film comedies from a variety of places and times: American screwball comedies and British Ealing comedies; battles of the sexes; the silent or non-verbal comedy of Chaplin, Keaton, and Jacques Tati; parodies of other film genres; fast-talking comedy by the Marx Brothers, Monty Python, Woody Allen, and Howard Hawks; midsummer night’s dreams by Ingmar Bergman, Max Reinhardt and William Dieterle, and others. Readings in film criticism, film history, and the theory of comedy. Prerequisite: a college course in film or literature, or permission of the instructor. May be repeated under a different topic.


Marcantonio, Carla A

M W 1:10 PM-2:30 PM and M 7:00 PM-11:00 PM screening

This course investigates melodrama as an aesthetic and narrative form that is largely employed and deployed in the service of disseminating the myths of the nation. The nation is not only a political concept, it is also, as Benedict Anderson has famously theorized, an imagined community. Nations are communities of affect, often figured through images of the familial and domestic space – the privileged stomping ground of melodrama. Melodrama, moreover, is often thought of as a reactionary genre, yet this course will aim to consider its multiple incarnations across the political spectrum. We will examine melodrama in its mode as foundational fiction, as colonial fantasy, and as imperial narrative. But most importantly, the course builds its investigation of melodrama cross-nationally in order to ultimately wrestle with the following questions: What happens to film melodrama, to its conventions, its obsessive worlds, its emotional tones, its sexual triangulations, in the face of the supposed dissolution of national boundaries in favor of a globalized world? What are the new configurations in which it expresses itself if it no longer does, or no longer can, participate in the ideologies that seek to forge national destiny? Examples of films include: The Birth of a Nation, Rome Open City, Matador, Indochine, Forrest Gump, The Crying Game, In the Mood For Love, Hero, Y Tu Mamá También. Papers and weekly screenings required. May be repeated under a different topic.


36269 FLS 280 ( 01) INTRO TO VIDEO PRODUCTION Capacity: 13

Perlin, Jenny

T 7:00 PM-9:00 PM and Studio W 1:10 PM-4:00 PM

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. Priority given to Smith College Film Studies Minors and Five College Film Studies Majors. 4 credits



Knapp, Lucretia Capacity: 13 4

Studio M 1:10 PM-4:00 PM and W 7:00 PM-9:00 PM

In this advanced video production class students will develop and produce an original narrative short, while considering ways in which time and memory have been fashioned within various cinematic narratives. To further the construction and development of narrative, two of the films will be read in relation to the novel from which they are adapted. Some of the films screened will include La Jete, To Kill a Mockingbird, After Life, The Hours, Donnie Darko and The Virgin Suicides. Prerequisite: FLS 280. Enrollment limited to 13. Priority given to Smith College Film Studies Minors and Five College Film Majors.


31880 FLS 351( 01) SEM:FILM THEORY

Marcantonio, Carla

T 1:00 PM-4:50 PM A 4 credits

Permission of Instructor. Not open to first-years, sophomores

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. Priority given to Smith College Film Studies Minors and Five College Film Studies Majors.