(All UMASS courses carry 3-credits unless otherwise indicated)




Professor Ernest Allen

Course lectures and screenings: T 9:30-12:30 Bartlett 61

Discussion section 1 Th 9: 30-10-45

Discussion section 2 Th 9: 30-10-45

Discussion section 3 Th 11:15-12:30 CANCELLED

Discussion section 4 Th 11:15-12:30 CANCELLED

This course focuses on the cinematic representations of African Americans in the 1970s, a crucial transitional era marked by the demise of racial segregation and the fulfillment of formal political and civil rights for black Americans on the one hand, and the decline of the quality of life in urban centers and unprecedented rates of incarceration on the other. How did 1970s filmmakers engage with and refute dominant cultural and Hollywood images of African Americans while creating a cinematic language specific to African American experiences? Discussion topics include: “The Ghetto Esthetic;” “Beyond Hollywood: African American Art Cinema;” “Interrogating Blaxpoitation;” “Uses of Music;” “Gender Portrayals;” “The Black Hero.”

Films to be screened include extracts from early anti-black works such as “Birth of a Nation,” and responses to these negative portrayals by African American directors such as Oscar Micheaux. Primary film texts include “Nothing But a Man,” from the 1960s; “Sweet Sweetback’s Baad Asssss Song,” “Cooley High,” “The Spook Who Sat by the Door,” “Super Fly,” “Five on the Black Hand Side,” “Wattstax,” “Uptown Saturday Night,” and “Foxy Brown,” from the 1970s; and, from the 1980s, “Hollywood Shuffle.” Additional films available through audio-visual reserve. Required readings online through E-reserve and on the course website include: Mark Reid, Redefining Black Film; Ed Guerrero, Framing Blackness: The African American Image in Film; Thomas Cripp, Slow Fade to Black: The Negro in American Film, 1900-42; bell hooks, Black Looks: Race and Representation.



Instructor: Art Keene email:


11206 ANTHRO 106 A LEC Culture Through Film Cap: 264

6:30PM 10:30PM Tu Thompson 104 Instructor: Keene

11332 ANTHRO 106 AD01 DIS Culture Through Film Cap 22

10:10AM 11:00AM W location TBA, Instructor: staff

11353 ANTHRO 106 AD02 DIS Culture Through Film Cap: 22 Y

11:15AM 12:05PM W location TBA, Instructor: staff

11333 ANTHRO 106 AD03 DIS Culture Through Film Cap: 22 Y

9:05AM 9:55AM W

11354 ANTHRO 106 AD04 DIS Culture Through Film Cap: 22 Y

1:25PM 2:15PM Th

11355 ANTHRO 106 AD05 DIS Culture Through FilmCap: 22 Y

9:05AM 9:55AM Th

11356 ANTHRO 106 AD06 DIS Culture Through Film Cap: 22 Y

10:10AM 11:00AM Th

11334 ANTHRO 106 AD07 DIS Culture Through Film Cap: 22 Y

4:40PM 5:30PM Th

11335 ANTHRO 106 AD08 DIS Culture Through Film Cap: 22 Y

7:00PM 7:50PM Th

11357 ANTHRO 106 AD09 DIS Culture Through Film Cap: 22 Y

12:20PM 1:10PM Th

11336 ANTHRO 106 AD10 DIS Culture Through Film Cap:22 Y

10:10AM 11:00AM F

11337 ANTHRO 106 AD11 DIS Culture Through Film Cap: 22 Y

11:15AM 12:05PM F

11358 ANTHRO 106 AD12 DIS Culture Through Film Cap:22 Y

9:05AM 9:55AM F

Plus: 50 minute discussion section on WED, TH or FRI

Lecture & Discussion & films. Exploration of different cultures and theories of cultural anthropology through the medium of film. Ethnographic, documentary, and feature films are used to focus on a wide array of cultures and to examine such topics as race, class, gender, sexuality, ethnicity, political processes, colonialism globalization and cultural change. Cinema as a medium of communication and cross-cultural understanding. The course includes a modest amount of reading, 12 weekly response papers and two exams. Credits: 4 GenEd: SBG

ANTH 106O CULTURE THROUGH FILM (Orchard Hill only)

11343 ANTHRO 106 B LEC Culture Through Film 4 Cap: 25 N

Instructor: Page,Enoch H

6:30PM 10:30PM W Grayson 104

Open to Orchard Hill & Central area freshmen only.




Instructor: Bowler,Kristen Pamela

11420 Section 1: 8:00AM 10:45AM TuTh Bartlett 51

11421 Section 2: 11:15AM 2:10PM TuTh Bartlett 51 Staff

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. Course Component Studio / Skills Required. Pre Req: Art 110, 120& 131 Open to Undergraduate ART, BFA-ART, BFA-ART ED, and BFA-DESIGN majors only.


Instructor: Jahoda,Susan Eve

11422 9:05AM 3:00PM F Bartlett 51

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. Open to Undergraduate ART, BFA-ART, BFA-ART ED, and BFA-DESIGN majors only.


Instructor: Jahoda,Susan Eve

18876 1 LEC 9:05AM 11:05AM MW TBA

Course description not available.


Instructor: Benn,Janet A

11447 1 STS 1:25PM 4:10PM M FineArtCtr 447

17786 1:25PM 4:10PM F FineArtCtr 447

With studio. Continuation of ART 374 using Alias/Wavefront software. Class and personal projects undertaken. Course Component Studio / Skills Required

Prerequisite: ART 374. Open to ART, BFA-ART, and BFA-DESIGN majors only.


Galvis-Assmus, Patricia

11465 F 09.05-15.00 Fine Arts Center - FAC 445

Course Notes Open to ART, BFA-ART, and BFA-DESIGN majors only.


Instructor: Jahoda,Susan Eve

11464 1 STS 1:25PM 4:10PM MW Bartlett 51


Instructor: Benn,Janet A

11484 1 STS 9:05AM 11:50AM MF FineArtCtr 439

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, a-mong others. Basic audio and video skills. Students develop projects of their own design resulting in a fully edited videotape of their work. Prerequisite: consent of instructor. Open to Masters Art majors only.


Instructor: Jahoda,Susan Eve

18883 1 LEC 9:05AM 11:50AM MW TBA


Galvis-Assmus, Patricia

11496 F 09.05-15.00 Fine Arts Center - FAC 445

Open to Masters Art majors only.


CHINESE 197D Modrn China thru Lit & Film Cap: 50

Instructor: Xiao,Yun

18713 2:30PM 3:45PM TuTh TBA

No course description available yet.


COMM 296F Indstu-FILM FESTIVAL Cap 100

12985 W 7.30PM - 10.00PM in SOM 137


Note: This is a 1-credit pass/fail course in conjunction with the Massachusetts Multicultural Film Festival. The course begins Wed 2 Feb in SOM 137. Students must attend the introductory session on Wed 2 Feb, the final class session on Wed 11 May and 7 screening events. Students will be required to complete a survey at the end of each event (including filmmaker discussions). Most events will be on Wednesdays, 7:30-10:30PM at UMass; some events will be at other Five College campuses. For course questions, contact Prof. Anne Ciecko, 413-545-6348; For more detailed information about the festival program, contact the Film Studies Office,129 Herter Annex, tel: 413-545-3659;



Course Director: David Maxcy, 120 South College

12986 Lec 1 W 1.25PM - 2.15PM MACH E33 Maxcy Cap 36

13080 Lab 1 M 1.25PM - 4.25PM SC 120 Staff Cap 12

13081 Lab 2 W 9.05AM - 12.05PM SC 120 Staff Cap 12

13082 Lab 3 F 9.05AM - 12.05PM SC 120 Staff Cap 12

Lecture, studio. 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. (Course capacity: COMM=27 /3 sections @9 and JOURNAL=9/3 sections @3 for a TOTAL of 36 )

Course Eligibility*: Senior, Junior, and Sophomore COMM majors

Course Notes: Same as JOURNAL 397K


Norden 409 Machmer

12987 Lec 1 TU 2.30PM – 3.45PM THOM 102 Norden Cap 100

12988 Lab 1 TU 4.00PM – 6.00PM THOM 102 Norden Cap 100

13099 Dis 1 W 10.10AM – 11.00AM SC 108 Staff Cap 25

12990 Dis 2 W 11.15AM – 12.05PM SC 108 Staff Cap 25

12991 Dis 3 W 12.20PM – 1.10PM SC 108 Staff Cap 25

12992 Dis 4 W 1.25PM – 2.15PM SC 108 Staff Cap 25

Lecture, screening, discussion. A survey of key events and representative films that mark the history of worldwide cinema since 1950. 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. Requirements will include papers, in-class writing assignments, and unit exams. (Course capacity is 100 Total/4 sections @ 25)

Prerequisite: None; however, COMM 340 (History of Film I) is highly recommended

Course Eligibility*: Seniors, Juniors and Sophomores

Course Notes: An honor’s colloquium will be offered.


18297 Lec 1 03 TU 1.00PM – 3.45PM BART 131? List 108 Bartlett

Lecture, Discussion. Movies are responsible in large part for what Americans think they know about journalists. From the reporter who will do anything for a scoop, to the tough sob sister sparring with her male counterparts, to the cynical editors and ruthless, morally bankrupt media barons, films have influenced the public's perception of who journalists are and what they do. These movies also provide an opportunity to critique ethical decisions made by the journalistic heroes and villains on the big screen. This class explores the images of journalists portrayed in the movies from the 30s through modern times, focusing on the ethical decisions they make. (COMM Course capacity is 3)

Course Eligibility*: Senior & Junior COMM majors

Course Notes: This course is cross-listed with Journalism 393F


Blais 108 Bartlett

18309 M 2.3OPM – 6.00PM

(no course description available)

Lecture, discussion. (COMM Course capacity is 3)

Course Eligibility*: COMM Seniors

Course Notes: Same as Journal 397L


Ciecko 306 Machmer

13001 MW 3.35PM - 5.30PM HERT 227/231 Cap 150

Lecture. 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 arthouse and film festival circuit, the video store? How do film stars, auteurs, and genres emerge? (Course capacity is 150)

Course Eligibility*: Any student


Maxcy 120 South College

13020 TU 11.15AM - 3.15PM HERTER TV STDIO

Lecture, Studio. 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, that will be aired on local cable television outlets. (Course capacity:10)

Course Eligibility*: Any Student

Course Prerequisite: COMM 331


Geisler 411 Machmer

13079 W 2.30PM - 6.30PM SC108/9

Lecture, studio. A hands-on introduction to single-camera filmmaking using digital video camcorders (electronic field production) or 16mm cameras and non-linear (computer-based) editing. Students will learn concepts of pre-production, shot composition, lighting, visual storytelling, continuity editing, and production and post-production audio as they plan, shoot, and edit exercises and complete projects. A "real world" editing project (scenes from an episode of "Highlander" will also be included. (Course capacity is 12)

Course Eligibility*: COMM Juniors and Seniors

Course Prerequisites: COMM 297D or COMM 331 or instructor permission

Course Notes: Only COMM Juniors and Seniors who have completed either COMM 297D or COMM 331 may add this course through Spire. Others may add only by permission of the instructor. Students who do not meet the prerequisites for this class may fill out an application available from the instructor.


Geisler 411 Machmer

13022 TUTH 11.15AM - 12.30PM SC 108

Lecture, discussion. An examination of the art, craft, and business of screenwriting from theoretical and practical perspectives. Topics include screenplay format and structure, story, plot and character development, dialog and scene description, visual storytelling, pace and rhythm, analysis of professional and student scripts and films, and more. Written work includes three screenwriting projects. The focus is on writing for narrative films and, to a limited extent, TV programs. Prerequisite: 3 hours in COMM film courses. (Course capacity is 20)

Course Eligibility*: Senior & Junior COMM majors


Geisler 411 Machmer

13105 TUTH 2.30PM – 4.30PM SC 108

Lecture, discussion. This course combines critical analysis with a hands-on introduction to producing a documentary. Students will view analyze, and critique all or part of fifteen works by filmmakers from Robert Flaherty ("Nanook of the North") to Michael Moore ("Fahrenheit 911"), to further their understanding of the documentarian's craft and art. Students will also do pre-production (research and scripting) on their own short documentary, along with shorter hands-on exercises in writing narration, interview techniques, use of archival sources, etc. (Course capacity is 20)

Course Eligibility*: Senior & Junior COMM majors

Course Prerequisite: COMM 240 or COMM 297D or COMM 340 or COMM 342 or COMM 493E or consent of instructor.



18323 TUTH 1.00PM – 2.15PM and Screening Tu 6:00pm+, location TBA

Cap 25 (10 Comm, 15 German)

For course description, see GERMAN 597F THE CINEMA OF EASTERN GERMANY

Course Eligibility*: Senior & Junior COMM majors

Course Notes: Same as German 597F and COMPLIT 597E


Graduate Courses in Communication:



18324 W 3.35PM – 6.30PM MACH 413 Cap 10

In this seminar we will investigate issues related to the general topic of film and society and will doubtlessly make forays into such cognate fields as economics, politics, sociology, and psychology along the way. The semester will likely be divided into four overlapping units: Development & Structure, Function, Representation, and Audience. The first unit will cover the emergence and maturation of the film industry and its connections with other cultural institutions and society in general. The second unit will focus on the various functions of film -- e.g., entertainment, education, propaganda, mode of discourse for maintaining the status quo -- as reflected in the work of representative practitioners. The third unit will examine film and society's mutually causal relationship with special attention paid to film's role as a socio-cultural document. Finally, the fourth unit will investigate spectatorship issues. Requirements will include research survey reports, in-class presentations, and an original research project. Though film will be the main medium under study in this seminar, I would welcome and encourage discussion and research related to video/TV as well. (Course capacity is 10)

Course Eligibility: Doctoral, Masters Graduate COMM majors



(AT) Portuges, 311 South College

M 3:35-7:00 Lecture

Disc sections: #13200 Lec. M 3:35-6:35 SOM 137

#13201 Dis. 1 Tu 2:30-3:20

#13202 Dis. 2 Tu 2:30-3:20

# 13203 Dis. 3 Tu 4:00-4:50

#13204 Dis. 4Tu 4:00-4:50

Lecture, Discussion. 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.


(AT) Levine, 305 South College

M 3:35-7:00 lecture

Disc sections: #18296 Lec. M 3:35-7:00 Herter 231

#18300 Dis. 1 Tu 2:30-3:45

#18302 Dis. 2 Tu 2:30-3:45

#18310 Dis. 3 Tu 4:00-5:15

#18314 Dis. 4 Tu 7:00-8:15

Lecture, discussion. Explores modern origin of experimentation in film 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. Emphasis on the ways in which Avant-garde films can problematize themselves through the ploys of telling a story. By means of a self-consciousness of story-telling which undermines viewer identification, the drive for closure, the demand for origins and order, and even cause and effect, these avant-garde films restore to playfulness its strength and ambiguity. Requirements: one 5 page paper for midterm, final paper or project; attendance.


Levine, 305 South College

Lec. M 3:35-7:00 Herter 231

18321 Dis.1 Tu 2:30-4:30

See COMLIT 383 above for general course description. Students in COMLIT 383H must also register for COMLIT H01, a one-credit, hands-on component (for a total of 5 credits). The purpose is to investigate aspects of film (such as shot formation, camera movement, editing approaches). Students will collaboratively explore a range of expressive possibilities on video. Working in groups of four, students will alternate roles of creator/writer, camera-person, editor, etc., in constructing brief scenes. No experience necessary. See instructor to register. Limited places.


Byg, German Dept., Herter 523

#18334 Lec. TuTh 1:00-2:15p.m. and screening Tu 6:00pm, location TBA

For course description, see GERMAN 597F THE CINEMA OF EASTERN GERMANY


Graduate Courses in Comparative Literature:


*(Open to selected undergraduates)

Levine, 305 South College

#18350 Lec. W 2:30-6:30

Lecture. What were Godard's early films for Fassbinder? Instead of rejecting the most influential avant-garde film maker of the sixties, Fassbinder adopted Godard as father. Yet this fathering was a highly selective progeneration. What does the juxtaposition of these film makers reveal and conceal - and not only about Fassbinder's films, since we cannot now 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, dissociation, 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 abyssal 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. Pre-requisites: 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 and Breathless; American Soldier and Les Carabiniers; The Bitter Tears of Petra Von Kant & Une Femme Mariee; Effie Briest & Vivre sa Vie; Beware of the Holy Whore and Contempt. Also, recent films by: Almodovar, and Todd Haynes.


Balce, South College

#18349, Th 4:00-6:30p.m.

A graduate seminar on theories of visual culture, American imperialism (post-1898), race, gender and class. The central premise of the course is that late 19th and early 20th century American cultures — both “high art” and popular culture — are imbricated with gendered, racial and class ideologies that support and critique the project of American empire-building. The course begins with the late 1890s and the last of the “Indian Wars,” continuing with the annexation of Hawai'i, Guam, Puerto Rico and the Philippines as new colonial possessions of the U.S. Some questions that will ground our discussions are as follows: What material sources construct the American imperial archive? What logics, icons and histories inform or structure the discourse of American imperialism? What is the relationship between whiteness, Orientalism and the U.S. Empire? What are the legacies of Empire that we find in the cultures of U.S. imperialism (Anglo American, Black, Asian, Latino, Pacific Islander, Caribbean)? The course explores these questions through analyses of historical, literary and cultural studies texts. Selected readings and films (tentative): Alidio, Kimberly. "When I Get Home, I Want to Forget": Memory and Amnesia in the Occupied Philippines, 1901-1904." Social Text 17, no. 2 (1999): 105-22.

Barthes, Roland. Camera Lucida, Reflections on Photography. New York: Hill and Wang, 1981. Bederman, Gail. Manliness & Civilization: A Cultural History of Gender and Race in the United States, 1880-1917. Chicago: University of Chicago Press, 1995. Bender, Pennee, Joshua Brown, and Andrea Ades Vasquez. "Savage Acts: Wars, Fairs, Empire." Documentary, 1995. Briggs, Laura. Reproducing Empire: Race, Sex Science and U.S. Imperialism in Puerto Rico. Berkeley: University of California Press, 2002. Campomanes, Oscar V. "1898 and the Nature of the New Empire." Radical History Review, no. 73 (1999): 130-46.

"New Formations of Asian American Studies and the Question of U.S. imperialism." positions: east asia cultures critique 5, no. 2 (1997): 145-200.Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, 1975. Reprint, 1979. Grubin, David. " America 1900." Documentary. 1998.Haraway, Donna. "Teddy Bear Patriarchy: Taxidermy in the Garden of Eden, New York City, 1908-1936." In Cultures of the United States Imperialism, edited by Amy Kaplan and Donald E. Pease. Durham: Duke University Press, 1993.Hoganson, Kristin L. Fighting for American Manhood: How Gender Politics Provoked the Spanish-American and Philippine-American Wars. New Haven: Yale University Press, 1998.Huhndorf, Shari M. Going Native: Indians in the American Cultural Imagination. Ithaca and London: Cornell University Press, 2001.Isaac, Allan Punzalan. "Fade to Brown: Framing Manifest Destiny in the Philippines and the Asia-Pacific." American Studies Asia 1, no. 1 (2002): 75-121.Jacobson, Matthew Frye. "Imperial Amnesia: Teddy Roosevelt, the Philippines, and the Modern Art of Forgetting." Radical History Review 73 (1999): 116-27.Kaplan, Amy. The Anarchy of Empire in the Making of U.S. Culture. Cambridge and London: Harvard U Press, 2002.Kosasa, Eiko. "Ideological Images: U.S. Nationalism in Japanese Settler Photographs." Amerasia Journal 26, no. 2 (2000): 66-91.Rojas, Rafael. "The Moral Frontier: Cuba, 1898 - Discourses at War." Social Text 17, no. 2 (1999): 145-60.Said, Edward W. Orientalism. New York: Vintage, 1978. Reprint, 1979.Smith, Shawn Michelle. American Archives: Gender, Race, and Class in Visual Culture. New Jersey: Princeton University Press, 1999. Streeby, Shelly. American Sensations: Class, Empire, and the Production of Popular Culture. Berkeley: University of California Press, 2002.

Thompson, Lanny. "Representation and Rule in the Imperial Archipelago: Cuba, Puerto Rico, Hawai'i and the Philippines under U.S. Dominion after 1898." American Studies Asia 1, no. 1 (2002): 3-39. Vergara Jr., Benito M. Displaying Filipinos: Photography and Colonialism in Early 20th Century Philippines. Quezon City: University of the Philippines, 1995. Wexler, Laura. Tender Violence: Domestic Visions in an Age of U.S. Imperialism. Chapel Hill: U of North Carolina Press, 2000. Williams, William Appleman. Empire as a Way of Life: An Essay on the Causes and Character of America's Present Predicament Along with a Few Thoughts About an Alternative. Oxford: Oxford University Press, 1980. Reprint, 1982.



Carlin,Deborah S

17963 1 LEC 2:30PM 3:45PM MW Cap 35 Room: TBA

18933 L01 LAB 4:00PM 6:00PM W

No course description available yet.



19359 1 LEC 3 Time/location: TBA



Byg, German Dept., Herter 523

Lec. TuTh 1:00-2:15p.m., screening time Tu 6:00pm, location TBA

The seminar will be based on a survey of the history of the cinema of the former German Democratic Republic ( East Germany) through weekly screenings and readings. Beyond that, "case studies" will consider issues related to international film studies: the contradictory construction of canons and "national cinemas," the relation of film to

history and the Cold War, popular stars and genre films in socialism, propaganda and the undermining of propaganda (especially in documentary), the conflicts between the dogma of Socialist Realism (especially under Stalinism) and more "modernist" approaches to film. Some key films will be drawn from the planned Museum of Modern Art retrospective and the 2005 NEH Summer Institute discussion, "Film and History / Film as History / Film History," both co-sponsored by the DEFA Film Library at UMass.

Requirements: attendance and participation at all class meetings, journal-writing on films and texts, final paper. Open to graduate students (and advanced undergraduates with prior approval). Conducted in English.


JAPANESE 190B Japanese Fiction Through Film Cap: 150 Y

Instructor: Holman,Martin

15107 1 LEC 1:00PM 2:15PM TuTh Herter 227 and 6:30PM 8:30PM Tu SOM 137

A study of the fiction of Japan and its transformation into cinema. The course examines major works of Japanese literature from classics through contemporary fiction. We will consider the context in which the literature was created and the cultural forces that shaped the transformation of fiction from the printed page to the big screen. No prerequisites. (Gen.Ed. G)



MW 4-6:30 p.m.

Course taught in English. Most films in Portuguese, with English subtitles. An introdution to Brazilian culture through the study of significant feature films made in Brazil, accompanied by readings of fiction and non-fiction works. Major themes include: cannibalism, colonialism, slavery, life in the backlands, religious syncretism, women's status, the dictatorship, urban life. Weekly screenings of films (on Mondays), and discussions (on Wednesdays). Films will be selected from the following directors: Marcel Camus ("Black Orpheus"); Nelson Pereira dos Santos ("How Tasty Was My Little Frenchman" and "Vidas Secas"); Carlos Diegues ("Xica da Silva, " "Bye Bye Brazil," and "Quilombo"), Glauber Rocha "Black God White Devil" and "Antonio das Mortes"), Susana Amaral ("Hour of the Star" ) Walter Salles ("Central Station"), Ruy Guerra ("Estorvo"); Bruno Barreto ("Dona Flor and Her Two Husbands" and "Four Days in September"); Andre Klotzel ("Memorias Postumas de Bras Cubas" ); Fernando Meirelles, ("City of God"). [Some changes may be made as DVDs of some Brazilian

classics become available.] Basic text for the course: Randal Johnson and Robert Stam: Brazilian Cinema, plus two novels and xerox packet of articles. Requirements: Active class participation. Frequent writing assignments/reaction papers; mid-term exam; final paper. Graduate students will do some additional readings and write a longer paper. Website:


Instructor: José N. Ornelas

Days: Tuesdays and Thursdays, 4:00-6:30

The course is designed to introduce students to the cinematic work of some of the most important Latin American directors from the seventies to the present. The course will center on a variety of topics that are vital to the understanding of the most significant political, historical, social and cultural events that have shaped Latin America. Some of the topics to be examined in the class are: racial, gender, sexual and identity issues; nation formation; revolution; immigration; repression; utopia; resistance; violence; freedom and slavery. Students will be expected to develop interpretative filmic skills through an exploration of the connections between the technical composition of the films and the social, political, and cultural context to which each film refers. Films for the course will be chosen from the following list: Camila, The Official Story, Rebellion in Pantagonia, El hijo de la novia, Burnt Money, Bye Bye Brazil, Central Station, Quilombo, City of God, Obstinate Memory, Azúcar Amarga, Death of a Bureaucrat, Memories of Underdevelopment, Strawberry and Chocolate, El super, Nueba Yol, The Time of the Butterflies, El Norte, Amores Perros, Y tu mamá también, Cabeza de Vaca, Like Water for Chocolate, Herod’s Law, El callejón de los milagros, Danzón, The Oxcart, Ratas, ratones, rateros, The City of the Dogs, Our Lady of the Assassins.

Requirements: several reaction papers, mid-term exam and final paper. Course may be used for Certificate in Film Studies.