Film Studies (FST)

FST 135. Film as Ethnography. (1) (MPF)

Explores anthropological approaches to the study of human diversity and variation through the lens of ethnographic and documentary films. Exposes students to basic concepts in anthropology including cultural and linguistic relativity, globalization, and representational practices. IIIB. CAS-C.
Cross-listed with ATH.

FST 177. Independent Studies. (0-5)

FST 201. Film History and Analysis. (3) (MPF, MPT)

Introduction to basic principles of cinematic form and to major movements and issues in the history of cinema. Primary emphasis given to principal methods of critical thinking in film studies, from close analysis of formal and stylistic elements in a single film to more global ways of understanding and interpreting films within their aesthetic, social, historical, and political contexts. Includes screenings of representative films, lectures, discussions, group activities, papers, and exams. IIB. CAS-B.

FST 204. Brazilian Culture Through Music and Film. (3) (MPF)

Through music and film this course raises questions about national identity, history, social, religious, and ethnic diversity in Brazil. IIA, IIB, IIIB. CAS-B.
Cross-listed with MUS 204 and POR 204.

FST 205. American Film as Communication. (3) (MPT)

Introduction to the study of communication via American motion pictures. Focuses on analysis of technical and narrative elements found in motion pictures. Screening of films provides backdrop for discussing visual impact of motion pictures as significant form of mass communication.
Cross-listed with STC.

FST 206. Diversity and Culture in American Film. (3) (MPF)

Analysis of the representation of diversity and culture as portrayed in American motion pictures. IC, IIB. CAS-B.
Cross-listed with IDS.

FST 220. Literature and Film. (3; maximum 6) (MPF, MPT)

Study of the relationship between film and genres of literature, focusing on a comparison of techniques of rhetoric, fiction, and drama, and those of film. Primary consideration given to film adaptations of works of fiction and drama. Extensive screenings of film. May be repeated once when topic changes. IIB. CAS-B-LIT.
Cross-listed with ENG.

FST 221. Shakespeare and Film. (3) (MPT)

Study of selected plays of Shakespeare that have been filmed. Students read plays and view one or more versions of each play. CAS-B-LIT.
Cross-listed with ENG.

FST 222. Italian American Culture. (3) (MPF)

A survey and investigation of the history of Italian immigration in America, the development of Italian American communities across the land, and the contributions that Italian Americans have made to American society and culture. Taught in English. No prerequisites. IC, IIB. CAS-B.
Cross-listed with AMS/ITL.

FST 225. Linking Film and New Media. (3)

This course will consider the challenge new media present to cinema's primacy, but also the ways in which cinema survives and thrives in a digital age. While acknowledging what is unique to different new media forms, we will also identify the aspects of new media that are not fully "new" by examining their dependence on styles, structures, narratives, and even actual footage from cinema and other "old" media. Conversely, we will uncover how new media have reshaped cinema through influences such as CGI, video games, and digital editing.
Prerequisite: CMS 201 or FST 201.
Cross-listed with CMS.

FST 235. Classical Hollywood Cinema. (3)

This course examines the production of the so-called classical period of Hollywood cinema, beginning in the 1930s with the emergence of early sound and ending in the 1960s with the demise of the studio system. We will utilize an industry-studies approach, but will also explore the principal narrative and stylistic trends associated with the classical era, as well as its key creative figures- directors, producers, cinematographers, actors, etc. Weekly Screenings Required.
Cross-listed with ENG.

FST 236. Alternative Traditions in Film. (3) (MPT)

Study of major films and cinematic trends in world cinema. Emphasis on film in which the classical conventions of narrative are questioned or disrupted. Study motives and methods of film makers whose concern is not primarily the telling of a story or for whom the conventional entertainment narrative is an object of radical investigation.
Cross-listed with ENG.

FST 250. History and Popular Culture. (3; maximum 6)

Topical studies of historical imagery as presented in the popular communications media: best-selling fiction, documentaries, school texts, popular histories, and especially film. May not take course more than once with same instructor. When topic is film, cross-listed with HST 250. Offered infrequently.

FST 252. Representation of History in Film and Video. (3)

Attempts to familiarize students with ways that history is represented in film and video (as opposed to print). By comparing film to texts, analyzing narrative structure, and studying the techniques of film and video making, students learn how history is depicted in this medium. Introduces history of film by viewing and discussing works of several early directors who represented history. Films and directors selected for inclusion will vary from year to year.
Prerequisite: FST 201 recommended (not required).
Cross-listed with HST.

FST 255. Visual Representations of the Holocaust. (3)

Studying the Holocaust is a profound responsibility yet also presents a tangle of critical and philosophical questions. The role of visual representations in the process of Holocaust memorialization has been particularly contested. In this course, we will approach the question of the visualization of the Holocaust through various media: photography, cinema, TV, graphic novel, painting, and architecture. Visual technologies afford an unparalleled means of sustaining memory but are also susceptible to voyeurism and commodification. We will explore the potentialities and limitations of these media and grapple with critical ethical, epistemological and esthetic questions they raise. Course readings and class discussions in English. IIB. CAS-B.
Cross-listed with FRE/GER.

FST 261. German Film in Global Context. (3) (MPF, MPT)

Traces the dynamic development of German speaking cinema from 1895 to the present within a global context that defines filmmaking beyond national borderlines. The global context is determined by the international spread and commonality of: 1) technological innovations (camera, lighting, and sound systems, editing techniques); 2) commercial practices (of production, collaboration, distribution, exhibition), 3) political influences (the interplay of film, war, and ideology), and 4) aesthetic trends (the international popularity of certain genres, formal devices, and specific cultural preferences).The course is taught in English and all the films have English subtitles. IIB, IIIB. CAS-B.
Cross-listed with GER.

FST 262. Italian Cinema. (3) (MPT)

Discussion and analysis of major movies and trends in Italian cinema. Topics may vary but attention is given to social and ideological implications of Italian cinema and the way movies produce a critique of cultural mores. Taught in English. No prerequisites. CAS-B-LIT.
Cross-listed with ITL.

FST 263. Soviet and Post-Soviet Russian Cinema. (3) (MPT)

Critical survey of directors, genres, and movements in Soviet cinema. Screening of films from Eisenstein to current directors. Lectures, discussion, and readings in English. CAS-B-LIT.
Cross-listed with RUS.

FST 264. Chinese Cinema and Culture. (3)

Study of selected films. Introduces Chinese cinema and, through films, Chinese culture. Works are from mainland China, Taiwan, and Hong Kong, and subject matter is both historical and modern. Knowledge of Chinese is not required.
Cross-listed with CHI.

FST 265. European Jewish Cinema. (3) (MPT)

Survey of European films by Jewish filmmakers, or films dealing with Jewish themes, from 1920's to the present. Films with English subtitles. Readings and discussions in English.
Cross-listed with FRE/GER.

FST 266. Survey of Japanese Cinema. (3)

This course examines representative Japanese films from the immediate post-war era to the new wave of Japanese anime (animated film). Offered in English.
Cross-listed with JPN.

FST 272. Cultures and Identities of Eastern Europe: An Introduction through Literature and Film. (3) (MPT)

An introduction to the cultures of Eastern Europe, from Poland to the former Yugoslavia, through representative twentieth-century literary works and films, with particular focus on the history of Eastern Europe's Jewish community and the tragedy of the Holocaust. CAS-LIT-B.
Cross-listed with RUS.

FST 277. Independent Studies. (0-5)

FST 281. Mediated Sexualities: Lesbians, Gays, Bisexuals, and Transgendered Persons and the Electronic Media. (3) (MPF)

Examines both the treatment of gay, lesbian, bisexual, and transgendered persons by the mass media and the voices of the gay, lesbian, bisexual, and transgendered persons as producers of media messages and as activists who influence media messages. The Kinsey Report, the Stonewall Riots, and the AIDS epidemic serve as major culture milestones for tracing the evolving portrayals of diverse sexualities. IC, IIB. CAS-B.
Cross-listed with STC.

FST 282. Sexualities and Film. (3)

An exploration of film representations of diverse sexualities (e.g., gay, lesbian, bisexual, and transgendered) from the silent era to the present. IC.

FST 301. Film Theory. (3)

Introduction to the basic concepts of classical and contemporary film theory, such as realism, formalism, structuralism, post-structuralism, psychoanalysis, cognitive theories, among others. Mandatory weekly screenings.
Prerequisite: FST 201.

FST 330. Film Auteurs. (3; maximum 9)

In-depth study of the films of a particular director or pair of directors, within the framework of auteurism. Weekly screenings required.

FST 340. Internship. (0-20)

FST 345. Global Media, Ethnography, and Film. (3)

Explores anthropological and ethnographic frameworks to the study of global media flows across boundaries, borders, and time. Examines the ways in which mediated performances, texts, and images are instrumental in building and negotiating communities, cultures, and identities.
Cross-listed with ATH.

FST 350. Topics in Film. (3)

In-depth and concentrated studies in film. Focuses on specific topics in film such as national film traditions (American, Japanese, French, etc.), genres (science fiction, western, detective, etc.), and themes (film and society, women in film, political conspiracy, etc.). May be repeated once when topic changes.
Cross-listed with ENG.

FST 350B. Women in Film. (3)

In-depth and concentrated studies in film.

FST 356. Women and Gender in Film. (3)

This course explores the construction of gender and representations of women in film in two contexts: in mainstream Hollywood cinema and in experimental and independent films. While not providing an extensive history of women in film, the course provides a sampling of iconic films—from early cinema to the present—to critically examine how women are portrayed throughout the twentieth century and in various genres, in films made by both men and women. Course readings engage theoretical and practical points of contact within cinema, including feminist film theory, postcolonial theory, psychoanalysis, queer theory, and critical race theory. CAS-B.
Cross-listed with ENG 356 and WGS 356.

FST 360. Film Genres. (3; maximum 9)

In-depth study of the conventions, artists, and styles associated with a specific film genre and the historical circumstances in which the genre appeared. Possible topics include the Western, film noir, the musical, etc.

FST 361. Antiquity Through a Lens. (3)

Introduces students to filmic projections of classical myths and historical crises. Heightens students' awareness of the ways films construct our images of classical antiquity in the service of contemporary ideological agendas.
Cross-listed with CLS.

FST 366. French Cinema In Translation. (3) (MPT)

Critical survey of major directors, genres, and movements in French cinema. Particular attention devoted to development of film theory and criticism in France and their relation to film production. Screening of films by Renoir, Bresson, Bunuel, Godard, Truffaut, Varda, Resnais, Tavernier, and others. Taught in English; reading in English translation. CAS-B-LIT.
Cross-listed with FRE.

FST 377. Independent Studies. (0-5)

FST 381. Afro-Brazilian Diaspora Through Film and Arts. (3)

A focus on questions of gender, race, class and stereotypes in the African Lusophone countries. Taught in English.
Prerequisite: any literature course.
Cross-listed with ENG/BWS/POR.

FST 383. Brazilian Women through Literature and Film. (3) (MPF)

Addresses questions about gender, race, class and stereotype of women's bodies in 20th-century Brazil. IIB, IIIB. CAS-B.
Cross-listed with BWS/ENG/POR/WGS.

FST 400. Topics in Film. (3)

In-depth and concentrated studies in film. Focuses on specific topics in film such as national film traditions (American, Japanese, French, etc.), genres (science fiction, western, detective, etc.), and themes (film and society, women in film, political conspiracy, etc.). May be repeated once when topic changes.
Prerequisites: Senior standing or instructor permission.
Cross-listed with ENG.

FST 401. Seminar in Film Study. (3) (MPC)

Students critique series of seminal analyses of films as preparation for development of their own research projects.
Prerequisite: FST 201 and nine credit hours of course work in courses cross-listed for the film studies minor.

FST 460. Topics in French Cinema. (3) (MPT)

In-depth and concentrated study of French cinema. Focus on specific topics such as film's relation to society, its relation to the other arts and artistic movements, and its productive role as an object of philosophical thought. Topics may also include the work of particular directors, historical periods, and comparative social and aesthetic studies. Taught in English translation.
Prerequisite: FST 201 or FRE/FST 366.
Cross-listed with FRE.

FST 477. Independent Studies. (0-5)