ANTHROPOLOGY

U1   10815 ANTHRO 106 CLTUR THRU FILM A (UMASS- GE: SBG) LEC  Capacity: 264
Location: Thompson 104 Time:6:30PM 10:30PM Days: Tue  Instructor: Keene, Arthur S
DISCUSSION SECTIONS:  Capacity: 22 per section
U1   16310 Location: Machmer W-25 Time:10:10AM 11:00AM Days: Wed  Instructor: TBA
U1   18972 Location: Machmer W-11 Time:11:15AM 12:05PM Days: Wed  Instructor: TBA
U1   16312 Location: Machmer E-10 Time:9:05AM 9:55AM Days: Wed  Instructor: TBA
U1   18973 Location: Dickinson 210 Time:1:25PM 2:15PM Days: Thu  Instructor: TBA
U1   18974 Location: Machmer W-25 Time:9:05AM 9:55AM Days: Thu  Instructor: TBA
U1   18975 Location: Machmer W-25  Time:10:10AM 11:00AM Days: Thu  Instructor: TBA
U1   16316 Location: Dickinson 210 Time:4:40PM 5:30PM Days: Thu  Instructor: TBA
U1   16317 Location: Machmer W-22 Time:7:00PM 7:50PM Days: Thu  Instructor: TBA
U1   18976 Location: Dickinson 210 Time:12:20PM 1:10PM Days: Thu  Instructor: TBA
U1   16319 Location: Machmer W-17 Time:10:10AM 11:00AM Days: Fri  Instructor: TBA
U1   16320 Location: Machmer E-16 Time:11:15AM 12:05PM Days: Fri  Instructor: TBA
U1   18977 Location: Machmer E-16 Time:9:05AM 9:55AM Days: Fri  Instructor: TBA
Exploration of different societies and cultures, and of the field of cultural anthropology through the medium of film. Ethnographic and documentary films; focus on non-Western cultures and ecological adaptations, gender roles, ethnicity, race, class, religion, politics, and social change. Priority given to sophomores and freshmen until November 23rd. After November 23rd anyone may register.

U1   17305 ANTHRO 106 CULTURE THROUGH FILM B LEC Capacity: 20
Location: Grayson 104 Time:6:30PM 10:30PM Days: Thu  Instructor: Page,Helan-Enoch
This section open to Orchard Hill & Central residential area freshmen only.

ART
U1   10991 ART 230 PHOTOGRAPHY I 01 STS Capacity: 14
Location: Bartlett 51 Time:8:00AM 10:45AM Days: Tue Thu  Instructor: TBA
Introduction to photographic tools and methods. The balance between self-inquiry and the importance of process and materials as vehicles of meaning. Theory explored through class critiques and slide presentations. Photography examined and discussed both from a personal point of view and in its wider cultural context. This course is open to Undergraduate ART, BFA, BFA ED, and BFADES majors only.

U1   10992 ART 230 PHOTOGRAPHY I 02 STS Capacity: 14
Location: Bartlett 51 Time:11:15AM 2:10PM Days: Tue Thu  Instructor: Poirier, Cynthia

U1   10993 ART 231 PHOTOGRAPHY II 01 STS Capacity: 14
Location: Bartlett 51 Time:9:05AM 3:00PM Days: Fri  Instructor: Jahoda, Susan Eve
In-depth exploration of techniques and materials including zone system, large format, and non-silver processes. Slide lectures, discussions, and readings. Prerequisite: ART 230 or consent of instructor.

U1   11011 ART 297Q ST-ANIMATION FDMTLS 01 STS  Capacity: 8
Location: FineArtCtr 447 Time:9:05AM 11:50AM Days: Tue Thu  Instructor: TBA
With studio.  Introduction to methods and techniques of animation, as well as history of experimental film.  Hands-on work with object, sand, line, and clay animation among others.  Basic audio and video skills. Students develop projects of their own design resulting in a fully edited videotape of their work.  Pre-requisite:  ART 271 or consent of the instructor. Must have taken ART 271. Pre Requisite: Art 271
BFA "CG" Track majors only.

U1   11024 ART 375 ELCTRNC STILL PHOTOG 01 STS Capacity: 18
Location: FineArtCtr 444 Time:12:30PM 3:30PM Days: Tue Thu  Instructor: Claveloux, Eileen
Aspects of image processing in the context of digital photography using Adobe Photoshop. Topics include image acquisition, image enhancement, image analysis, spatial and color transformation, image display and recording. Prerequisites: ART 271 and ART 230 or consent of instructor. Personal digital camera required.
Prerequisite ART 230 & 271. This course is open to Undergraduate and Graduate students with majors in ART, BFA, BFA-ED, or BFADES only.

U1   11032 ART 397J ST-ANIMATION II 01 STS Capacity: 10
Location: FineArtCtr 444 Time:8:00AM 10:45AM Days: Tue Thu  Instructor: Campos, Ana M

U1   18546 ART 397J ST-ANIMATION II L1 STS Capacity: 10
Location: FineArtCtr 444 Time:8:00AM 10:00AM Days: Thu  Instructor: Campos, Ana
With studio. Continuation of ART 374 using Alias/Wavefront software. Class and personal projects undertaken.

COMMUNICATION
U1   17403 COMM 240 MODES OF FILM COMM 1 LEC Capacity: 125
Location: Herter 227 Time:9:30AM 10:45AM Days: Tue Thu  Instructor: Norden, Martin
U1   17436 COMM 240 MODES OF FILM COMM L1 LAB
Location: Thompson 106 Time:6:00PM 8:00PM Days: Tue Instructor: Norden, Martin
The nature and functions of film, including narrative and non-narrative approaches to film communication.  Topics will include: the components of film expression (composition, movement, editing, sound, directing, and acting); designs in screen narrative; film's relationship to other arts and media; and its role as an instrument of social reflection and change. This course is open to Communication majors only.   (Course capacity is 150) Note: a limited number of students who are NOT UMASS Communication majors may add this course by completing an ADD form in the Film Studies office in 101 South College.

U1   11924 COMM 296F INDSTU-FILM FESTIVAL 1 IND  Capacity: 200
Location: SOM 137 Time:7:30PM 10:00PM Days: Wed  Instructor: Ciecko, Anne T
This is a 1-credit mandatory pass/fail course for participation in the Massachusetts Multicultural Film Festival. You must attend a minimum of 8 of the Festival presentations and complete a short response/evaluation of those programs. Most events will be on Wednesdays 7:30-10:00 pm at UMASS. However, a few films will be presented at other 5-College campuses. For more detailed information, contact the Film Studies Office, 101 South College, Tel: 545-3659. The festival begins Wed 2/12/03 in SOM 137, UMASS.

U1   11926 COMM 297D ST-FLM&TV PRD CNCPTS 1 LEC   Capacity: 125
Location: Herter 231 Time:1:00PM 2:15PM Days: Tue Thu  Instructor: Geisler, Bruce H This class provides an overview of film and television production principles and processes from script to screen and also prepares students for later hands-on production courses. We will explore  both the art and craft of film and video production, including the roles and functions of the major creative and technical personnel in the scripting/ pre-production, production and post-production phases. Technical aspects such as digital vs. analog media, lighting, lenses, types of film and videotape, crew organization and function, editing concepts, sound recording, etc. will be discussed, as well as creative functions such as dramatic and documentary structure, creating characters, acting for the screen, visualization and composition for the camera and more. Special Topic- Film and TV Production Concepts. Registration in COMM H01 is optional. This course is open to Communication majors only.    (Course capacity is 150) Note: a limited number of students who are NOT UMASS Communication majors may add this course by completing an ADD form in the Film Studies office in 101 South College.

U1   11937 COMM 331 PROGRAM PROC IN TV 1 LEC  Capacity: 36
Location: Machmer E-33 Time:1:25PM 2:15PM Days: Wed  Instructor: Maxcy, David J.
LAB SECTIONS:   Capacity: 12 per section
U1   18392 Location: SouthCollg 120 Time:1:25PM 4:25PM Days: Mon  Instructor: Woloch, Barbara R.
U1   18394 Location: SouthCollg 120 Time:9:05AM 12:05PM Days: Wed  Instructor: Gu, Li
U1   18395 Location: SouthCollg 120 Time:9:05AM 12:05PM Days: Fri  Instructor: Haynes, Jamie L.
Introduction to concepts and techniques of television production, through lectures, lab exercises, and guided production projects.    All 3 sections will meet together once a week for a 50-minute lecture with the course director.    Each section will then meet once a week for a 3-hour lab session.  COMM Junior or Senior status. (Course capacity is 36 Total/3 sections @12)

341:  PRINCIPLES & TECHNIQUES OF FILMMAKING IS NOW LISTED AS 441:  PRINCIPLES AND TECHNIQUES OF FILM-STYLE PRODUCTION

U1   11941 COMM 342 HISTORY OF FILM II 1 LEC   Capacity: 150
Location: Thompson 106 Time:4:00PM 5:15PM Days: Thu  Instructor: Anderson, Carolyn M.
U1   11942 COMM 342 HISTORY OF FILM II L1 LAB   Capacity: 150
Location: Thompson 106 Time:5:30PM 7:30PM Days: Thu  Instructor: Anderson,Carolyn M.
DISCUSSION SECTIONS:  Capacity: 25 per section
U1   11943 Location: SouthCollg 108 Time:9:05AM 9:55AM Days: Fri  Instructor: Wemmer, Todd J.
U1   11944 Location: SouthCollg 108 Time:10:10AM 11:00AM Days: Fri  Instructor: Wemmer, Todd J.
U1   11945 Location: SouthCollg 108 Time:11:15AM 12:05PM Days: Fri  Instructor: Wemmer, Todd J.
U1   11946 Location: SouthCollg 108 Time:12:20PM 1:10PM Days: Fri  Instructor: MacLeod, Ema L.
U1   11947 Location: SouthCollg 108 Time:1:25PM 2:15PM Days: Fri  Instructor: MacLeod, Ema L.
U1   19078 Location: SouthCollg 108 Time:2:30PM 3:20PM Days: Fri  Instructor: MacLeod, Ema L.
A survey of key events and representative films that mark the history of motion pictures since 1950 worldwide.  In addition to identifying and providing access to major works, the course is designed to facilitate the study of the various influences-- industrial, technological, aesthetic, social, cultural, and political--that have shaped the evolution of the medium, with a particular emphasis on film in the United States.  Three unit exams and 2 short papers and one research project.    (Course capacity is 150 Total/6 sections @ 25) NOTE: (11/26/02) This course is now full.  Some additional spaces may be available during the Add period at the beginning of the semester.   Interested students should go to the 1st class.

U1   11966 COMM 397T ST-CNTMP WRLD CINEMA 1 LEC Capacity: 150
Location: Thompson 106 Time:3:35PM 5:30PM Days: Mon Wed  Instructor: Ciecko, Anne T
This course will offer an overview of recent narrative feature filmmaking from Asia, Africa, the Middle East, Latin America, and indigenous/diasporic cinemas in the United States, Canada, New Zealand, and Australia.  The central critical questions considered will include the following:  What is the history and current status of feature filmmaking in a specific country?  What social-political-economic circumstances impact the production, exhibition, and marketing/distribution of films?  When and why are films deemed “art,” and when are they considered entertainment for the masses?  What are the ways in which contemporary films construct images of a nation and its cultures?  How can we describe the visual style and technical elements of film?  What kinds of representations are used, and how are the stories told?  What sorts of languages are used?  What kinds of cultural and linguistic exchanges occur within and between films?  How do these films reach and how are they received by different audiences—the local and international market for popular films, the art house and film festival circuit, the video store?  How do film stars, auteurs, and genres emerge?  (Course capacity is 150)

U1   11985 COMM 433 ADV TV PROD DIRECT 1 LEC   Capacity: 10
Location: SouthCollg 120 Time:11:15AM 3:15PM Days: Tue  Instructor: Maxcy,David
U1   11986 COMM 433 ADV TV PROD DIRECT L1 LAB  Capacity: 10
Location: SouthCollg 120 Time:1:00PM 3:00PM Days: Thu  Instructor: Maxcy,David J.
Intensive workshop course in advanced concepts and techniques of studio-based television production, with a focus on the direction of live programs.    Under the supervision of the instructor, students will produce individual projects in a variety of genres, which will  be aired on local cable television outlets.  Limited to COMM juniors and seniors only. Prerequisites: COMM 331 or consent of the instructor.  (Course capacity is 10)

U1   18292 COMM 441 PRIN&TECH FILM STYL 1 LEC  Capacity: 12
Location: SouthCollg 108 Time:2:30PM 6:30PM Days: Wed  Instructor: Geisler,Bruce
A hands-on introduction to single-camera filmmaking using 16mm film cameras and/or video camcorders (electronic field production) and non-linear (computer-based) editing. Students will learn concepts of pre-production, shot composition, lighting, visual storytelling, continuity editing, and production & postproduction audio as they plan, shoot and edit exercises and complete projects.  A "real world" editing project may also be included. COMM Seniors only. Pre-requisite: COMM 297D highly recommended or permission of instructor. PLEASE NOTE:  This course formerly numbered and titled COMM 341-Principles and Techniques of Filmmaking-Students who have already taken COMM 341 cannot take this course. COMM Seniors only. (Course capacity is 12) Note: a limited number of students who are NOT UMASS Communication majors may be able to add this course. ALL students must complete the application form, available at Professor Geisler’s office door in Machmer Hall.

U1   17748 COMM 444 FILM STYLES & GENRES 1 LEC Capacity: 25
Location: SouthCollg 108 Time:2:30PM 4:30PM Days: Tue Thu  Instructor: Stromgren,Richard L
The course is designed to provide an intensive study of the stylistic and thematic identity of the full range of Hitchcock’s films, both British and American.  As part of a textual analysis, we will examine issues related to authorial identity, the social and cultural context in which the films were made, and their influence on other filmmakers.  Along with the study of individual films we will look at a variety of critical responses including the application of recent revisionist theory.  Prerequisite:  COMM 240, 340, 342 or permission of the instructor.   (Course capacity 25)

U1   11987 COMM 493E Sem-SCREENWRITING 1 SEM Capacity: 20
Location: SouthCollg 108 Time:1:00PM 2:15PM Days: Tue Thu  Instructor: Norden,Martin F

U1   11988 COMM 493E Sem-SCREENWRITING 2 SEM Capacity:20
Location: SouthCollg 108 Time:10:10AM 1:00PM Days: Wed  Instructor: Geisler,Bruce
An examination of the art, craft, and business of screenwriting from theoretical and practical perspectives.  Topics included: the nature of screenplay formats and structures;  creation and development of premise, plot, character, and action; scene writing; adaptation issues; place of the screenwriter in the collaborative process of filmmaking; and marketing strategies.  The focus will be on scriptwriting for storytelling movies and, to a limited extent, TV programs.  In-class activities will include exercises in visual thinking, scene analyses, and staged readings.  Written work will include several screenwriting projects.  Prerequisite: 3 hours in COMM film courses.  (Course capacity is 20)

U1   11993 COMM 497J ST-ADV VIDEO PRODCTN 1 LEC Capacity: 10
Location: Machmer E-30D Time:1:25PM 5:25PM Days: Wed  Instructor: Miller,Elizabeth L.
U1   11994 COMM 497J ST-ADV VIDEO PRODCTN L1 LAB  Capacity: 10
Location: Machmer E-30D Time:1:25PM 3:20PM Days: Fri  Instructor: Miller,Elizabeth L.
This advanced video production course is open to five college students who have a solid understanding of basic video production.  In a seminar/studio environment, students will have an opportunity to explore advanced aspects of the medium including proposal development/fundraising, digital editing, sound recording, advanced cinematography, and distribution for finished work. Through in-class critiques and the viewing and discussion of film and video, students will look and think critically about the construction of the moving image and the creative use of sound.  Weekly screenings and readings will be geared towards documentary work but will also include video art to explore a range of visual strategies and aesthetic approaches to video making.  Students will be selected from applications which are available in the Film Studies Office, 101 South College (Tel: 545-3659) UMASS.  The application deadline is  Tues., November 19, 2002.   Prerequisites:  COMM 331 or consent of instructor.  (Course capacity for COMM students is 5)

U1   12005 COMM 597C ST-FILM & VIDEO EDUC 1 LEC Capacity: 12
Location: Furcolo 21B Time:4:00PM 6:30PM Days: Tue  Instructor: Brandon,Liane
This course is designed to explore and encourage the use of creative and relevant films and videos in educational settings and to examine the visual, psychological and technical methods used by filmmakers to convey their messages. A wide variety of films and videos will be shown, and their potential for use in many settings will be explored.  Emphasis will be on developing critical, aesthetic, and social media awareness, examining stereotyping and sex roles in the cinema and facilitating productive and open-ended discussions. Students will be expected to attend all screenings and participate in discussions.  Two papers and one research project will be assigned.  Same as EDUC 539. Graduate & Senior COMM majors only.  (Course capacity for COMM students is 8)

U1   17901 COMM 793F SEM-INTRNATL FILM STAR 1 SEM Capacity: 10
Location: Machmer 413 Time:6:30PM 9:30PM Days: Mon  Instructor: Ciecko,Anne T
This film seminar focuses on the cultural phenomenon of film stardom and celebrity, with diverse case studies of international stars.  Employing theoretical, historical, and critical approaches, we will discuss the representational politics of international film stardom (nationality, race, gender, class, ethnicity, sexuality), media crossovers (including television and popular music), fan culture, issues of genre and authorship, star biographies, performance styles, and industry and economics (studios, labor, stars as commodities, etc.)  (Course capacity 10)

COMPARATIVE LITERATURE
U1   11860 COMP-LIT 381 SLFRE AVANT-GRD FILM 01 (UMASS-GE:AT) LEC  Capacity: 120
Location: Herter 231 Time:3:35PM 7:00PM Days: Mon  Instructor: Levine,Don Eric
DISCUSSION SECTIONS: Capacity: 30 per section
U1   11861 Location: Som 133 Time:2:30PM 3:45PM Days: Tue  Instructor: Bonaldo, Iris
U1   11862 Location: HasLabAdd 126 Time:4:00PM 5:15PM Days: Tue  Instructor: Bonaldo ,Iris
U1   11863 Location: Skinner Hall 18 Time:4:00PM 5:15PM Days: Tue  Instructor:  Smolen-Morton, Shawn R.
U1   11864 Location: Herter 211 Time:7:00PM 8:15PM Days: Tue  Instructor:  Smolen-Morton, Shawn R.
Explores modern origin of film experimentation in avant-garde modes such as Expressionism, Surrealism, and contemporary results of this heritage. Trying to determine if film is the most resolutely modern of the media, we’ll look at cinema as the result of two obsessive concerns: 1) the poetic, dreamlike, and fantastic, 2) the factual, realistic, and socially critical or anarchistic. Thus, we’ll attempt to discover how modern culture deals with avant-garde imperatives to always “make it new.” Films and film-makers such as Breathless (Godard). Lang, My Own Private Idaho, The American Soldier (Fassbinder), others. Requirements: one 5 page paper for the midterm, ten page final paper or project; attendance.

U1   18518 COMP-LIT 381H SELF-RFLX AVANTE-GRD FILM 01
(UMASS-GE:AT) LEC  Capacity: 12
Location: Herter 231 Time:3:35PM 7:00PM Days: Mon Instructor: Levine ,Don Eric
Location: Hasbrouck 137 Time:2:30PM 5:30PM Days: Tue  Instructor: Levine, Don Eric
We apply ourselves to the problem of vision as an acquired skill, learning to distinguish the ways Hollywood normative cinema has constructed a visual language which we accept, uncritically, as how reality appears on the screen. This language is examined- how what it presents differs from what we see with the “naked” eye and how it, in turn, forms what we see (what we can see, what we look for) in the world. Various types of avant-garde film are examined so that we come to imagine how it might be otherwise (films by directors such as Dreyer, Lang, Man Ray, Buñuel, Vertov, Godard, Fassbinder, Egoyah, Van Sant). Student attend a large lecture and film screening (once a week) and, the next day an intensive seminar-style section of 2-3 hours. Here we present and discuss new material, some from readings, and, occasionally, screening of additional films and film clips. The course is incremental and there is thus an absolute attendance requirement. There will be a take-home mid-term essay (5 pages) and final essay (10 pages), a two-page scene analysis, and an approved self-directed project. This course differs from ComLit 381 in the length of the section (2-3 hours per week instead of 75 minutes), extra work-load and additional readings. Recommended only for students (at all levels) who have been interested in film. There is a required hands on film-making colloquium for one extra credit- a total of 5 credits. Limited space- priority to Honors students.   Note:  Wait list students should attend 1st class.

U1   18619 COMP-LIT H06 HNRS COL COMLIT 381H 01 SEM  Capacity: 12
Location: Hasbrouck 137 Time:2:30PM 4:30PM Days: Thu Instructor: Levine,Don Eric
Students must also be enrolled in COMLIT 381H. In this 1-credit hands-on studio component to COMLIT 381H, the aim is to investigate aspects of film (such as shot formation, camera movement, editing approaches) by making a series of short films. Students will collaboratively a range of expressive possibilities on video. Working in groups of three or four, students will alternate roles of writer/director, camera person, editor, etc. in constructing brief scenes. No experience necessary.

U1   11865 COMP-LIT 382 CINEMA AND PSYCHE 01 (UMASS-GE:AT) LEC  Capacity: 120
Location: SOM 137 Time:3:35PM 6:35PM Days: Mon  Instructor: Portuges,Catherine
DISCUSSION SECTIONS:  Capacity: 30 per section
U1   11866 Location SOM 137 Time:2:30PM 3:20PM Days: Tue  Instructor: Sinclair, Craig R.
U1   11867 Location: Herter 211 Time:2:30PM 3:20PM Days: Tue  Instructor: Oster, Corinne
U1   11868 Location: Tobin 304 Time:4:00PM 4:50PM Days: Tue  Instructor:  Sinclair, Craig R.
U1   11869 Location Herter 209 Time:4:00PM 4:50PM Days: Tue  Instructor: Oster, Corinne
An exploration of the intersections between cinema and psychological interpretation, the course concerns the psychodynamics of reading visual texts produced in different cultures, languages, and national traditions.  This semester's focus is on comparative representations of childhood, family, gender, and war in Africa, Asia, Eastern Europe, and the West.  Among our considerations are the following: how do individual directors represent history and national identity?  in what ways do spectators from different cultural milieux and historical moments understand those representations?  what are the psychological consequences of encountering powerful images from cultures other than one's own?  How do psychoanalytic perspectives enable us to 'read' the cinematic constructions of childhood experience, especially when portrayed in situations of trauma and wartime upheaval?  Based on close reading of films, theoretical and critical essays, and interviews, our work aims to examine the often-unconscious resistances and 'mis-readings' that accompany the increasingly international world of cinema.  Requirements: Attendance; a brief oral exercise; mid-term paper, final paper.

U1   11871 COMP-LIT 391A S-SPIRIT CINEMA:E/W 1 LEC   Capacity: 20
Location: Herter 205 Time:2:30PM 3:20PM Days: Wed  Instructor: Dienes,Laszlo
U1   11870 COMP-LIT 391A S-SPIRIT CINEMA:E/W L1 LAB  Capacity: 20
Location: Hasbrouck 134 Time:7:00PM 10:00PM Days: Tue  Instructor: Dienes,Laszlo
An  introduction to spiritual cinema, its theme and characteristics, from early to modern masters.  In the context of a brief look at the cinematic achievements of such filmmakers as Bergman, Bresson, Kurosawa, Mizoguchi, Pasolini, Fellini and their philosophy of film as a spiritual art.  We will focus on the art and times of the Russian film director, Audrey Tarkovsky.  Of interest to students in Comparative Literature, Film, English, Art, Philosophy, History, Religion, and Russian Studies.  No prerequisites, other than an open mind and a genuine interest in filmmaking that is unlike any other.  No prior familiarity with the work of these directors is required. Comparative Literature and Russian majors and graduate students will be expected to do some research in a foreign language.  (SAME AS ENGLISH 391E)

U1   19711 COMP-LIT 391G S-FICT GRAIL LIT/FLM 1 (UMASS-GE:AL) SEM Capacity:40
Location: Herter 211 Time:4:00PM 5:15PM Days: Tue Thu  Instructor: Maddox,Donald
This course includes a selection of medieval romances, modern novels, and films by major directors (Rohmer, Bresson, Boorman, Levinson, etc.).  When it appeared in Western literature eight centuries ago, the Grail was initially a mysterious sacred talisman in medieval Arthurian romance.  In later ages it became the expressive centerpiece in a variety of artistic settings, including Wagner’s Parsifal, T. S.Eliot’s “The Waste Land,” and many major American and European novels and films.  We shall begin with the original twelfth-century French Grail story by Chrétien de Troyes.  Subsequent readings and screenings will cover the Grail theme as it has been reworked in medieval and modern literary settings and in European and American films. This course is cross-listed with  French 456.

U1  18753 COMP-LIT 695A S-FASSBINDER&GODARD AND MELODRAMA 1 SEM Capacity:15
Location: Tobin 304 Time:2:30PM 6:30PM Days: Wed  Instructor: Levine,Don Eric
What were Godard’s early films for Fassbinder? Instead of rejecting the most influential avant-garde filmmaker of the sixties, Fassbinder adopted Godard as father. Yet, this fathering was a highly selective progeneration. What does the juxtaposition of these filmmakers reveal and conceal- and not only about Fassbinder’s films, since we cannot 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 abysmal 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. Qualified Undergraduates allowed. Undergraduates must go to the Comp-lit department in order to enroll. Prerequisites: 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 &  Breathless; American Soldier & Les Carabiniers; The Bitter Tears of Petra Von Kant & Une Femme Mariee; Effie Briest & Vivre sa Vie; Beware of the Holy Whore and Contempt.

EDUCATION
U1   12317 EDUC 505 DOCUMTRY FILMMKG ED 01 LEC Capacity: 12
Location: Furcolo 21B Time:4:00PM 6:30PM Days: Wed  Instructor: Brandon,Liane
Introduction to practical filmmaking for educators and others to document their research and educational endeavors. Emphasis on making super-8 films using live-action photography and editing techniques.

U1   12331 EDUC 539 FILM & VIDEO IN EDUC 01 LEC  Capacity:12
Location: Furcolo 21B Time:4:00PM 6:30PM Days: Tue  Instructor: Brandon,Liane
Explores and encourages use of creative and stimulating films and videos in educational settings; techniques used by filmmakers; methods for structuring film discussions. Same as COMM 597C.

ENGLISH
U1   19144 ENGLISH 297B ST-WRITE, CAMERA, ACTION 1 LEC
Location: Bartlett 274 Time:4:00PM 6:30PM Days: Mon
Instructor: Resto,Luivette & Westhoff,Kami Dawn-Marie
Workshop participants will view such films as The Watermelon Woman, American Beauty, and Bamboozled in order to spark both critical discussion and a variety of creative writings including movie prequels and sequels.  **This course is Pass/Fail and does NOT count for the UMASS Film Studies Certificate

U1   12477 ENGLISH 221 SHAKESPEARE  LEC Capacity: 140
Location: SOM 137 Time:11:15AM 12:30PM Days: Tue Thu  Instructor: Burt,Richard A
Too much violence?  Too much sex?  Too much booze? Too many bad puns?  This class will consider these questions and others as we address the theme of Shakespearean excess and the increasing fragmentation of Shakespeare’s works (multiple editions, multiple versions of film adaptations on video, DVD, and screenplay.)  Prerequisite: You must have fulfilled your CW Gen. Ed. requirement.

U1   19171 ENGLISH 391E S-SPIRITUAL CINEMA: EAST/WEST 1 SEM Capacity: 20
Location: Herter 205 Time:2:30PM 3:20PM Days: Wed  Instructor: Dienes,Laszlo
U1   19172 ENGLISH 391E S-SPIRITUAL CINEMA: EAST/WEST L1 LAB Capacity: 20
Location: Hasbrouck 134 Time:7:00PM 10:00PM Days: Tue  Instructor: Dienes,Laszlo
See description for COMLIT 391A

FRENCH STUDIES
U1   16600 FRENCHST 353 AFRICAN FILM A (UMASS-GE:ATG)LEC  Capacity: 80
Location: Herter 231 Time:4:00PM 7:00PM Days: Tue  Instructor: Mensah,Patrick
DISCUSSION SECTIONS:   Capacity: 40 per section
U1 16601 Location: Herter 116 Time:1:00PM 2:15PM Days: Thu  Instructor: Mensah,Patrick
U1 16602 Location: Herter 116 Time:2:30PM 3:45PM Days: Thu  Instructor: Mensah,Patrick
Histories and development of African Francophone and Caribbean film, from its inception to the present day. The sociocultural, economic, and political forces and imperatives defining its forms and directions. Questions this work raises in film aesthetics and theory as a whole. Screenings and analysis of films by Sembene, Achkar, KaborE, Mweze, CissE, Drabo, Bekolo, Teno, Peck, Palcy, Lara, Haas, and others. Taught in English.

U1   18000 FRENCHST 456 FICTIONS OF THE GRAIL 01 LEC  Capacity: 40
Location: Herter 211 Time:4:00PM 5:15PM Days: Tue Thu  Instructor: Maddox,Donald
This course includes a selection of medieval romances, modern novels, and films by major directors (Rohmer, Bresson, Boorman, Levinson, etc.).  When it appeared in Western literature eight centuries ago, the Grail was initially a mysterious sacred talisman in medieval Arthurian romance.  In later ages it became the expressive centerpiece in a variety of artistic settings, including Wagner’s Parsifal, T. S.Eliot’s “The Waste Land,” and many major American and European novels and films.  We shall begin with the original twelfth-century French Grail story by Chrétien de Troyes.  Subsequent readings and screenings will cover the Grail theme as it has been reworked in medieval and modern literary settings and in European and American films. Same as COMPLIT 391G. Carries AL designation for GenEd credit.

ISENBERG SCHOOL OF MANAGEMENT
U1   19126 SCH-MGMT 591K S-Business & Movies: Amer Bus 1 SEM Capacity: 88
Location: SOM 108 Time:4:00PM 6:30PM Days: Tue Thu  Instructor: Zacharias,Lawrence S
The course combines written historical material and film to develop insights into the relationship business
to American society. The films include commercial fiction films by leading directors (e.g. Altman, Coppola, Polanski) as well as historically significant documentaries. The films along with articles, cases and texts will be used to explore central themes, from frontier and farm and urban growth, the mercantile enterprise to the multinational corporation, from self-reliant producers to organized workers.

ITALIAN
U1   13593 ITALIAN 350 ITALIAN FILM 1 (UMASS-GE:AT) LEC Capacity: 60
Location: Herter 227 Time:7:00PM 10:00PM Days: Tue  Instructor: Stone,Jennifer A.
DISCUSSION SECTIONS: Capacity: 30 per section
Location Herter 102 Time:2:30PM 3:45PM Days: Thu  Instructor: Stone, Jennifer A.
Location Herter 102 Time:4:00PM 5:15PM Days: Thu  Instructor: Stone, Jennifer A.
Re-examines Italian neo-realism and the filmmakers' project of social reconstruction after Fascism. How Italian film produces meaning and pleasures through semiotics and psychoanalysis, as a means to understand the specific features of Italian cinema, its cultural politics, and the Italian contribution to filmmaking. Taught in English.

U1   13598 ITALIAN 491A S-AUTEUR & FILM THRY 1 SEM Capacity: 15
Location: Herter 227 Time:2:30PM 5:30PM Days: Tue  Instructor: Stone,Jennifer A.
Same as ITALIAN 597F, FRENCHST 597F, and JUDAIC 491A.

U1   18102 ITALIAN 597F ST-AUTEUR AND FILM THEORY 1 LEC  Capacity: 30
Location: Herter 227 Time:2:30PM 5:30PM Days: Tue  Instructor: Stone,Jennifer A.

JAPANESE
U1   18953 JAPANESE 143 LIT-CLASSICAL & MEDIEVAL (UMASS-GE:ALG) LEC Capacity: 40
Location: TBA Time:11:15AM 12:30PM Days: Tue Thu  Instructor: Bargen, Doris Gertrud
This seminar explores the unique culture of the samurai warrior class from its ancient origins to its transformation under the Tokugawa regime and its demise in modern times. To the west, the enema of Japan emerges from the samurai honor code that provides seemingly incompatible practices like Zen training and ritual suicide. How could a warrior class exist through centuries of peace by practicing, philosophically, the Way of the Sword? In addition to aspects to aspects of samurai warfare and the philosophy of death, we will also study the samurai way of love. Among the primary and secondary materials will be samurai legends and tales, the theater of war, and samurai films.    Same as COMLIT 240.

U1   18956 JAPANESE 197B ST: JAPANESE FICTION THRU FILM 1 LEC Capacity: 150
Lecture Location: Herter 227 Time:1:00PM 2:15PM Days: Tue Thu  Instructor: Holman,Martin
Screening Location: SOM 137 Time:6:30PM 8:30PM Days: Tue  Instructor: Holman,Martin
Interested in Samurai? Geisha? Anime? Sushi? Judo? Futons? Toyota trucks? Karaoke? Zen?  How about literature and cinema?  Indulge your taste for Japan in this new class.  A study of Japanese literature and its transformation from book to screen.  No knowledge of Japanese is necessary.  All readings are in English. For more information contact Martin Holman, Asian Lang & Lit, 329 Herter, 545-4953, Email: mholman@asianlan.umass.edu

LEGAL STUDIES
U1   13821 LEGAL 397F ST-CRIME ON FILM 01 LEC Capacity: 35
Location: TBA Time:1:00PM 2:15PM Days: Tue Thu  Instructor: Brooks,Dianne L.
U1   13822 LEGAL 397F ST-CRIME ON FILM L1 LAB Capacity: 35
Location: Herter 227 Time:5:00PM 8:00PM Days: Mon  Instructor: Brooks,Dianne L.
How the law translates to film. The purposes for which law narratives are used. The aesthetic and ideological constructions of law and legal issues in feature and documentary films. Textual theoretical approaches to cinema combined with cultural studies and critical legal theory. Classic, art, independent, and contemporary popular films. Films screened during class each week. Students must sign up for the lab.
This course is open to Undergraduate Seniors, Juniors & Sophomores only.

POLITICAL SCIENCE
U1   18316 POLISCI 201 AMERICAN POLITICS THROUGH FILM Capacity: 150
Lecture Location: Herter 231 Time:1:25PM 2:15PM Days: Mon Wed  Instructor: Mileur, Jerome
Screening Location: Herter 231 Time:7:00PM 9:30PM Days: Wed  Instructor: TBA
DISCUSSION SECTION:  Capacity: 25 per section
U1   18728 POLISCI 201 Location: Dickinson 206 Time:9:05AM 9:55AM Days: Fri  Instructor: TBA
U1   18729 POLISCI 201 Location: HasLabAdd 104A Time:10:10AM 11:00AM Days: Fri  Instructor: TBA
U1   18730 POLISCI 201 Location: HasLabAdd 104A Time:11:15AM 12:05PM Days: Fri  Instructor: TBA
U1   18731 POLISCI 201 Location ChenowLabAdd 329 Time:12:20PM 1:10PM Days: Fri  Instructor: TBA
U1   18732 POLISCI 201 Location HasLabAdd 111 Time:1:25PM 2:15PM Days: Fri  Instructor: TBA
U1   18733 POLISCI 201 Location HasLabAdd 104ATime:2:30PM 3:20PM Days: Fri  Instructor: TBA
Motives used to explore the development of American politics in the 20th century. The forces that shaped our politics early in the century (immigration, reform, religion), the rise of "big" government in the depression and World War II years (the new roles of the federal government, the enhanced presidency, internationalism, and anti-communism), and selected issues (race, gender, modern campaigns) prominent since the 1960s. The meaning of political democracy in America and how our understanding of it has adapted to changing times and conditions.

U1   19554 POLISCI 297 ST- AMER POL THR FILM 1(UMASS-GE:ALG)  LEC Capacity: 150
Location: TBA Time:TBA Days: TBA Instructor: Mileur,Jerome M
Extra credit for POLISCI 201. Enrollment in POLISCI 201 is required. One credit.

U1   19617 POLISCI 393A S-NATIONALISM & FILM 01 SEM Capacity: 45
Lecture Location: Dickinson 110 Time:4:00PM 5:15PM Days: Thu   Instructor: Roy,Srirupa Xenos,Nicholas
Screening Location: GoessmAdd 64 Time:7:00PM 9:30PM Days: Tue  Instructor: TBA
A comparative exploration of nations and nationalism, ethnic conflict, and identity-based politics in various parts of the world. Students learn about different theoretical approaches through historical and contemporary case studies of the relationship between identity and politics. A discussion of relevant films and novels supplements the course readings.  This course is open to Senior and Junior Political Science majors only.

U1   19735 POLISCI 393F S-NATIONALISM AND FILM 1 LEC Capacity: 45
Location: TBA Time:TBA Days: TBA Instructor: Roy,Srirupa Xenos,Nicholas
Must also be enrolled in POLISCI 393A. One credit.
 

AMHERST COLLEGE

ENGL 19 FILM AND WRITING
Instructor Meeting Time Location
VON SCHMIDT  TTH 10:00 - 11:20
Film and Writing. A first course in reading films and writing about them. A varied selection of films for study and criticism, partly to illustrate the main elements of film language and partly to pose challenging texts for reading and writing. Frequent short papers. Two 90-minute class meetings and two screenings per week.  Credits: FULL

ENGL 75 NON FICTION FILM : AFRICAN NATIONAL NARRATIVES
Instructor Meeting Time Location
BARR  TTH 11:30 - 12:50
(Also Black Studies 70f.) The course explores both traditional and modern examples of so-called “foundational” narratives from Africa. Readings include epics that emerge from traditional oral cultures (The Sundiata of Old Mali), canonical texts, like Achebe’s Things Fall Apart and Soyinka’s Death and the King’s Horseman, as well as more recent works, by Yvonne Vera, Ben Okri, and Yambo Ououlouguem, that revise and undermine these “books of the nation.”  Credits: FULL

ENGL 84 TOPICS IN FILM STUDY
Instructor Meeting Time Location
CAMERON  MW 12:30 - 01:50
Topics in Film Study. The topic varies from year to year. In spring 2003 the topic will be “What Is Cinema?” The course will read and discuss classic writing on the nature of film as a medium of art and of representation, together with viewings of certain landmark films of the twentieth century. Readings will include, for example, essays by Eisenstein, Epstein, Arnheim, Benjamin, Bazin, Bresson, Metz, Pasolini, Barthes, Cavell, Deleuze, and others; viewings will include films by Eisenstein, Griffith, Dreyer, Lang, Renoir, Welles, Hitchcock, Bresson, Godard, Marker and others. Three class hours and one or more screenings per week. Previous film study is recommended but not required.  Credits: FULL

ENGL 89 PRODUCTION SEMNAR: MOVNG IMAGE “Non-Fiction Production: Theories and Practice.”
Instructor Meeting Time Location
STEUERNAGEL  TH 08:30 - 11:15
Production Seminar in the Moving Image. The topic varies from year to year. In spring 2003 the topic will be “Non-Fiction Production: Theories and Practice.” The aims of this seminar are two-fold: First, to continue our exploration into the art of film and video through production workshops, camera and editing exercises, and self-directed projects. Second, to continue an introduction to the aesthetics and forms of film and video art through weekly screenings, readings, writing, and class discussion. This semester’s selected topic will act as a loose construct to examine the nature, form, and function of non-fiction film/video practices by focusing on its outer limits—the places where its status and meaning (as documentary) is challenged. Not open to first-year students. Requisite: English 82. Admission with consent of the instructor. (Contact English Department before Registration.) Limited enrollment.  Credits: FULL

FREN 32 EUROPEAN FILM
Instructor Meeting Time Location
CAPLAN  MW 02:00 - 03:20
European Film. A study of issues concerning European film, with particular focus announced each time the course is offered. The topic for spring 2001 is: Masterpieces of French Film. We shall view some of the greatest films that have been made in France, including (among others) works by Jean Renoir (Boudu Saved From the Waters, Grand Illusion, Rules of the Game), Robert Bresson, Alain Resnais (Last Year at Marienbad, Hiroshima My Love), Francois Truffaut (The Four Hundred Blows, Shoot the Piano-Player), and Jean-Luc Godard (Breathless, My Life to Live, Contempt). No previous training in cinematic analysis is required. Conducted in English. Credits: FULL

JAPAN 16 JAPANESE LIT & FILM
Instructor Meeting Time Location
MIYAMA  MW 02:00 - 03:20
Japanese Literature and Film. This course is designed to improve the advanced student’s command of spoken and written Japanese through film and literature. The course will emphasize comprehension, both aural and written, of works in Japanese, and development of vocabulary and idiomatic expression in Japanese. Critical language skills will be developed through frequent writing assignments as well as oral presentations. Requisite: Japanese 8 or equivalent Credits: FULL

LJST 25 FILM, MYTH & THE LAW
Instructor Meeting Time Location
SARAT  W 02:00 - 04:00
Film, Myth, and the Law. The proliferation of law in film and on television has expanded the sphere of legal life itself. Law lives in images which today saturate our culture and have a power all their own, and the moving image provides a domain in which legal power operates independently of law’s formal institutions. This course will consider what happens when legal events are re-narrated in film, and examine film’s treatment of legal officials, events, and institutions (e.g., police, lawyers, judges, trials, executions, prisons). Does film open up new possibilities of judgment, model new modes of interpretation, and provide new insights into law’s violence? We will discuss ways in which myths about law are reproduced and contested in film. Moreover, attending to the visual dimensions of law’s imagined lives, we ask whether law provides a template for film spectatorship, positioning viewers as detectives and as jurors, and whether film, in turn, sponsors a distinctive visual aesthetics of law. Among the films we may consider are Inherit the Wind, Northside 777, Judgment at Nuremberg, Rear Window, Psycho, Silence of the Lambs, A Question of Silence, The Sweet Hereafter, Dead Man Walking, Anatomy of a Murder, Erin Brockovich, Basic Instinct, The Shawshank Redemption, Unforgiven, and A Civil Action. Throughout we will draw upon film theory and criticism as well as the scholarly literature on law, myth, and film. Credits: FULL

RUSS 29 RUSSIAN & SOVIET FILM
Instructor Meeting Time Location
TAUBMAN  TTH 11:30 - 12:50
Russian and Soviet Film. Lenin declared “Cinema is the most important art” and the young Bolshevik regime threw its support behind a brilliant group of film pioneers (Eisenstein, Vertov, Kuleshov, Pudovkin, Dovzhenko) who worked out the fundamentals of film language. Under Stalin, historical epics and musical comedies, not unlike those produced in Hollywood, became the favored genres. The innovative Soviet directors of the sixties and seventies (Tarkovsky, Parajanov, Abuladze, Muratova) moved away from politics and even narrative toward “film poetry.” This course will introduce the student to the great Russian and Soviet film tradition. Frequent short writing assignments. Conducted in English. Two class meetings and one or two required screenings a week. Credits: FULL
 

HAMPSHIRE COLLEGE

HACU 108 INTRODUCTION TO MEDIA PRODUCTION
Instructor: Joel Saxe
Meeting Time: M 07:00PM-10:00PM  Location: LIB  B3  Capacity: 16
In this course the learning of basic skills and techniques of media (video) production will be grounded in a larger discussion of the historical contexts forms and functions of media culture. As celluloid film is just over a century old commercial video i.e. TV a half-century and video art and the personal camcorder but a quarter century the language of media production is in its infancy compared to the longevity of human consciousness and communication practices. In the range of production contexts in this country the college-level video production course is a site where some of the freshest and innovative ways of speaking this medium get done. As we learn basic production techniques they will be situated in their historical contexts be it commercial experimental documentary performance art political guerilla video community pubic access etc. In addition to project exercises students will be expected to keep an ongoing reflective journal and work collaboratively with others as part of the learning process. Though Hampshire's pedagogy emphasizes a highly individualistic learning structure this course will include a crew orientation in which students will be expected to team up with other students for some projects to share production and evaluation processes. PRJ

HACU 109 INTRO TO ANALOG & DIGITAL MEDIA
Instructor: Baba H. Hillman
Meeting Time: TH 09:00AM-11:50AM  Location: PFB  CLASS   Capacity: 16
This course will introduce students to basic photographic video and film techniques including hand processing and printing of black and white 35mm negatives digital photography and photoshop videography and non-linear editing Super 8 cameras and film to tape transfer. Students will gain experience in pre-production and post-production techniques and will learn to think about and look critically at the moving and still image. Students will complete three photographic projects and two time-based projects including a super-8 film project and a video project edited on a non-linear system. A $50 lab fee provides access to equipment and editing facilities. Students are responsible for providing their own film tape processing and supplies. PRJ PRS W

HACU 110 FILM WORKSHOP I
Instructor: Lester Waters
Meeting Time: TH 02:00PM-05:00PM  Location: PFB  CLASS  Capacity: 16
This course teaches the basic skills of film production including camera work editing sound recording and preparation and completion of a finished work in film or video. Students will have weekly assignments and will also produce a finished film for the class. There will be weekly screenings of student work as well as screening of films and videotapes which represent a variety of aesthetic approaches to the moving image. Finally the development of personal vision will be stressed. The bulk of the work in the class will be produced in 16mm format. Video formats plus digital image processing and non-linear editing will also be introduced. A $50 lab fee provides access to equipment and editing facilities. Students are responsible for providing their own film tape processing and supplies. There are weekly evening screenings or workshops. PRJ W

HACU 118 RUSSIA: FILM & LITERATURE REV
Instructor: Joanna T. Hubbs
Meeting Time: T TH 12:30PM-01:50PM  Location: EDH  4  Capacity: 25
A number of Russia's most prominent artists greeted the Revolution of 1917 as the dawn of unlimited freedom for experimentation. Art they hoped would play a central role in the transformation of society. We will explore the nature of the artist's engagement by looking at the literary works and films predicting celebrating and denouncing the revolutionary upheaval. Readings include: Chekov The Cherry Orchard Bielyi St. Petersburg; Blok The Twelve; Mayakovsky Lenin Zamiatin We; Bulgakov The Master and Marguerita; and Trotsky's Literature and Revolution. Films: Pudovkin Mother; Dovzhenko Earth; Vestov The Man With a Camera; Eisenstein The Battleship Potemkin. W

HACU 174 AMERICAN FILM RENAISSANCE
Instructor: Matthew Schmidt
Meeting Time: T TH 03:30PM-04:50PM M 07:00PM-10:00PM
Location: FPH FPH  108 108  Capacity: 25
This course examines the American Film Renaissance in Hollywood cinema between the years 1967 and 1977 a period of unprecedented artistic innovation and revisionism in the history of American narrative film associated with directors such as Mike Nichols Arthur Penn Stanley Kubrick John Cassavetes Robert Altman Francis Coppola Peter Bogdonovich Bob Rafelson Dennis Hopper Martin Scorsese Paul Mazursky and Terence Malick among others. Focusing on American cinema of this period as a cultural text we will explore the social political economic institutional and aesthetic dimensions of this New American Wave of films and filmmakers attempting to understand how they reconfigured the longstanding melodramatic and comedic conventions of Hollywood cinema in response to the cultural upheaval of American society in the era of the Civil Rights Movement the ethnic revival the counterculture the sexual revolution Vietnam and Watergate. Among the films to be discussed: The Graduate Bonnie and Clyde 2001: A Space Odyssey Easy Rider McCabe and Mrs. Miller Midnight Cowboy Chinatown Mean Streets A Woman Under the Influence Next Stop Greenwich Village Days of Heaven Apocalypse Now. Readings will include film scholarship focusing on the period including Glenn Man's Radical Visions: American Film Renaissance 1967-1976 as well selected articles focusing on topics in the cultural history of the period. PRS W

HACU 210 FILM WORKSHOP II
Instructor: Abraham Ravett
Meeting Time: F 09:00AM-11:50AM  Location: PFB  CLASS  Capacity: 16
This course emphasizes developing skills in 16mm filmmaking. The course will cover the basics of 16mm sound-synch including pre-planning (scripting or storyboarding) cinematography sound recording editing and post-production finishing. Students will be expected to complete individual projects as well as participate in group exercises. Reading and writing about critical issues is an important part of the course and students will be expected to complete one analytical essay. Workshops in animation optical printing video editing digital imaging and audio mixing will be offered throughout the semester. Students are expected to attend these workshops as well as attend screenings of seminal film and video works in documentary narrative and experimental genres. A $50 lab fee entitles students to use camera and recording equipment transfer and editing facilities plus video and computer production and post-production equipment. Students must purchase their own film and pay their own processing fees. Required screenings and workshops often occur in the evening. Prerequisite: Film/VideoWorkshop I.

HACU 211 STILL PHOTO WORKSHOP II
Instructor: Robert E. Seydel
Meeting Time: W 06:30PM-09:30PM  Location: PFB  CLASS  Capacity: 16
This class is a forum in which students can develop their creative vision in photography through the acquisition of skills with larger format cameras color and digital technologies. Knowledge of the aesthetic and social context of photographic practice will be emphasized. Students can expect bi-weekly to monthly assignments reading relevant texts in the history and theory of photography and digital imaging and writing short papers. Additionally this course will be enhanced through attending visiting artist lectures and exhibitions as well as film and video screenings. The lab fee of $50 entitles the student to darkroom facilities lab supplies and chemicals. Students must supply their own film and paper. Extensive additional lab time will be available. Technical workshops will meet once a week for two hours. Prior photographic experience is required.

HACU 212 VIDEO II: TYPOGRAPHY
Instructor: Matthew A. Soar
Meeting Time: M 09:00AM-11:50AM  Location: ASH  222  Capacity: 16
Typographic elements often seem to be developed and applied as secondary elements or even as an afterthought in video productions. In this course students will explore various experimental strategies for the design and integration of on-screen lettering into their video work and the creation of pieces that actually center on typographic expression. Particular emphasis will be placed on developing potential solutions that are not merely functional but are wholly appropriate to - and integrated into - a given video's subject matter. Class time will initially be spent studying various histories theories and applications of type. We will also explore a variety of creative methods including shooting in-camera during production and using software programs in post-production. During the semester students will develop test pieces through storyboarding and production exercises and subject to instructor approval may bring current projects to class or develop new works that require typographic treatments. Students who miss the first class meeting run the risk of being refused an evaluation. Prerequisites: Video I. A $50 lab fee provides access to equipment and editing facilities. Students are responsible for providing their own tapes disks and other supplies.

HACU 235 TRAVELING IDENTITIES
Instructor: Eva Rueschmann      Capacity: 25
Meeting Time: M W 02:30PM-03:50PM M 06:30PM-09:30PM Location: FPH ASH  102 AUD
This seminar focuses on the experiences of immigrants exiles and sojourners which have inspired a number of contemporary novels feature films documentaries autobiographies and theoretical debates about cultural identity place and location. Using cultural studies of travel and displacement ethnic studies and psychoanalytic theories of identity as critical frameworks for discussion we will examine some of the following issues addressed by cinematic fictional autobiographical and theoretical texts on migration and displacement: the complexities of adaptation or resistance to new cultures; culture transfer hybridity and biculturality; the journey as metaphor escape physical ordeal and psychological odyssey; the meanings of nostalgia and home; intergenerational conflicts between tradition and modernity; representations and negotiations of national and ethnic identities; the cultural and psychological consequences of border crossings; and the intersections of language culture and a sense of self. Additional weekly film screenings will be scheduled.

HACU 238 THE CULTURED CAMERA
Instructor: Sandra A. Matthews
Meeting Time: T TH 10:30AM-11:50AM  Location: FPH  107  Capacity: 25
Photography was invented in England and France but quickly spread across globe. How is the camera used differently in distinct cultural settings? We will begin by looking at the many roles photography has played in the US and then turn to the study of photographic works made in other Western and non-Western countries. With photography as a base we may also include examples from film video and digital imaging. We aim to broaden our experience of photographic images through comparative cross-cultural analyses. Students will keep a journal write several short essays complete a visual assignment and present an extended research project to the class.

HACU 248 WOMAN DIRECTOR OF FILM/VIDEO
Instructor: Joan E. Braderman
Meeting Time: T 12:30PM-03:20PM  Location: ASH  AUD  Capacity: 25
This course examines the role of women in film and videomaking as auteurs artists activists theorists critics and entrepreneurs from the 20s in Hollywood when there were more women directing films than at any time since to the burst of collective creative power in virtually every form engendered by the sixties and seventies women's movement. We will examine the differences in context for work proposed by the dominant cinema and television industries on the one hand and the various national political and alternative aesthetic spaces that have brought the feminine sensibility behind the camera as well as in front of it. The teens and 20s films of Weber Shub Dulac; of Arzner and Deren Sagan Riefenstahl in the 30s and 40s; then Varda Chytilova Duras Maldorer Gomez Riechert Von Trotta Rainer Ackerman Export Friedrich Savoco and Bigelow contemporary video artists and producers such as Rosler Birnbaum Jonas and Halleck will be examined in their own specific economic political and aesthetic contexts. The major critical and theoretical contributions by feminist writers in the 70s like Rich Mulvey Lesage and deLauretis will be examined in relation to work by women. In a field as capital intensive as media production power for women has often been hard won. This course serves as an alternative view of the film and videomaking process as it traces the movement of women into it. Prerequisite: Some experience in women's studies and/or film and video criticism. There will be additional screening time scheduled.

HACU 281 VIDEO ACTIVISM
Instructor: Matthew A. Soar      Capacity: 16
Meeting Time: W 09:00AM-11:50AM W 07:00PM-10:00PM  Location: ASH ASH  222 AUD
The history of video can be understood as the emergence of a relatively affordable technology that initially seemed to offer endlessly utopian possibilities to artists and activists alike. Although this potential has so far proved to be largely unattainable video continues to be used as an alternative medium of expression from critiquing and countering the prevalent values of consumer societies to challenging the official testimony of oppressive governments. In this course we will develop and apply these insights through readings and screenings. Field projects are designed to explore the current possibilities and limitations of video as an alternative low-budget medium with activist and interventionist potential. The regular screenings to be held outside class are mandatory. Students who miss the first class meeting run the risk of being refused an evaluation. Prerequisites: Video I. A $50 lab fee provides access to equipment and editing facilities. Students are responsible for providing their own tapes disks and other supplies.

HACU 399B  FILM/PHOTOGRAPHY STUDIES
Joan E. Braderman Jacqueline A. Hayden  W 02:00PM-05:20PM

CS 174  COMPUTER ANIMATION I
Instructor: Christopher H. Perry
Meeting Time: M W 01:00PM-02:20PM  Location: ASH  126  Capacity: 20
This course will introduce students to the production of animated short films with the tools and techniques of three-dimensional (3D) computer graphics. Readings and lectures will cover the theoretical foundations of the field and the homework assignments will provide hands-on project-based experience with production. The topics covered will include modeling (the building of 3D objects) shading (assignment of surface reflectance properties) animation (moving the objects over time) and lighting (placing and setting the properties of virtual light sources). Regular attendance is expected and due to the large amount of material being covered additional workshops outside of class may be scheduled. Familiarity with camera-based image production (photography film/video) geometry trigonometry and Macintosh computers is a plus. PRJ

CS 290 SPECIAL VISUAL EFFECTS
Instructor: Christopher H. Perry
Meeting Time: T TH 12:30PM-01:50PM  Location: ASH  126  Capacity: 15
Special effects have been a major part of film since the invention of the medium and their role continues to grow as digital imaging technologies facilitate their creation. In this course students will examine the science art ethical implications and practice of creating visual effects in early films such as 1902's 147A Trip to the Moon148 through modern effects masterpieces. Class work will cover both traditional and contemporary techniques including in-camera effects miniatures matte paintings chroma- and luma-keying wire/rig removal motion control photography rotoscoping split screens stop-motion animation and 3D computer-generated effects. Prerequisites include CS 116 (Introduction to Digital Imaging) or its equivalent and an introductory production course in either film or video.
 

MOUNT HOLYOKE COLLEGE

ARTH 360S (01) SEMINAR IN ASIAN ART INDIAN FILMS
A. Sinha
MW 1-3:50     221 Art
Credits: 4 credits Enrollment: 15
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.

ECON 209S UNITED STATES ECONOMIC HISTORY IN FILM
S. Gabriel
TU 1-3:50 M 7-10:00 PM   Credits: 4 credits ; enrollment limited to 15
First-year seminar.  An introduction to political economy and economic analysis using a wide range of popular films as the object of analysis. For example, students will view A Respectable Trade and discuss the economics of slavery. The basic goal of the course is to provide theoretical tools for applying economic analysis in understanding both historical events and processes and more contemporary issues. See http://www.mtholyoke.edu/courses/sgabriel/filmcourse.html for a more detailed description.
Satisfies Social Sciences III-A requirement

ENGLISH  385S   FEMINIST THEORY AND FILM
W 1-3:50 and SU 7-9 PM (FILM SCR)
E. Young
Prereq. jr, sr, 8 credits in English and/or Women's Studies beyond English 101, and permission of instructor; Film Studies 201 and/or other background in film strongly recommended; 4 credits; enrollment limited to 20; 1 meeting (3 hours) plus evening screening; satisfies English department seminar requirement; previously offered as English 372
(Speaking- and writing-intensive course; women's Studies 333s (04)) This seminar investigates contemporary feminist theory - including but not limited to feminist film theory - in relation to film. We will examine the influential formulations of the cinematic "male gaze" and woman's film, recent theorizations of race and sexuality in cinema, gender complexities in classic and contemporary Hollywood film, and new trends in filmmaking by women. Requirements include extensive readings, weekly essays, and film screenings.  Satisfies Humanities I-A requirement

FILM STUDIES 250S   HISTORY OF WORLD CINEMA
R. Blaetz
MW 1:15-2:30 and M 2:30-5 (FLM SCR) ( 220 Art )
Prereq. Film Studies 201 or permission of instructor; 4 credits; 2 meetings (75 minutes), 1 screening (2 1/2 hours).
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

FILM STUDIES 310S   PRODUCTION SEMINAR ON THE MOVING IMAGE
A. Steuernagel
W 9:00-12:00 and TU 7-9 PM ( 221 Art 101 Dwigt )
Prereq. Film Studies 210, equivalent, or permission of instructor; 4 credits; enrollment limited to 15; 1 meeting (3 hours), 1 screening (2 1/2 hours); a lab fee may be charged
An advanced course in the theory and practice of film/video production as an art form. Topics for the seminar will vary from year to year.  This course continues to explore the moving image as an art form, focusing on three specific components: structure, sound, vision. The first segment of the course will explore films whose structure makes them most memorable. The second segment will examine innovative ways in which sound is used in film. The final segment of the course will focus on films in which the visual element predominates. Emphasis will be placed on the technical/aesthetic aspects of media art production. Students will be expected to create their own video/audio work. Weekly screenings will be supplemented with readings offering a theoretical/historical context in which to think about independent cinema and video art.  Satisfies Humanities I-A requirement

FILM STUDIES  320S (01)   TOPICS IN FILM STUDIES: MODERNISM AND THE CINEMA
R. Blaetz
TU 1-3:50 and M 7-9 PM (FILM SCR) ( 220 Art )
Prereq. 8 credits in Film studies or permission of instructor; 4 credits; 1 meeting (3 hours), 1 screening (2 hours)
This topics course provides advanced instruction in an aspect of film history, theory, or criticism. Students are expected to bring substantial background in the study of film to this course; enrollment may be limited.
This seminar examines the history of modernism in the cinema, beginning with the early cinema of attractions and including surrealist cinema, Soviet cinema, filmmakers such as Carl Dreyer, Robert Bresson, and Ingmar Bergman, and concluding with the work of such American avant-garde filmmakers as Stan Brakhage and Hollis Frampton.  Satisfies Humanities I-A requirement

GERMAN STUDIES 241S (01)   SPECIAL TOPICS IN GERMAN STUDIES
FROM MARLENE DIETRICH TO RUN LOLA RUN: GERMAN WOMEN AND FILM
MW 1:15-2:30
E. Krimmer
Prereq. German Studies 201 or permission of the department; 4 credits; 2 meetings (75 minutes)
Introduces cultural, social, economic, and political developments in the German-speaking countries from the Middle Ages to the present. Topics include German regional culture and language; art, architecture, and music; women, gender, and family relations; the experience of work and leisure time; contemporary East-West relations; and film studies. Labs help students express themselves in culturally and situationally appropriate ways and develop contextual reading comprehension skills. Requires oral reports, short papers, and exams.   (Speaking- and writing-intensive course) This course explores the work of German women directors and actresses from the Weimar Republic to the present. The first half of the course examines women's responses to National Socialism; the second half focuses on post-World War II cinema. We will examine the politics and aesthetic and filmic innovations of directors such as Leontine Sagan, Leni Riefenstahl, Margarete von Trotta, Doris Doerrie, and Helke Sander-Brahms. Actresses to be discussed include Marlene Dietrich and Franka Potente.  Satisfies Language requirement or Humanities I-A requirement

THEATRE ARTS 243S (01)   TOPICS IN DRAMATIC WRITING:  SCREENWRITING
Th 1-3:15
R. Down
Prereq. permission of instructor; 4 credits; enrollment limited to 14; 1 meeting (3 hours)
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

THEATRE ARTS  350S (01)   SEMINAR: SHAKESPEARE ON FILM
 M 1-3:50 ( ROOKE Theat )
A. Smith-Howard
Prereq. 8 credits in department or in related subjects or permission of instructor; 4 credits; 2 meetings (2 hours); does not satisfy English department pre-1700 requirement  (English 384s) A survey of major developments in the production of Shakespeare for the screen. A range of topics concerning Shakespearean cinema will be covered: textual analysis, adaptation, interpretation, acting styles, and direction.  Satisfies Humanities I-A requirement

*MHC: The following courses are Film Studies Related or Component courses only – They do not count towards MHC Film Studies or UMASS Film Certificate:

ENGLISH 101S (04)   SEMINARS IN READING, WRITING, AND REASONING:  MULTICULTURAL FAMILIES
[*Film Studies Related or Component course only]
TUTH 2:40-3:55
D. Weber
4 credits; enrollment limited to 17; 2 meetings (75 minutes); This is a first-year seminar
(Writing-intensive courses) Though sections of English 101 differ in specific content, all develop the skills of careful reading and effective writing essential to the liberal arts and sciences. Students will write frequently and have an opportunity to revise their work. By active participation in class discussion, students will develop their speaking skills and learn to ask critical questions, formulate answers and frame persuasive arguments.  English 101 is offered in both semesters. Students who do not take the course in the fall should consider enrolling in the spring. Like other first-year seminars, English 101 is intended primarily for students at the start of their college career. Only first-year students may preregister for the course. If space is available, some more advanced students may be able to enroll at the start of the semester.
English 200, required for the English major, introduces students to critical issues in the study of English literature. Students considering an English major who take English 101 or another first-year seminar in the fall will ordinarily take English 200 in the spring. Students with a score of four or five on the Language and Composition Advanced Placement examination are encouraged to enroll in English 200 as their first English course. First-year students with scores of four or five on the Composition and Literature Advanced Placement examination may enroll in English 210 or 211, as well as many other 200-level literature courses.
First-year seminar (Writing-intensive course) This course examines the various ways the multicultural family in contemporary America 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 and ethnic imagination. 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
Please see MHC English Dept website for more information.

ENGLISH 317S   STUDIES IN RENAISSANCE LITERATURE:
ELIZABETHAN THEATRE AND HOLLYWOOD MOVIES: POPULAR ART, GENRE, AND TOPICAL MEANINGS
[*Film Studies Related or Component course only]
TH 1-3:50
P. Berek
Prereq. 8 credits in department beyond English 101 or permission of the instructor; 4 credits; enrollment limited to 15; 1 meeting (3 hours); satisfies English department pre-1700 requirement; satisfies English department seminar requirement
How does genre respond to, or shape, audience expectation, and what links are there among generic forms, the business of theatre or movies, and social or political issues? This seminar will study the theatre of Shakespeare and his contemporaries and Hollywood films from the 1930s through the 1960s. Genres may include (in the Elizabethan theatre) history, revenge, tragedy, comedy, and tragicomedy; (in the movies) screwball comedy, horror films, "women's pictures," science fiction, and westerns. The course will include substantial readings in critical theory.  Satisfies Humanities I-A requirement

GERMAN STUDIES  231S (03)   GERMAN LITERATURE AND CULTURE IN A EUROPEAN CONTEXT:  BLACK, WHITE, AND GERMAN: AFRO-GERMANS AND GERMAN IDENTITY
[*Film Studies Related or Component course only]
M 1-3:50
W. Sutherland
4 credits; 2 meetings (75 minutes)
An introduction to critical reading and writing, with emphasis on practicing oral and written strategies for discussing and analyzing texts and the reader's response to them. Both fictional and nonfictional readings selected from various periods and perspectives. Different topics may be offered each year.
(Speaking- and writing-intensive course; taught in English) Examines history and culture of Afro-Germans in Germany from nineteenth-century German colonization of Africa to the present. Special focus given to the issues of colonization, citizenship, race, miscegenation laws in the colonies, and a comparison of African American experience concerning these issues. Other topics include blacks in Weimar Republic and Third Reich, black occupation forces and biracial children/adults in Germany after both World Wars, the emergence of Afro-German identity in postwar Germany, visual representations of blacks on the Berlin stage and in Nazi and postwar films, and current political issues of Afro-Germans.
Satisfies multicultural requirement; satisfies Humanities I-A requirement

GERMAN STUDIES 315S (01)   TOPICS IN GERMAN LITERATURE AND CULTURE
CRIME STORIES IN GERMAN LIT, FILM, AND TELEVISION AFTER WORLD WAR II
[*Film Studies Related or Component course only]
TUTH 1:15-2:30
C. Partsch
Prereq. German Studies 221 and 222 or 241, or permission of department; 4 credits; 2 meetings (75 minutes) (Speaking- and writing-intensive course) This course focuses on the genre of the crime story in its variable forms in the German-speaking countries after World War II. These texts and films, ranging from popular television series and bestsellers to highbrow, metafictional narratives, will be discussed as representations of morality, identity, otherness, and transgression in different social, political, and historical contexts. Among the criminals: the Nazi parents, the state, terrorists, the Stasi, foreigners and guest workers, men, women, and Americans. Readings by, among others, Jakob Arjouni, Heinrich Böll, Friedrich Dürrenmatt, Uta-Maria Heim, Horst Bosetzky, Ingrid Noll, and Helga Schubert.  Satisfies Language requirement or Humanities I-A requirement

GERMAN STUDIES 325S (01)   SENIOR SEMINAR RE/VISIONS OF SELF AND SOCIETY: THEODOR FONTANE AND THOMAS MANN IN FILM AND FICTION
[*Film Studies Related or Component course only]
W 1-3:50
G. Davis
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 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) Thomas Mann saw in Theodor Fontane his great role model. Both authors, the Luebeck patrician and the Berlin pharmacist, explore the complex relationship between individual and society during the late 19th and early 20th centuries. We will study the authors; cultural criticism and analyze film renditions of their works, focusing on such issues as representation of class, gender, ethnicity, and the role of the artist. Short texts by Marx, Schopenhauer, Wagner, Nietzsche; also essays, letters, diary entries by Fontane and Mann. Texts by Fontane: Effi Briest and Irrungen Wirrungen; by Mann: Buddenbrooks, Tod in Venedig, and Tonio Kroeger. Films by Fassbinder, Visconti, Noelte, Wirth, et al.  Satisfies Language requirement or Humanities I-A requirement

RUSSIAN & EURASIAN STUDIES 153S   LOVING TO DEATH: ANNA KARENINA
[*Film Studies Related or Component course only]
TUTH 1:15-2:30
E. Cruise
4 credits; enrollment limited to 15
First-year seminar (Writing-intensive course) Writing intensive. Leo Tolstoy's Anna Karenina is an action-packed drama about love and passion, personal freedom and societal expectations, and the costs of living. We will read the text slowly, with attention to the ambiguities that defeat a clear or simple interpretation of the novel's message. Then we will look at films of Anna Karenina and assess their interpretations of the novel.  Satisfies Humanities I-A requirement
 

SMITH COLLEGE

FLS 241  GENRE/PERIOD:  GLOBAL CINEMA AFTER WORLD WAR II
Instructor:  Alexandra Keller
Tuesday, Thursday  10:30–11:50 a.m. Tuesday 7:00–11:00 p.m.
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.  “Global Cinema after World War II” 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.  Papers and weekly screenings required.  {A}

FLS 280  INTRODUCTION TO VIDEO PRODUCTION
Instructor:  Elizabeth L. Miller
Tuesday 1:00–4:50 p.m.  Wednesday 7:30–9:30 p.m.
Video I is an introductory video production course.  This class will introduce you to the history and contemporary practice of video art/documentary video and will provide you with the technical and conceptual skills to complete creative video projects in small groups and individually.  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

FLS 282  ADVANCED VIDEO PRODUCTION WORKSHOP
Instructor:  Justin P. West
Tuesday, Thursday 7:30–9:30 p.m.
This course is designed to explore video as a creative medium of cinematic expression.  Students with a solid understanding of basic video production will have an opportunity to work intensively with video in a seminar environment to explore advanced aspects of the medium.  The course will make use of critique and the viewing and discussion of film and video works to give students an expanded understanding of the technical demands and creative potential of the medium.  Students in the course will work on an individual production over the course of the semester as well as participating in shorter group problem-solving projects.  Some alternative media may be explored.  Prerequisite:  FLS 281 or equivalent.  Enrollment limited to 13.  {A}   4 credits

FLS 351  FILM THEORY
Instructor:  Alexandra Keller
Tuesday 1:00–4:50 p.m.
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}   4 credits.