Film & Television

  • COM FT 529: Michael Haneke
  • COM FT 533: American Independent Film
    A survey of cinema from the past three decades originating outside of the studio system. Though the screening list changes from semester to semester, filmmakers to be dealt with include Elaine May, Barbara Loder, John Cassavetes, Robert Kramer, Mark Rappaport, and Charles Burnett, among others.
  • COM FT 535: Film Analysis
    Focuses on a particular director (Godard, Hitchcock, Altman, Losey, Bergman, etc.), period, or style (film noir, suspense), and studies how meaning is structured and perceived in the screen image. Includes viewing and analysis of narrative strategies in selected films.
  • COM FT 536: Film Theory and Criticism
    An introduction to classical and contemporary film and media theory. Topics include montage theory, realism, structuralism, post-structuralism, semiotics, psychoanalysis, phenomenology, and cultural studies. The course includes screenings of films that have contributed to critical debate and those that challenge theoretical presuppositions.
  • COM FT 537: Third Wrld Cnma
  • COM FT 540: Screenplay as Dramatic Literature
    Screenplays may be read as literature as well as be produced as films. In this course the literary and dramatic art of the screenplay is analyzed, and the screenplay as a form is perceived to be nothing less than a little brother to stage play.
  • COM FT 543: Television Situational Comedy
    Undergraduate Prerequisites: COM FT 310.
    The American television situation comedy has been an enormously popular and powerful art form. This course traces the growth of the sitcom genre from the beginnings in the early 1950's up to the present time and analyzes how American life has been influenced by it. We look at how sitcoms affected popular perception of working class, race, ethnicity, idealized family life and then the growth of different family structures, fantasy and war. We study how sitcoms initially portrayed women and then the emerging changes in response to the feminist movement. We analyze Norman Lear's series which talked about the real things Americans were saying but in the privacy of their homes and the revolution that his series created. Finally we examine anti-family satire and take a close look at contemporary single life, both straight and gay.
  • COM FT 544: Documentary Production
    Undergraduate Prerequisites: COM FT 353 and COM FT 351; and/or permission from instructor
    Graduate Prerequisites: COM FT 707.
    This course is designed to develop skills necessary for producing long-form documentaries. There is an emphasis on exploring new, more engaging forms of storytelling and a broad range of stylistic approaches. It covers the entire process: finding a topic, developing a story structure, conceiving a style, shooting, editing, and post-production. Students develop their own ideas and form small groups to produce them.
  • COM FT 546: New German Cine
  • COM FT 547: HISTAVANTGARDE1
  • COM FT 548: Antionionibergm
  • COM FT 549: The Profane
    Explores a wide variety of topics concerning censorship, feminist theory, feminism, psychoanalytical theories, pornography, voyeurism, repression, homosexuality, rape, body image, and national identities as exemplified through a large selection of films considered "Profane"/scandalous/ "X-rated", touching upon uncanny regions in which one is "never at home". Further discussion will include an examination of the cultural and historical factors that serve as background for the themes explored and presented in the selected films.
  • COM FT 550: Scandinavian Cinema
    This course traces the major discourses that have developed around the Dogme'95 movement. The major focus of this class is to study the work, vision, influences and contribution of Lars Von Trier to the New Scandinavian Cinema and its assorted practitioners. We will attempt to perceive and critique Von Trier's vision as a site for understanding cultural dynamics of European and American Societies. The course is organized chronologically to structure and present the development of both Trier's work and evolvement of the Dogme 95' movement. Some of the readings are assigned around those concerns.
  • COM FT 551: Designing the Short Film
    This course explores the aesthetic and technical parameters of the short film format, with the goal of celebrating Short Film, as a genre in and of itself. 4cr. either sem.
  • COM FT 552: Special Topics
    See the Department of Film and Televison for specifics.
  • COM FT 553: Special Topics
    Graduate Prerequisites: .
    Topics and instructors vary each semester. Details are available from the Department of Film and Television. Recent offerings have included Writing Episodic Drama.
  • COM FT 554: Special Topics
    Details are available from the department of Film and Television. Topics and instructor vary each semester. Recent topics have included the films of John Cassavetes, Mike Leigh, and Rainer Fassbinder; the Blacklist; Low Brow Comedy.
  • COM FT 555: The Narrative Documentary Practicum
    This practicum, designed for advanced film and television production students, focuses on the highly specialized filmmaking techniques used for the narrative documentary; that is, character-driven films about real people. The course also explores this tradition's rich legacy: from the Russians of the 1920s, through the CV movement of the 1960s, and on to the present day host of new films spawned by digital filmmaking technology.
  • COM FT 560: The Documentary
    Surveys the history of the documentary and the changes brought about by the advent of television. Examines the outlook for the documentary idea in national and international markets. Periodic highlighting of special areas such as the portrayal of war, historical events, drama-documentary, and propaganda. Students develop critical and professional skills. Lectures, screenings, discussions.
  • COM FT 561: Television Drama
    Surveys the history of television drama from its "live" beginnings in the 1950s to contemporary taped and filmed series, mini-series, and specials. The critical evaluation of such forms as sitcoms, soap operas, and regularly scheduled dramatic series from the perspective of the producer, writer, and director. Lectures, screenings, writing reviews, and discussions.