Courses

The listing of a course description here does not guarantee a course’s being offered in a particular semester. Please refer to the published schedule of classes on the Student Link for confirmation a class is actually being taught and for specific course meeting dates and times.

• COM FT 547: Avant Garde Cinema
  A survey of global avant-garde film and experimental media from the 1920s to the present. We will explore film, video, and digital video as mediums of unadulterated artistic expression resulting in daring, experimental forms and controversial contents. The course covers 1920s and early 30s high modernist cinema of "isms" (Dadaism, Surrealism, Impressionism), Transatlantic and international currents after World War Two including trance film, underground film, structuralism, and "psychedelic expanded cinema of split and multiscreen films (Kenneth Anger, Andy Warhol, Michael Snow, Peter Kubelka, Rudy Burckhardt), 1970s video art including feminist and gay/lesbian filmmakers, X-rated Europeans (Kren and the Vienna Secessionists) and international "trash" cinema auteurs, the digital video avant-garde, masters of found footage cinema, queer digital media, recent transnational trends. Disclaimer: Some of the films shown in this course contain sexually explicit and graphic bodily acts.
• COM FT 548: Antonioni and Bergman
  This course will view and discuss the work of two of the most important and influential filmmakers of the second half of the twentieth century, Michelangelo Antonioni and Ingmar Bergman. We will take up such crucial films as Antonioni's L'Avventura, Red Desert, and Blow-Up and Bergman's The Seventh Seal, Wild Strawberries, Persona, and Scenes from a Marriage. In their very different ways these two filmmakers developed new and powerful narrative and visual approaches for film and opened new terrain in human sexuality and personal interaction, ecological and political concerns, and philosophical issues. These films--even now--push boundaries.
• 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 552: Special Topics
  COM FT 552 Special Topics Special Topics for Spring 2020 include:FT 552 B1: Advanced Lighting (San Juan) Fri 12:30-4:15 Pre-req FT 593 Cinematography; FT 552 C1 Developing the Short or Web Series (Danielpour and Schneider) Thurs 12:30-3:15 Undergrad Pre-req FT310, Recommended Pre-req FT 411/Grad Pre-req Ft512 or FT522; FT 552 D1 Advanced Editing (Kauffmann) Wed 2:30-5:15 Pre-req FT 565 Varies cr. N Summer 1: Section A1 Topic: Writing the Hollywood Script in Six Weeks. Section A2 Topic: The Television Pilot. Section A3 Topic: Principles of Screen Adaptation. Summer 2: Section B1 Topic: Black Comedy in Film and Literature.
• COM FT 553: Special Topics
  n/a
• COM FT 554: Special Topics
  COM FT 554 Special Topics Special Topics for Spring 2020 include: FT 554 A1 True Crime (Jaramillo) Mon, Wed 4:30-6:15 Pre-req FT/CI 303 (this course fulfills the tv studies requirement); FT 554 B1 The Musical (Grundmann) Mon 6:30-9:15; Tues 9:00-10:45; FT 554 C1 Religion and TV (Howell) Mon, Wed 2:30-4:15 Pre-req FT/CI 303 (this course fulills the tv studies requirement); FT 554 D1 Stardom (Burr) Thurs 12:30-3:15 cr. N
• 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.Course Prerequisites: FT 402 B+ or Better. Or by permission of Instructor.
• COM FT 556: American Independent Film-Part 1 The Foundational Masterworks
  The course comprises one unit of a four-semester survey (each part of which is free-standing and may be taken separately and independently of each other and in any order, with no prerequisites) of the major achievements of the most important artistic movement of the last sixty years in American film--the independent feature filmmaking movement, in which American narrative filmmakers broke away from the financial, bureaucratic, and (most importantly) imaginative influence of Hollywood values and entertainment story-telling methods to create the most important works in American film--a series of generally low-tech, low-budget, DIY, personal-expression films, made and distributed more or less outside the mainstream exhibition system. This section of the survey focuses on the foundational masterworks created by the first generation of American independent feature filmmakers. These are the works that not only changed film history at the point they were made but that continue to inspire generations of independent filmmakers with their example. Since women have made some of the best and most important works in this area, as many female filmmakers as possible are being included. Offered in the fall of odd numbered years. The course comprises one unit of a four-semester survey (each part of which is free-standing and may be taken separately and independently of each other and in any order, with no prerequisites) of the major achievements of the most important artistic movement of the last sixty years in American film--the independent feature filmmaking movement, in which American narrative filmmakers broke away from the financial, bureaucratic, and (most importantly) imaginative influence of Hollywood values and entertainment story-telling methods to create the most important works in American film--a series of generally low-tech, low-budget, DIY, personal-expression films, made and distributed more or less outside the mainstream exhibition system. This section of the survey focuses on the foundational masterworks created by the first generation of American independent feature filmmakers. These are the works that not only changed film history at the point they were made but that continue to inspire generations of independent filmmakers with their example. Since women have made some of the best and most important works in this area, as many female filmmakers as possible are being included. Offered in the fall of odd numbered years.
• COM FT 557: American Independent Film-Part 2 The Second Generation
  The course comprises one unit of a four-semester survey (each part of which is free-standing and may be taken separately and independently of each other and in any order, with no prerequisites) of the major achievements of the most important artistic movement of the last sixty years in American film--the independent feature filmmaking movement, in which American narrative filmmakers broke away from the financial, bureaucratic, and (most importantly) imaginative influence of Hollywood values and entertainment story-telling methods to create the most important works in American film--a series of generally low-tech, low-budget, DIY, personal-expression films, made and distributed more or less outside the mainstream exhibition system. This section of the survey focuses on the second generation of American independent feature filmmaking. Since women have made some of the best and most important works in this area, as many female filmmakers as possible are being included. Offered in the spring of even numbered years.
• 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 563: French New Wave
  Studies the great 1960s movement in filmmaking that has stayed forever fresh and challenging and has influenced all filmmaking since. The class will view and discuss films of Resnais, Malle, Truffaut, Godard, Chabrol, Rohmer, Varda, and others. We will consider the directors' innovative production practices and film styles, their attitude to their times and to life in general, and what their films finally achieve as works of art. We will talk about this movement's influence and what has developed out of it. Readings will include writings by the filmmakers, many of whom were prolific as film critics and theorists.
• COM FT 565: Motion Picture Editing
  Given its central role in the filmmaking process, examining the way films are edited can reveal a lot about the inner workings of film and help students understand the art of filmmaking. Editing scenes from films, television shows, and other material in a classroom setting and then examining different versions of those scenes can help students become better editors and will help them evaluate/critique their future film and television work. The course is designed for students who have edited a number of exercises and films in previous classes. It provides an opportunity for students to develop advanced editing skills, while learning advanced digital editing techniques on the Avid Media Composer. This is an advanced editing class, and not a course on how to use Avid. By editing scenes from episodic television shows, and other professionally shot footage, students will learn how to select (and reject) material, where and when to cut, how to create pace, how to control what the audience sees and does not see, how to add music and effects to increase the emotional content, and how to use visual effects to enhance the impact of the material.
• COM FT 566: Special Topics
  Topics and instructor vary each semester. Recent topics have included Television Production Hothouse and the Avid Film Composer.
• COM FT 569: Holocaust on Film
  Holocaust on Film examines the aesthetics of filmic texts which place the experience of the Holocaust at the center of their investigation.
• COM FT 570: Uncensored TV: The rise of Original Scripted Series on Cable TV
  Using series like The Sopranos, Weeds, and Breaking Bad as case studies, this course will examine the current state of cable TV with regard to industry, "quality," genres, auteurs, and the so-called "post-network" era. Students will approach these cable series with a critical eye as they work to connect industry, political economy, and government regulation to issues of social class, television hierarchies, and artistry. Students will also emerge from the course with a thorough understanding of how to perform television-focused research and analysis.
• COM FT 573: BUTV
  BUTV1 is a credit-earning opportunity for members of BUTV10 & BUTV10.com, BU's student campus channel and website. Students work with at least one of the organization's productions or administrative departments. For undergraduates, one previous, not for credit, a semester in the organization is required, except with Faculty Advisor consent. This requirement does not apply to graduate students. All students must coordinate participation and be approved by the faculty advisor. 2 credits pass/fail, either semester.
• COM FT 574: BUTV2
  BUTV2 is a credit-earning opportunity for contributing members of BUTV10 & BUTV10.com, who have previously earned credit by successfully completing FT573: BUTV1. Students work with one of the organization's productions or administrative departments. All students must coordinate participation and be approved by the faculty advisor. 2 credits pass/fail, either semester.
• COM FT 575: Renoir & Bu?uel
  A survey of the careers of two of cinema's greatest and most admired directors: Jean Renoir and Luis Bu?uel. Both these directors had long careers, stretching from the late silent era into the 1970s, and both worked in various countries--France, Spain, the U.S., Mexico, India--taking in new situations and ways of life while maintaining their own attitude, philosophy of life, and artistic vision. The class will view and analyze such great films as Renoir's Grand Illusion, Rules of the Game, and The River and Bu?uel's L'Age d'Or, The Exterminating Angel, and Belle de Jour.
• COM FT 576: Globalnewwaves
  

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