DOCSLIB.ORG

Film and Media Studies 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Film and Media Studies 1 Film and Media Studies 1 automatically enter consideration for honors; however, the class is not a FILM AND MEDIA STUDIES requirement for honors. Departmental Office: 513 Dodge; 212-854-2815 Faculty http://arts.columbia.edu/film Vito Adriaensens Director of Undergraduate Studies: Prof. Robert King, Tuesday 9-12, Nico Baumbach Dodge 601C or https://columbiauniversity.zoom.us/j/2037291445 Loren-Paul Caplin Jane Gaines The major in film studies is scholarly, international in scope, and writing- Ronald Gregg intensive. Students choose to major in film if they want to learn more Annette Insdorf about the art form, from technology to cultural significance; want to work Caryn James in the film industry; or are interested in a major that combines arts and Robert King humanities. Richard Peña James Schamus Students usually declare the major toward the end of the second year by Edward Turk meeting with the departmental adviser; together, they create a program of twelve required courses within the major, often supplemented by courses outside the department. In the lecture classes and seminars, there tends Major in Film Studies to be a mixed population of undergraduate majors and graduate film The major in film studies requires a minimum of 36 points distributed as students. follows: Students have the opportunity to gain additional experience by taking Introductory Courses advantage of internship opportunities with film companies, working on FILM UN1000 Introduction to Film and Media Studies graduate student films, and participating in the Columbia Undergraduate FILM GU4000 Film and Media Theory Film Productions (CUFP), an active, student-run organization that History Courses provides film-making experience to Columbia undergraduate producers Select two of the following courses, one of which must either be and directors. In addition to careers in screenwriting, directing, and FILM UN2010 or FILM UN2020: producing, alumni have gone on to work in film distribution, publicity, FILM UN2010 Cinema History 1: Beginning-1930 archives, and festivals, and to attend graduate school to become FILM UN2020 Cinema History 2: 1930-60 teachers and scholars. FILM UN2030 Cinema History 3: 1960-90 The trajectory of the major is from introductory-level courses (three FILM UN2040 Cinema History 4: after 1990 are required), to intermediate and advanced-level courses (two are Laboratories required, plus seven electives). While film studies majors take workshops Select one of the following courses: in screenwriting and film-making, the course of study is rooted in film FILM UN2410 LAB IN WRITING FILM CRITICISM history, theory, and culture. FILM UN2510 Laboratory in Fiction Filmmaking FILM UN2420 Laboratory in Screenwriting The prerequisite for all classes is Introduction to Film and Media Studies (FILM UN1000) offered each term at Columbia as well as at Barnard, and FILM UN2520 Laboratory In Nonfiction Filmmaking open to first-year students. Subsequently, majors take a combination of Electives history survey courses; workshops ("Labs"); and advanced classes in Select seven of the following electives, one of which must be an theory, genre study, national cinemas, auteur study, and screenwriting. international course: FILM UN1010 Genre Study The educational goal is to provide film majors with a solid grounding in FILM UN2310 The Documentary Tradition the history and theory of film; its relation to other forms of art; and its FILM UN2190 TOPICS IN AMERICAN CINEMA synthesis of visual storytelling, technology, economics, and sociopolitical FILM UN3020 Interdisciplinary Studies context, as well as the means to begin writing a script and making a short FILM UN3900 Senior Seminar in Film Studies film. FILM UN3910 Senior Seminar in Filmmaking Students who wish to graduate with honors must take the Senior Seminar FILM UN3920 Senior Seminar in Screenwriting in Film Studies (FILM UN3900), writing a thesis that reflects mastery FILM UN3925 Narrative Strategies in Screenwriting of cinematic criticism. The essay is submitted after the winter break. FILM UN3930 Seminar in International Film Students decide upon the topic with the professor and develop the essay FILM UN3950 Seminar in Media: Seriality during the fall semester. FILM UN2400 Script Analysis Since film courses tend to be popular, it is imperative that students attend FILM UN3010 AUTEUR STUDY the first class. Registration priority is usually given to film majors and FILM UN2290 Topics in World Cinema: Arab and Africa seniors. FILM GU4310 Experimental Film and Media FILM GU4320 New Directions in Film and Philosophy Departmental Honors FILM GU4910 Seeing Narrative In order to qualify for departmental honors, students must have a GPA of 3.75 in the major and distinction in their overall achievements in film study. Students who take FILM UN3900 Senior Seminar in Film Studies 2 Film and Media Studies FILM UN1000 Introduction to Film and Media Studies. 3 points. FILM UN2020 Cinema History 2: 1930-60. 3 points. Lecture and discussion. Priority given to declared film majors. Fee: $75. Discussion Section Required Priority given to film majors. Fee: $75. Prerequisites: Discussion section FILM UN1001 is a required corequisite This course serves as an introduction to the study of film and related This course examines major developments and debates in the history of visual media, examining fundamental issues of aesthetics (mise-en- cinema between 1930 and 1960, from the consolidation of the classic scene, editing, sound), history (interaction of industrial, economic, and Hollywood studio system in the early sound era to the articulation of technological factors), theory (spectatorship, realism, and indexicality), emergent “new waves” and new critical discourses in the late 1950s. Our and criticism (auteurist, feminist, and genre-based approaches). The approach will be interdisciplinary in scope, albeit with an emphasis on course also investigates how digital media change has been productive social and cultural history – concerned not only with how movies have of new frameworks for moving image culture in the present. FILM developed as a form of art and medium of entertainment, but also with UN1001 is required discussion section for this course. cinema’s changing function as a social institution. FILM W2021 Fall 2021: FILM UN1000 Fall 2021: FILM UN2020 Course Section/Call Times/Location Instructor Points Enrollment Course Section/Call Times/Location Instructor Points Enrollment Number Number Number Number FILM 1000 001/11785 T 1:10pm - 2:25pm Robert King 3 100/100 FILM 2020 001/11796 M 2:10pm - 3:25pm Richard Pena 3 60/60 Kob Lenfest Center For Kob Lenfest Center For The Arts The Arts FILM 1000 001/11785 Th 1:10pm - 3:55pm Robert King 3 100/100 FILM 2020 001/11796 W 2:10pm - 4:55pm Richard Pena 3 60/60 Kob Lenfest Center For Kob Lenfest Center For The Arts The Arts FILM 2020 AU1/18961 M 2:10pm - 3:25pm Richard Pena 3 0/30 FILM UN1010 Genre Study. 3 points. Room TBA Fee: Course Fee - 75 FILM 2020 AU1/18961 W 2:10pm - 4:55pm Richard Pena 3 0/30 Room TBA Prerequisites: This lecture course will have 3 discussion sections, capped at 20, listed as UN 1011 Genre Study - Disc. There will also be a film FILM UN2030 Cinema History 3: 1960-90. 3 points. screening, scheduled immediately after one of the lecture sessions. Discussion Section Required This course examines how globalization and the global success of Priority given to film majors and seniors. Fee: $75. American blockbuster films have affected Hollywood film production, By closely watching representative classics from countries including Italy, stardom, distribution, and exhibition. The course will analyze blockbuster Poland, Russia and Argentina, we will study the distinctive trends and aesthetics, including aspects of special effects, 3-D, sound, narration, masters of this vibrant era. Special attention will be paid to the French genre, and editing. We will also study the effects of new digital New Wave (60s); the New German Cinema (70s); the reformulation of technologies on Hollywood and the cross-pollination among Hollywood, Hollywood studio filmmaking in the 70s (Altman, Cassavetes, Coppola), art house, and other national cinemas. Finally, we will examine the effects and the rise of the independent American cinema (80s). FILM W2031 of 9/11, the “war on terrorism,” climate change and other global concerns on marketing, aesthetics and other aspects of this cinema Fall 2021: FILM UN2030 FILM UN2010 Cinema History 1: Beginning-1930. 3 points. Course Section/Call Times/Location Instructor Points Enrollment Number Number This course rethinks the “birth of cinema” from the vantage of “when FILM 2030 001/11809 Th 2:10pm - 6:00pm Annette 3 48/50 old media was new.” Following standard approaches, it moves from 511 Dodge Building Insdorf actualities to fiction, from the “cinema of attractions” to narrative, from the cinématographe to cinema, from cottage industry to studio system. FILM UN2040 Cinema History 4: after 1990. 3 points. Units in silent film music, early genres, film piracy and copyright, word This course brings our survey of the development of the art, technology, and moving image, and restoration—the film archivist’s dilemma in the and industry of motion images up to the present. During this era, most digital era. FILM W2011 people no longer watched movies (perhaps the most neutral term) in theaters, and digital technology came to dominate every aspect of Spring 2021: FILM UN2010 production, distribution, and exhibition. Highlighted filmmakers include Course Section/Call Times/Location Instructor Points Enrollment Michael Haneke, Lars von Trier, Wong Kar-wei, and Steve McQueen. Number Number Topics range from contemporary horror to animation. Requirements: FILM 2010 001/13874 F 10:10am - 12:40pm Vito 3 38/40 Online Only Adriaensens short (2-3 pages) papers on each film shown for the class and a final, take-home exam. FILM W2041 Spring 2021: FILM UN2040 Course Section/Call Times/Location Instructor Points Enrollment Number Number FILM 2040 001/13877 T Th 2:10pm - 3:25pm Richard Pena 3 46/60 Kob Lenfest Center For The Arts FILM 2040 001/13877 Th 3:25pm - 4:55pm Richard Pena 3 46/60 Kob Lenfest Center For The Arts Film and Media Studies 3 FILM UN2190 TOPICS IN AMERICAN CINEMA.
Load more

Recommended publications
  • Cinephilia Or the Uses of Disenchantment 2005
    Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life.
    [Show full text]
  • Viewing Film from a Communication Perspective
    Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool.
    [Show full text]
  • Jeder Tag Ist Ein Geschenk«
    »Jeder Tag ist ein Geschenk« Menschen | Zum Tod der großen Schauspielerin Jeanne Moreau 2003 hatte Jeanne Moreau (halb im Scherz) einen künstlerischen Wunsch geäußert, der sich allerdings nie erfüllt hat: »Shakespeares Lear. Den spiele ich, wenn ich achtzig bin!« Von PETER MOHR Mit dem ›Lear‹ ist es zwar nichts geworden, doch die Blitzlichter der Fotografen zog sie bis ins hohe Alter immer noch beinahe magisch an, wie etwa bei ihrem Kurzauftritt als Ehrengast bei der Europäischen Filmpreisgala im Jahr 2007 in Berlin. Sie war nicht nur eine der wirklich großen Schauspielerinnen, sondern war auch der Schwarm einer ganzen Männergeneration, ihr Name wird in einem Atemzug mit Marlene Dietrich und Greta Garbo genannt, vom liebeshungrigen Luder bis zur rachsüchtigen Ehefrau hat sie alles verkörpert, und ihre eigene Vita würde genug Stoff für einen abendfüllenden Kinofilm hergeben. Jeanne Moreau, die am 23. Januar 1928 in Paris als Tochter eines Hoteliers geboren und als 20-jährige bereits in die ehrwürdige Comédie-Française aufgenommen wurde, hat als Schauspielerin nicht nur die großen Regisseure, sondern auch als Privatperson viele Prominente fasziniert: Louis Malle, Orson Welles, John Frankenheimer, Jean-Louis Richard (aus der Ehe stammt Sohn Jérome, der heute ein erfolgreicher Maler ist), Modeschöpfer Pierre Cardin, der 14 Jahre jüngere Schriftsteller Peter Handke, und der Regisseur Tony Richardson (die Affäre führte zu seiner Scheidung von Vanessa Redgrave) waren ihre Lebensgefährten. Zwar hatte Jeanne Moreau Anfang der 1950er Jahre auf der Theaterbühne unter der Regie von Peter Brook in Tennessee Willliams‘ ›Die Katze auf dem heißen Blechdach‹ und an der Seite von Lino Ventura und Jean Gabin als Luder Josy in ›Wenn es Nacht wird in Paris‹ (1953) für Furore gesorgt, doch der große Durchbruch gelang ihr ausgerechnet unter der Regie eines Debütanten – in Louis Malles ›Fahrstuhl zum Schafott‹ (1957).
    [Show full text]
  • JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
    The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress.
    [Show full text]
  • Broadcasting Taste: a History of Film Talk, International Criticism, and English-Canadian Media a Thesis in the Department of Co
    Broadcasting Taste: A History of Film Talk, International Criticism, and English-Canadian Media A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication Studies) at Concordia University Montreal, Quebec, Canada December 2016 © Zoë Constantinides, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Zoë Constantinides Entitled: Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media and submitted in partial fulfillment of the requirements for the degree of PhD in Communication Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: __________________________________________ Beverly Best Chair __________________________________________ Peter Urquhart External Examiner __________________________________________ Haidee Wasson External to Program __________________________________________ Monika Kin Gagnon Examiner __________________________________________ William Buxton Examiner __________________________________________ Charles R. Acland Thesis Supervisor Approved by __________________________________________ Yasmin Jiwani Graduate Program Director __________________________________________ André Roy Dean of Faculty Abstract Broadcasting Taste: A History of Film Talk, International Criticism, and English- Canadian Media Zoë Constantinides,
    [Show full text]
  • Independent Experimental Film (Animation and Live-Action) Remains the Great Hardly-Addressed Problem of Film Preservation
    RESTORING EXPERIMENTAL FILMS by William Moritz (From Anthology Film Archives' "Film Preservation Honors" program, 1997) Independent experimental film (animation and live-action) remains the great hardly-addressed problem of film preservation. While million-dollar budgets digitally remaster commercial features, and telethon campaigns raise additional funds from public donations to restore "classic" features, and most of the film museums and archives spend their meager budgets on salvaging nitrates of early live-action and cartoon films, thousands of experimental films languish in desperate condition. To be honest, experimental film is little known to the general public, so a telethon might not engender the nostalgia gifts that pour in to the American Movie Classics channel. But at their best, experimental films constitute Art of the highest order, and, like the paintings and sculptures and prints and frescos of previous centuries, merit preservation, since they will be treasured continuingly and increasingly by scholars, connoisseurs, and thankful popular audiences of future generations - for the Botticellis and Rembrandts and Vermeers and Turners and Monets and Van Goghs of our era will be found among the experimental filmmakers. Experimental films pose many special problems that account for some of this neglect. Independent production often means that the "owner" of legal rights to the film may be in question, so the time and money spent on a restoration may be lost when a putative owner surfaces to claim the restored product. Because the style of an experimental film may be eccentric in the extreme, it can be hard to determine its original state: is this print complete? Have colors changed? was there a sound accompaniment? what was the speed or configuration of projection? etc.
    [Show full text]
  • Film Studies (FILM) 1
    Film Studies (FILM) 1 FILM 252 - History of Documentary Film (4 Hours) FILM STUDIES (FILM) This course critically explores the major aesthetic and intellectual movements and filmmakers in the non-fiction, documentary tradition. FILM 210 - Introduction to Film (4 Hours) The non-fiction classification is indeed a wide one—encompassing An introduction to the study of film that teaches the critical tools educational, experimental formalist filmmaking and the rhetorical necessary for the analysis and interpretation of the medium. Students documentary—but also a rich and unique one, pre-dating the commercial will learn to analyze cinematography, mise-en-scene, editing, sound, and narrative cinema by nearly a decade. In 1894 the Lumiere brothers narration while being exposed to the various perspectives of film criticism in France empowered their camera with a mission to observe and and theory. Through frequent sequence analyses from sample films and record reality, further developed by Robert Flaherty in the US and Dziga the application of different critical approaches, students will learn to Vertov in the USSR in the 1920s. Grounded in a tradition of realism as approach the film medium as an art. opposed to fantasy, the documentary film is endowed with the ability to FILM 215 - Australian Film (4 Hours) challenge and illuminate social issues while capturing real people, places A close study of Australian “New Wave” Cinema, considering a wide range and events. Screenings, lectures, assigned readings; paper required. of post-1970 feature films as cultural artifacts. Among the directors Recommendations: FILM 210, FILM 243, or FILM 253. studied are Bruce Beresford, Peter Weir, Simon Wincer, Gillian Armstrong, FILM 253 - History of American Independent Film (4 Hours) and Jane Campion.
    [Show full text]
  • The Film Auteur: Vision and Style
    Module Title The Film Auteur: Vision and Style Programme(s)/Course BA Film Studies Level 4 Semester 1 Ref No: NEW Credit Value 20 CAT Points Student Study hours Contact hours: 48 Student managed learning hours: 152 Pre-requisite learning N/A Co-requisites N/A Excluded N/A combinations Module Coordinator TBC Parent Department Division of Film and Media, School of Arts and Creative Industries Parent Course BA Film Studies JACS Code W600 Description This module will examine the wide-ranging debates related to the film auteur through historical enquiry, theoretical investigation and comparative case studies. Students will explore the fraught relationship between film theory and the concept of the auteur, where the arguments against the film director-as-artist are set against the many instances of extraordinary ‘personal’ style and innovation in the cinematic medium. After exposure to the critical debates, students will analyse a series of case-studies to better understand the auteur in the context of the ‘classical’, the ‘postmodern’ and the ‘world cinema’ auteur. Finally, the module will also update the discussion by considering the impact of digital media on the idea of the film auteur. Aims The aims of this module are to To critically explore the concept of the auteur in terms of its historical origins and its contribution to film theory To relate authorship to the influence of the director working within diverse industrial, cultural and national contexts To apply different authorial approaches to the works of specific directors, such
    [Show full text]
  • SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
    SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses The Ritz-Carlton, New Orleans • March 10–13, 2011 • SCMS 2011 Letter from the President Welcome to New Orleans and the fabulous Ritz-Carlton Hotel! On behalf of the Board of Directors, I would like to extend my sincere thanks to our members, professional staff, and volunteers who have put enormous time and energy into making this conference a reality. This is my final conference as SCMS President, a position I have held for the past four years. Prior to my presidency, I served two years as President-Elect, and before that, three years as Treasurer. As I look forward to my new role as Past-President, I have begun to reflect on my near decade-long involvement with the administration of the Society. Needless to say, these years have been challenging, inspiring, and expansive. We have traveled to and met in numerous cities, including Atlanta, London, Minneapolis, Vancouver, Chicago, Philadelphia, and Los Angeles. We celebrated our 50th anniversary as a scholarly association. We planned but unfortunately were unable to hold our 2009 conference at Josai University in Tokyo. We mourned the untimely death of our colleague and President-Elect Anne Friedberg while honoring her distinguished contributions to our field. We planned, developed, and launched our new website and have undertaken an ambitious and wide-ranging strategic planning process so as to better position SCMS to serve its members and our discipline today and in the future. At one of our first strategic planning sessions, Justin Wyatt, our gifted and hardworking consultant, asked me to explain to the Board why I had become involved with the work of the Society in the first place.
    [Show full text]
  • Roger Ebert's
    The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
    [Show full text]
  • Film Studies (FILM) 1
    Film Studies (FILM) 1 FILM-115 World Cinema 3 Units FILM STUDIES (FILM) 54 hours lecture; 54 hours total This course will survey the historical, social, and artistic development FILM-100 Survey and Appreciation of Film 3 Units of cinema around the globe, introducing a range of international films, 54 hours lecture; 54 hours total movements, and traditions. This course is an introduction to the history and elements of filmmaking Transfers to both UC/CSU such as narrative, mise-en-scene, cinematography, acting, editing, and FILM-117 Director's Cinema 3 Units sound as well as approaches to film criticism. 54 hours lecture; 54 hours total Transfers to both UC/CSU This course examines the historical and artistic career of a seminal FILM-101 Introduction to Film Production 3 Units director in cinema history. Possible subjects include Martin Scorsese, 36 hours lecture; 54 hours lab; 90 hours total Alfred Hitchcock, Francis Ford Coppola, and Woody Allen. This course is designed to introduce you to the creative process Transfers to CSU only of filmmaking. We will study all aspects of production from the FILM-120 Horror Film 3 Units conceptualization of ideas and scripting, to the basic production 54 hours lecture; 54 hours total equipment and their functions, and finally the production and post- This course offers an in-depth examination of the popular horror film production processes. Assignments will emphasize visualization, through an analysis of its historical evolution, major theories, aesthetics shooting style, and production organization. Presentation of ideas in and conventions, and the impact of its role as a reflection of culture both the written word and visual media are integral to the production society.
    [Show full text]
  • SYLLABUS “If You Want to Speak to the World,” Said Tolstoy, “Speak Of
    Powers !1 of !20 Syllabus 529 SYLLABUS Wells Writing Division CTWR 529 Fall 2017 Intermediate Screenwriting Wednesdays, 7:00pm – 10:00pm CSA 362 INSTRUCTOR INFORMATION" Lecturer: Wayne Powers" Phone: 424-666-4443" Email: (awaiting USC email address)" O#ce Hours: 5-7 and 10-11 Wednesdays BY APPOINTMENT ONLY" “If you want to speak to the world,” said Tolstoy, “speak of your own village.” GOALS OF THE COURSE:" In this intermediate screenwriting course, I will combine what I learned as a student at USC Film School, my alma mater, with what I learned in my professional career in film and television starting when I was twenty-three years old. " There are 293 ways to make change for a dollar, and probably more ways to write a screenplay. I will focus on ways that have worked for me (usually) and that coincide Powers !2 of !20 Syllabus 529 with USC philosophies like that character is more important than plot, and how to make personal scripts even if you’re writing a genre motion picture. " This course aims to sharpen your storytelling and screenwriting skills through practical writing experience in the short-film form, leading to an extensive introduction to shaping a feature film story. You will further explore your abilities to write screenplays that follow the Western narrative tradition: A strong premise; clear focus on all your characters wants versus their needs; writing through visuals; a three act structure; creating sequences; learning “approaches” and using other tools of the craft in both short films and features." You will learn through discussions to evaluate scripts and how to give constructive feedback." I will give lectures, have in-class exercises, give tips on how to pitch, and watch films that highlight our topics, and, in a safe supportive environment we will workshop your assignments.
    [Show full text]