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Film Studies Program
Bryn Mawr College
101 North Merion Ave
Bryn Mawr, PA 19010
610.526.5334

Tri-College Courses

CURRENT COURSE OFFERINGS

Bryn Mawr Schedule | Bryn Mawr Descriptions
Swarthmore Schedule | Swarthmore Descriptions
University of Pennsylvania Cinema Studies

This page displays the schedule of Bryn Mawr courses in this department for this academic year. It also displays descriptions of courses offered by the department during the last four academic years.

For information about courses offered by other Bryn Mawr departments and programs or about courses offered by Haverford and Swarthmore Colleges, please consult the Course Guides page.

For information about the Academic Calendar, including the dates of first and second quarter courses, please visit the College's master calendar.

Students must choose a major subject and may choose a minor subject. Students may also select from one of seven concentrations, which are offered to enhance a student's work in the major or minor and to focus work on a specific area of interest.

Concentrations are an intentional cluster of courses already offered by various academic departments or through general programs. These courses may also be cross-listed in several academic departments. Therefore, when registering for a course that counts toward a concentration, a student should register for the course listed in her major or minor department. If the concentration course is not listed in her major or minor department, the student may enroll in any listing of that course.

Fall 2015

COURSE TITLE SCHEDULE/
UNITS
MEETING TYPE TIMES/DAYS LOCATION INSTR(S)
COML B306-001 Film Theory Semester / 1 Lecture: 2:10 PM- 4:00 PM W Carpenter Library 13 King,H.
Film: 7:10 PM- 9:00 PM T Carpenter Library 21
EALC B240-001 Topics in Chinese Film: The Films of Wong Kar-wai Semester / 1 LEC: 12:55 PM- 2:15 PM TTH Taylor Hall B Kwa,S.
Film: 7:10 PM- 9:00 PM SU Thomas Hall 224
ENGL B299-001 History of Narrative Cinema, 1945 to the Present Semester / 1 Lecture: 9:55 AM-11:15 AM TTH Carpenter Library 25 King,H.
Film: 7:10 PM-10:00 PM M Carpenter Library 21
ENGL B306-001 Film Theory Semester / 1 Lecture: 2:10 PM- 4:00 PM W Carpenter Library 13 King,H.
Film: 7:10 PM- 9:00 PM T Carpenter Library 21
ENGL B367-001 Asian American Film Video and New Media Semester / 1 Lecture: 7:10 PM-10:00 PM M Carpenter Library 15 Nguyen,H.
Film: 7:10 PM-10:00 PM SU Carpenter Library 21
GNST B255-001 Video Production Semester / 1 Lecture: 1:10 PM- 4:00 PM T Taylor Hall D Romberg,D.
Film Screening: 7:10 PM- 9:00 PM TH Thomas Hall 224
HART B299-001 History of Narrative Cinema, 1945 to the present Semester / 1 Lecture: 9:55 AM-11:15 AM TTH Carpenter Library 25 King,H.
Film Screening: 7:10 PM-10:00 PM M Carpenter Library 21
HART B306-001 Film Theory Semester / 1 Lecture: 2:10 PM- 4:00 PM W Carpenter Library 13 King,H.
Film: 7:10 PM- 9:00 PM T Carpenter Library 21
HART B367-001 Asian American Film, Video and New Media Semester / 1 Lecture: 7:10 PM-10:00 PM M Carpenter Library 25 Nguyen,H.
Film: 7:10 PM-10:00 PM SU Carpenter Library 21
PSYC B375-001 Movies and Madness: Abnormal Psychology Through Films Semester / 1 Lecture: 1:10 PM- 3:30 PM W Bettws Y Coed 239 Rescorla,L.
SPAN B252-001 Compassion, Indignation, and Anxiety in Latin American Film Semester / 1 LEC: 2:40 PM- 4:00 PM MW Thomas Hall 104 Gaspar,M.
Screening- TBA: 7:10 PM-10:00 PM SU Dalton Hall 119

Spring 2016

COURSE TITLE SCHEDULE/
UNITS
MEETING TYPE TIMES/DAYS LOCATION INSTR(S)
COML B110-001 Critical Approaches to Visual Representation: Identification in the Cinema Semester / 1 Lecture: 11:10 AM-12:00 PM MWF Carpenter Library 25 King,H.
Film: 7:10 PM-10:00 PM Carpenter Library 25
COML B311-001 The Myth of Venice (1800-2000) Semester / 1 LEC: 2:25 PM- 3:45 PM TTH Thomas Hall 102 Monserrati,M.
EALC B281-001 Food in Translation: Theory and Practice Semester / 1 Lecture: 1:10 PM- 4:00 PM T Dalton Hall 212E Kwa,S.
ENGL B205-001 Introduction to Film Semester / 1 Lecture: 1:10 PM- 2:30 PM MW Carpenter Library 25 Nguyen,H.
Film: 7:10 PM-10:00 PM SU Carpenter Library 21
ENGL B375-001 Sex on Screens Semester / 1 LEC: 10:10 AM-11:30 AM MW Thomas Hall 102 Nguyen,H.
Screening: 7:10 PM-10:00 PM SU Thomas Hall 224
GNST B302-001 Topics in Video Production Semester / 1 Lecture: 1:10 PM- 4:00 PM T Taylor Hall E Dept. staff, TBA
Film: Date/Time TBA
HART B110-001 Critical Approaches to Visual Representation: Identification in the Cinema Semester / 1 Lecture: 11:10 AM-12:00 PM MWF Carpenter Library 25 King,H.
Film: 7:10 PM-10:00 PM SU Carpenter Library 25
HART B205-001 Introduction to Film Semester / 1 Lecture: 1:10 PM- 2:30 PM MW Carpenter Library 25 Nguyen,H.
Film: 7:10 PM-10:00 PM Carpenter Library 21
HART B336-001 Topics in Film: Queer Cinema Semester / 1 Lecture: 10:10 AM-11:30 AM MW Nguyen,H.
Film: 7:10 PM-10:00 PM SU
ITAL B311-001 The Myth of Venice (1800-2000) Semester / 1 LEC: 2:25 PM- 3:45 PM TTH Thomas Hall 102 Monserrati,M.

Fall 2016

(Class schedules for this semester will be posted at a later date.)

Courses at Haverford Spring 2015

COURSE

TITLE MEETING TYPE TIMES/DAYS LOCATION INSTRUCTOR(S)
ARTS 227 Film on Photography TTh 10-11:30am   Muse
EALC 219 Modern & Contemporary East Asian Visual Culture W 1:30-4pm

 

Schoneveld
EALC 335 Japanese Modernism Across Media TTh 1-2:30pm   Schoneveld
GERM 320 Impossible Representations: The Holocaust in Literature and Film T 7:30-10pm   Henkel
GERM 321 Literature and New Media: From the Gutenberg-Galaxy to Cyberspace Th 1:30-4pm   Schonherr
ICPR 343 Advanced Documentary Video Production W 1:30-4pm   Funari

Courses at Swarthmore Spring 2015

COURSE

TITLE MEETING TYPE TIMES/DAYS LOCATION INSTRUCTOR(S)
FMST 002 Production Workshop: Digital Film Fundamentals W 1:15-5pm, screenings W 7-9pm

McCabe Library 306,

Lang Center 101

E. Cho
FMST 015 Screenwriting

T Th 11:20am-12:35pm,
screenings W 7-9pm

McCabe Library 306, McCabe Library 306 E. Cho
FMST 025 Television and New Media F 2-5pm, screenings Th 7-9pm Science Center 145, Science Center 145 S. Simon
FMST 050 What on Earth is World Cinema

T Th 11:20am-12:35pm, screenings 7-10pm

Kohlberg 116,

Lang 101

P. White
FMST 090 Film and Media Capstone T Th 2:40-3:55pm, screenings M 7-10pm McCabe Library 306, McCabe Library 306 P. White and E.Cho

 

2015-16 Catalog Data

ARTW B266 Screenwriting Not offered 2015-16 An introduction to screenwriting. Issues basic to the art of storytelling in film will be addressed and analyzed: character, dramatic structure, theme, setting, image, sound. The course focuses on the film adaptation; readings include novels, screenplays, and short stories. Films adapted from the readings will be screened. In the course of the semester, students will be expected to outline and complete the first act of an adapted screenplay of their own. Critical Interpretation (CI) Counts toward Film Studies

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COML B110 Critical Approaches to Visual Representation: Identification in the Cinema Spring 2016 An introduction to the analysis of film through particular attention to the role of the spectator. Why do moving images compel our fascination? How exactly do film spectators relate to the people, objects, and places that appear on the screen? Wherein lies the power of images to move, attract, repel, persuade, or transform its viewers? In this course, students will be introduced to film theory through the rich and complex topic of identification. We will explore how points of view are framed in cinema, and how those viewing positions differ from those of still photography, advertising, video games, and other forms of media. Students will be encouraged to consider the role the cinematic medium plays in influencing our experience of a film: how it is not simply a film's content, but the very form of representation that creates interactions between the spectator and the images on the screen. Film screenings include Psycho, Being John Malkovich, and others. Course is geared to freshman and those with no prior film instruction. Fulfills History of Art major 100-level course requirement, Film Studies minor Introductory course or Theory course requirement. Syllabus is subject to change at instructor's discretion. Writing Intensive Critical Interpretation (CI) Inquiry into the Past (IP) Cross-listed as HART B110 Counts toward Film Studies

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COML B214 Italy Today: New Voices, New Writers, New LiteratureItaly Today Not offered 2015-16 This course, taught in English, will focus primarily on the works of the so-called "migrant writers" who, having adopted the Italian language, have become a significant part of the new voice of Italy. In addition to the aesthetic appreciation of these works, this course will also take into consideration the social, cultural, and political factors surrounding them. The course will focus on works by writers who are now integral to Italian canon - among them: Cristina Ali-Farah, Igiaba Scego, Ghermandi Gabriella, Amara Lakhous. As part of the course, movies concerned with various aspects of Italian Migrant literature will be screened and analyzed. Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as ITAL B212 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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COML B216 Topics: Introduction to Chinese Literature
Section 001 (Spring 2015): Dream of the Red Chamber Not offered 2015-16 This is a topics course. Topics may vary. Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as EALC B212 Cross-listed as HART B214 Counts toward Film Studies

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COML B238 Topics: The History of Cinema 1895 to 1945 Not offered 2015-16 This is a topics course. Course content varies. Inquiry into the Past (IP) Cross-listed as ENGL B238 Cross-listed as RUSS B238 Cross-listed as HART B238 Counts toward Film Studies

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COML B306 Film Theory Fall 2015 An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Prerequisite: A course in Film Studies (HART B110, HART B299, ENGL B205, or the equivalent from another college by permission of instructor). Cross-listed as HART B306 Cross-listed as ENGL B306 Counts toward Film Studies

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COML B310 Detective Fiction Not offered 2015-16 In English. This course explores the Italian "giallo" (detective fiction), today one of the most successful literary genres among Italian readers and authors alike. Through a comparative perspective, the course will analyze not only the inter-relationship between this popular genre and "high literature," but also the role of detective fiction as a mirror of social anxieties. Italian majors taking this course for Italian credit will be required to meet for an additional hour with the instructor and to do the readings and writing in Italian. Suggested Preparation: One literature course at the 200 level. Writing Intensive Cross-listed as ITAL B310 Counts toward Film Studies

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COML B311 The Myth of Venice (1800-2000) Spring 2016 The Republic of Venice existed for over a millennium. This course begins in the year 1797 at the end of the Republic and the emerging of an extensive body of literature centered on Venice and its mythical facets. Readings will include the Romantic views of Venice (excerpts from Lord Byron, Fredrick Schiller, Wolfang von Goethe, Ugo Foscolo, Alessandro Manzoni) and the 20th century reshaping of the literary myth (readings from Thomas Mann, Filippo Tommaso Marinetti, Gabriele D'Annunzio, Henry James, and others). A journey into this fascinating tradition will shed light on how the literary and visual representation of Venice, rather than focusing on a nostalgic evocation of the death of the Republic, became a territory of exploration for literary modernity. The course is offered in English; all texts are provided in translation. Suggested Preparation: At least two 200-level literature courses. Cross-listed as ITAL B311 Counts toward Film Studies

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EALC B212 Topics: Introduction to Chinese Literature
Section 001 (Spring 2015): Dream of the Red Chamber Not offered 2015-16 This is a topics course. Topics may vary. Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as HART B214 Cross-listed as COML B216 Counts toward Film Studies

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EALC B240 Topics in Chinese Film
Section 001 (Fall 2014): The Fifth Generation
Section 001 (Fall 2015): The Films of Wong Kar-wai Fall 2015 This is a topics course. Course content varies.
Current topic description: The course will focus on all of the full-length feature films of Hong Kong director Wong Karwai, beginning with the 1988 film As Tears Go By and ending with the 2013 film The Grandmaster. Some topics that will be discussed include translation; brotherhoods, violence and criminality; nostalgia; the use of music; dystopia; translingualism; post-colonialism; and post-humanism.
Cross-Cultural Analysis (CC) Critical Interpretation (CI) Counts toward Film Studies

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EALC B281 Food in Translation: Theory and Practice Spring 2016 This semester we will explore the connections between what we eat and how we define ourselves in the context of global culture. We will proceed from the assumption that food is an object of culture, and that our contemplation of its transformations and translations in production, preparation, consumption, and distribution will inform our notions of personal and group identity. This course takes Chinese food as a case study, and examines the way that Chinese food moves from its host country to diasporic communities all over the world, using theories of translation as our theoretical and empirical foundation. From analyzing menu and ingredient translations to producing a short film based on interviews, we will consider the relationship between food and communication in a multilingual and multicultural world. Readings include theoretical texts on translation (Apter), recipe books and menus, Chinese and Chinese-American literature (Classic of Poetry, Mo Yan, Hong Kingston). Films include Ian Cheney's "Searching for General Tso," Wayne Wang's "Soul of a Banquet" and "Eat a Bowl of Tea," Ang Li's "Eat Drink Man Woman," and Wong Karwai's "In the Mood for Love." Cross-Cultural Analysis (CC) Critical Interpretation (CI) Counts toward Film Studies

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EALC B315 Spirits, Saints, Snakes, Swords: Women in East Asian Literature & Film Not offered 2015-16 This interdisciplinary course focuses on a critical survey of literary and visual texts by and about Chinese women. We will begin by focusing on the cultural norms that defined women's lives beginning in early China, and consider how those tropes are reflected and rejected over time and geographical borders (in Japan, Hong Kong and the United States). No prior knowledge of Chinese culture or language necessary. Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ENGL B205 Introduction to Film Spring 2016 This course is intended to provide students with the tools of critical film analysis. Through readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory. Critical Interpretation (CI) Cross-listed as HART B205 Counts toward Film Studies

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ENGL B238 Topics: The History of Cinema 1895 to 1945 Not offered 2015-16 This is a topics course. Course content varies. Inquiry into the Past (IP) Cross-listed as RUSS B238 Cross-listed as HART B238 Counts toward Film Studies

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ENGL B261 Topics: Film and the German Literary Imagination Not offered 2015-16 This is a topics course. Course content varies. Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as GERM B262 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ENGL B299 History of Narrative Cinema, 1945 to the Present Fall 2015 This course surveys the history of narrative film from 1945 through contemporary cinema. We will analyze a chronological series of styles and national cinemas, including Classical Hollywood, Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema. Readings will provide historical context, and will introduce students to key concepts in film studies such as realism, formalism, spectatorship, the auteur theory, and genre studies. Fulfills the history requirement or the introductory course requirement for the Film Studies minor. Critical Interpretation (CI) Inquiry into the Past (IP) Cross-listed as HART B299 Counts toward Film Studies

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ENGL B306 Film Theory Fall 2015 An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Prerequisite: A course in Film Studies (HART B110, HART B299, ENGL B205, or the equivalent from another college by permission of instructor). Cross-listed as HART B306 Cross-listed as COML B306 Counts toward Film Studies

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ENGL B323 Movies, Fascism, and Communism Not offered 2015-16 Movies and mass politics emerged together, altering entertainment and government in strangely similar ways. Fascism and communism claimed an inherent relation to the masses and hence to movies; Hollywood rejected such claims. We will examine films alluding to fascism or communism, to understand them as commenting on political debates and on the mass experience of movie going. Counts toward Film Studies

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ENGL B334 Topics in Film Studies Not offered 2015-16 This is a topics course. Content varies. Cross-listed as HART B334 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ENGL B355 Performance Studies Not offered 2015-16 Introduces students to the field of performance studies, a multidisciplinary species of cultural studies which theorizes human actions as performances that both construct and resist cultural norms of race, gender, and sexuality. The course will explore "performativity" in everyday life as well as in the performing arts, and will include multiple viewings of dance and theater both on- and off-campus. In addition, we will consider the performative aspects of film and video productions. Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ENGL B367 Asian American Film Video and New Media Fall 2015 The course explores the role of pleasure in the production, reception, and performance of Asian American identities in film, video, and the internet, taking as its focus the sexual representation of Asian Americans in works produced by Asian American artists from 1915 to present. In several units of the course, we will study graphic sexual representations, including pornographic images and sex acts some may find objectionable. Students should be prepared to engage analytically with all class material. To maintain an atmosphere of mutual respect and solidarity among the participants in the class, no auditors will be allowed. Cross-listed as HART B367 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ENGL B375 Sex on Screens Spring 2016 This course will provide a historical and theoretical overview of the ways moving image sex acts have been represented on screen, from early cinema's silent film loops to today's celebrity sex tapes. We will examine the ideological operations of sex in the cinema and aim to comprehend the multifarious ways viewers, filmmakers, critics, and scholars respond to dominant conceptions of sex-sexuality through alternative cinematic production and critical scholarship. Units include: stag movies, the Production Code and ratings system, European art cinema, sex ed, underground and the avant-garde, cult / sexploitation / blaxploitation, sexual revolution, hard core, women's cinema, home video, queer cinema, HIV/AIDS, the digital revolution, feminist porn, and the Internet. Prerequisites: HART / COML B110: Identification in the Cinema; or ENGL / HART 205: Introduction to Film; or ENGL B299 History of Narrative Cinema, 1945 to the Present. Counts toward Gender and Sexuality Studies Counts toward Film Studies

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GEOL B125 Focus: Geology in Film Not offered 2015-16 This is a half semester Focus course. Geologic processes make for great film storylines, but filmmakers take great liberty with how they depict scientific "facts" and scientists. We will explore how and why filmmakers choose to deviate from science reality. We will study and view one film per week and discuss its issues from a geologist's perspective. Course does not meet an Approach Counts toward Film Studies

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GERM B262 Topics: Film and the German Literary Imagination Not offered 2015-16 This is a topics course. Course content varies. Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as ENGL B261 Counts toward Film Studies

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GNST B255 Video Production Fall 2015 This course will explore aesthetic strategies utilized by low-budget film and video makers as each student works throughout the semester to complete a 7-15 minute film or video project. Course requirements include weekly screenings, reading assignments, and class screenings of rushes and roughcuts of student projects. Prerequisites: Some prior film course experience necessary, instructor discretion. Counts toward Film Studies

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GNST B302 Topics in Video Production
Section 001 (Spring 2015): DocuFiction Workshop Spring 2016 This is a topics course. Course content varies. Prerequisite: GNST B255 or ENGL/HART B205 or ICPR H243 or ICPR H343 or ICPR H278 or ANTH H207 or an equivalent Video Production course, such as Documentary Production or an equivalent critical course in Film or Media Studies. Counts toward Film Studies

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HART B110 Critical Approaches to Visual Representation: Identification in the Cinema Spring 2016 An introduction to the analysis of film through particular attention to the role of the spectator. Why do moving images compel our fascination? How exactly do film spectators relate to the people, objects, and places that appear on the screen? Wherein lies the power of images to move, attract, repel, persuade, or transform its viewers? In this course, students will be introduced to film theory through the rich and complex topic of identification. We will explore how points of view are framed in cinema, and how those viewing positions differ from those of still photography, advertising, video games, and other forms of media. Students will be encouraged to consider the role the cinematic medium plays in influencing our experience of a film: how it is not simply a film's content, but the very form of representation that creates interactions between the spectator and the images on the screen. Film screenings include Psycho, Being John Malkovich, and others. Course is geared to freshman and those with no prior film instruction. Fulfills History of Art major 100-level course requirement, Film Studies minor Introductory course or Theory course requirement. Writing Intensive Critical Interpretation (CI) Inquiry into the Past (IP) Cross-listed as COML B110 Counts toward Film Studies

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HART B205 Introduction to Film Spring 2016 This course is intended to provide students with the tools of critical film analysis. Through readings of images and sounds, sections of films and entire narratives, students will cultivate the habits of critical viewing and establish a foundation for focused work in film studies. The course introduces formal and technical units of cinematic meaning and categories of genre and history that add up to the experiences and meanings we call cinema. Although much of the course material will focus on the Hollywood style of film, examples will be drawn from the history of cinema. Attendance at weekly screenings is mandatory. Critical Interpretation (CI) Cross-listed as ENGL B205 Counts toward Film Studies

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HART B214 Topics: Introduction to Chinese Literature
Section 001 (Spring 2015): Dream of the Red Chamber Not offered 2015-16 This is a topics course. Topics may vary. Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as EALC B212 Counts toward Film Studies

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HART B215 Russian Avant-Garde Art, Literature and Film Not offered 2015-16 This course focuses on Russian avant-garde painting, literature and cinema at the start of the 20th century. Moving from Imperial Russian art to Stalinist aesthetics, we explore the rise of non-objective painting (Malevich, Kandinsky, etc.), ground-breaking literature (Bely, Mayakovsky), and revolutionary cinema (Vertov, Eisenstein). No knowledge of Russian required. Critical Interpretation (CI) Cross-listed as RUSS B215 Counts toward Film Studies

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HART B238 Topics: The History of Cinema 1895 to 1945 Not offered 2015-16 This is a topics course. Course content varies. Inquiry into the Past (IP) Cross-listed as ENGL B238 Cross-listed as RUSS B238 Counts toward Film Studies

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HART B299 History of Narrative Cinema, 1945 to the present Fall 2015 This course surveys the history of narrative film from 1945 through contemporary cinema. We will analyze a chronological series of styles and national cinemas, including Classical Hollywood, Italian Neorealism, the French New Wave, and other post-war movements and genres. Viewings of canonical films will be supplemented by more recent examples of global cinema. While historical in approach, this course emphasizes the theory and criticism of the sound film, and we will consider various methodological approaches to the aesthetic, socio-political, and psychological dimensions of cinema. Readings will provide historical context, and will introduce students to key concepts in film studies such as realism, formalism, spectatorship, the auteur theory, and genre studies. Fulfills the history requirement or the introductory course requirement for the Film Studies minor. Critical Interpretation (CI) Inquiry into the Past (IP) Cross-listed as ENGL B299 Counts toward Film Studies

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HART B306 Film Theory Fall 2015 An introduction to major developments in film theory and criticism. Topics covered include: the specificity of film form; cinematic realism; the cinematic "author"; the politics and ideology of cinema; the relation between cinema and language; spectatorship, identification, and subjectivity; archival and historical problems in film studies; the relation between film studies and other disciplines of aesthetic and social criticism. Each week of the syllabus pairs critical writing(s) on a central principle of film analysis with a cinematic example. Class will be divided between discussion of critical texts and attempts to apply them to a primary cinematic text. Prerequisite: A course in Film Studies (HART B110, HART B299, ENGL B205, or the equivalent from another college by permission of instructor). Cross-listed as ENGL B306 Cross-listed as COML B306 Counts toward Film Studies

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HART B334 Topics in Film Studies Not offered 2015-16 This is a topics course. Course content varies. Cross-listed as ENGL B334 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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HART B336 Topics in Film
Section 001 (Spring 2016): Queer Cinema Spring 2016 This course examines experimental film and video from the 1930's to present. It will concentrate on the use of found footage: the reworking of existing imagery in order to generate new aesthetic frameworks and cultural meanings. Key issues to be explored include copyright, piracy, archive, activism, affect, aesthetics, interactivity and fandom.
Current topic description: This course explores how communities and subjects designated as "queer" have been rendered in/visible in the cinema. It also examines how queer subjects have responded to this in/visibility through non-normative viewing practices and alternative film and video production. We will consider queer traditions in documentary, avant-garde, transgender, AIDS, and global cinemas.
Cross-listed as ENGL B336 Counts toward Film Studies

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HART B367 Asian American Film, Video and New Media Fall 2015 The course explores the role of pleasure in the production, reception, and performance of Asian American identities in film, video, and the internet, taking as its focus the sexual representation of Asian Americans in works produced by Asian American artists from 1915 to present. In several units of the course, we will study graphic sexual representations, including pornographic images and sex acts some may find objectionable. Students should be prepared to engage analytically with all class material. To maintain an atmosphere of mutual respect and solidarity among the participants in the class, no auditors will be allowed. Cross-listed as ENGL B367 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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HIST B284 Movies and America Not offered 2015-16 Movies are one of the most important means by which Americans come to know - or think they know--their own history. This class examines the complex cultural relationship between film and American historical self fashioning. Critical Interpretation (CI) Inquiry into the Past (IP) Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ITAL B212 Italy Today: New Voices, New Writers, New Literature Not offered 2015-16 This course, taught in English, will focus primarily on the works of the so-called "migrant writers" who, having adopted the Italian language, have become a significant part of the new voice of Italy. In addition to the aesthetic appreciation of these works, this course will also take into consideration the social, cultural, and political factors surrounding them. The course will focus on works by writers who are now integral to Italian canon - among them: Cristina Ali-Farah, Igiaba Scego, Ghermandi Gabriella, Amara Lakhous. As part of the course, movies concerned with various aspects of Italian Migrant literature will be screened and analyzed. Cross-Cultural Analysis (CC) Critical Interpretation (CI) Cross-listed as COML B214 Counts toward Gender and Sexuality Studies Counts toward Film Studies

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ITAL B225 Italian Cinema and Literary Adaptation Not offered 2015-16 The course will discuss how cinema conditions literary imagination and how literature leaves its imprint on cinema. We will "read" films as "literary images" and "see" novels as "visual stories." The reading of Italian literary sources will be followed by evaluation of the corresponding films by well-known directors, including female directors. We will study, through close analysis, such issues as Fascism, nationhood, gender, sexuality, politics, regionalism, death, and family within the European context of WWII and post-war Italy Cross-Cultural Analysis (CC) Counts toward Film Studies

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ITAL B229 Food in Italian Literature, Culture, and Cinema Not offered 2015-16 Taught in English. A profile of Italian literature/culture/cinema obtained through an analysis of gastronomic documents, films, literary texts, and magazines. We will also include a discussion of the Slow Food Revolution, a movement initiated in Italy in 1980 and now with a world-wide following, and its social, economic, ecological, aesthetic, and cultural impact to counteract fast food and to promote local food traditions. Course taught in English. One additional hour for students who want Italian credit . Prerequisite: ITAL 102 Cross-Cultural Analysis (CC) Critical Interpretation (CI) Counts toward Film Studies

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ITAL B255 Uomini d'onore in Sicilia: Italian Mafia in Literature and Cinema Not offered 2015-16 This course aims to explore representations of Mafia figures in Italian literature and cinema, with reference also to Italian-American films, starting from the 'classical' example of Sicily. The course will introduce students to both Italian Studies from an interdisciplinary prospective and also to narrative fiction, using Italian literature written by 19th, 20th, and 21st Italian Sicilian authors. Course is taught in Italian. Prerequisite: ITAL B102 or permission of the instructor. Cross-Cultural Analysis (CC) Counts toward Film Studies

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ITAL B310 Detective Fiction Not offered 2015-16 In English. Why is detective fiction so popular? What explains the continuing multiplication of detective texts despite the seemingly finite number of available plots? This course will explore the worldwide fascination with this genre beginning with European writers before turning to the more distant mystery stories from around the world. The international scope of the readings will highlight how authors in different countries have developed their own national detective typologies while simultaneously responding to international influence of the British-American model. Italian majors taking this course for Italian credit will be required to meet for an additional hour with the instructor and to do the readings and writing in Italian. Suggested Preparation: One literature course at the 200 level. Writing Intensive Cross-listed as COML B310 Counts toward Film Studies

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ITAL B311 The Myth of Venice (1800-2000) Spring 2016 The Republic of Venice existed for over a millennium. This course begins in the year 1797 at the end of the Republic and the emerging of an extensive body of literature centered on Venice and its mythical facets. Readings will include the Romantic views of Venice (excerpts from Lord Byron, Fredrick Schiller, Wolfang von Goethe, Ugo Foscolo, Alessandro Manzoni) and the 20th century reshaping of the literary myth (readings from Thomas Mann, Filippo Tommaso Marinetti, Gabriele D'Annunzio, Henry James, and others). A journey into this fascinating tradition will shed light on how the literary and visual representation of Venice, rather than focusing on a nostalgic evocation of the death of the Republic, became a territory of exploration for literary modernity. The course is offered in English; all texts are provided in translation. Suggested Preparation: At least two 200-level literature courses. Cross-listed as COML B311 Counts toward Film Studies

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PSYC B375 Movies and Madness: Abnormal Psychology Through Films Fall 2015 This writing-intensive seminar (maximum enrollment = 16 students) deals with critical analysis of how various forms of psychopathology are depicted in films. The primary focus of the seminar will be evaluating the degree of correspondence between the cinematic presentation and current research knowledge about the disorder, taking into account the historical period in which the film was made. For example, we will discuss how accurately the symptoms of the disorder are presented and how representative the protagonist is of people who typically manifest this disorder based on current research. We will also address the theory of etiology of the disorder depicted in the film, including discussion of the relevant intellectual history in the period when the film was made and the prevailing accounts of psychopathology in that period. Another focus will be how the film portrays the course of the disorder and how it depicts treatment for the disorder. This cinematic presentation will be evaluated with respect to current research on treatment for the disorder as well as the historical context of prevailing treatment for the disorder at the time the film was made. Prerequisite: PSYC B209. Writing Intensive Counts toward Film Studies Counts toward Health Studies

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RUSS B215 Russian Avant-Garde Art, Literature and Film Not offered 2015-16 This course focuses on Russian avant-garde painting, literature and cinema at the start of the 20th century. Moving from Imperial Russian art to Stalinist aesthetics, we explore the rise of non-objective painting (Malevich, Kandinsky, etc.), ground-breaking literature (Bely, Mayakovsky), and revolutionary cinema (Vertov, Eisenstein). No knowledge of Russian required. Critical Interpretation (CI) Cross-listed as HART B215 Counts toward Film Studies

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RUSS B217 The Cinema of Andrei Tarkovsky Not offered 2015-16 This course will probe the cinematic oeuvre of the great Soviet filmmaker Andrei Tarkovsky, who produced some of the most compelling, significant film work of the 20th century. Looking at not only Tarkovsky's films but also those films that influenced his work, we will explore the aesthetics, philosophy, and ideological pressure underlying Tarkovsky's unique brand of cinema. Critical Interpretation (CI) Counts toward Film Studies

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RUSS B238 Topics: The History of Cinema 1895 to 1945 Not offered 2015-16 This is a topics course. Course content varies. Inquiry into the Past (IP) Cross-listed as ENGL B238 Cross-listed as HART B238 Counts toward Film Studies

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RUSS B258 Soviet and Eastern European Cinema of the 1960s Not offered 2015-16 This course examines 1960s Soviet and Eastern European "New Wave" cinema, which won worldwide acclaim through its treatment of war, gender, and aesthetics. Films from Czechoslovakia, Hungary, Poland, Russia, and Yugoslavia will be viewed and analyzed, accompanied by readings on film history and theory. All films shown with subtitles; no knowledge of Russian or previous study of film required. Writing Attentive Cross-Cultural Analysis (CC) Critical Interpretation (CI) Counts toward Film Studies

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SPAN B252 Compassion, Indignation, and Anxiety in Latin American Film Fall 2015 Stereotypically, Latin Americans are viewed as "emotional people"--often a euphemism to mean irrational, impulsive, wildly heroic, fickle. This course takes this expression at face value to ask: Are there particular emotions that identify Latin Americans? And, conversely, do these "people" become such because they share certain emotions? Can we find a correlation between emotions and political trajectories? To answer these questions, we will explore three types of films that seem to have, at different times, taken hold of the Latin American imagination and feelings: melodramas (1950s-1960s), documentaries (1970s-1990s), and "low-key" comedies (since 2000s.) Cross-Cultural Analysis (CC) Counts toward Film Studies Counts toward Latin Amer/Latino/Iberian Peoples & Cultures

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Fall 2014 Course Descriptions at Swarthmore College

FMST 001. Introduction to Film and Media Studies

Provides groundwork for further study in the discipline and is recommended before taking additional FMST courses. Introduces students to concepts, theories, and histories of film and other moving-image media, treating cinema as a dominant representational system that shapes other media forms. Topics include the formal analysis of image and sound, aesthetics, historiography, genres, authorship, issues of gender, race, ethnicity, and nation, economics, technology, and reception and audience studies. Emphasis is on developing writing, analytical, and research skills. Required weekly evening screenings of works from diverse periods, countries, and traditions.
1 credit.
Fall 2014. White.

FMST 013. Experimental Animation

This course is an introduction to analog and digital animation concepts and techniques and includes workshops on cut-out animation, stop-motion, and hybrid computer based forms using Adobe After Effects and Adobe Photoshop. The course emphasizes technical and aesthetic experimentation, with the goal of developing a personal vision through the creation of high-quality, experimental works. Through reading, discussion, and exposure to a variety of artistic practices within film, video art, and animation, the course promotes a critical understanding of these media. The class concludes with a public screening of final projects.
Prerequisites: FMST 01 and FMST 02 or permission of the instructor. Students with knowledge of Adobe Photoshop, Adobe Illustrator, and strong drawing skills are encouraged to contact instructor.
1 credit.
Fall 2014. Cho.

FMST 035. Histories of Water

no description available

FMST 046. Queer Media

(Cross-listed as ENGL 090)
The history of avant-garde and experimental media has been intertwined with that of gender non-conformity and sexual dissidence, and even the most mainstream media forms have been “queered” by subcultural reception. How do lesbian/gay/bisexual/transgender (lgbt) filmmakers queer sexual norms and standard media forms? How are sexual identities mediated by popular culture? Challenging classic Hollywood’s heterosexual presumption and mass media appropriations of lgbt culture, we will examine lgbt aesthetic strategies and modes of address in contexts such as the American and European avant-gardes, AIDS activism, and transnational and diasporan film through the lens of queer theory.
Eligible for GSST or INTP credit.
1 credit.
Fall 2014. White.

FMST 052. The French New Wave

(Cross-listed as LITR 073F)
We will focus on French novels and films as they reflect, reinforce, and critique French society from the early 1950s thorough the end of the 1960s. We will study these texts in relation to modernization, decolonization, and the growing discontent of youth culture in the 1960s. Close readings will allow us to draw conclusions about the relationship of new cultural and social movements - postwar consumer culture, radical political movements, and the women’s movement – to France and French society. (Writers and directors include Lefebvre, Godard, Truffaut, Melville, Etcherelli, Rochefort, Varda, Akerman).
1 credit.
Fall 2014. Yervasi.

FMST 055. Contemporary Chinese Cinema

(Cross-listed as CHIN 055)
Cinema has become a special form of cultural mirror representing social dynamics and drastic changes in mainland China, Hong Kong, and Taiwan since the mid-1980s. The course will develop a better understanding of changing Chinese culture by analyzing cinematic texts and the new wave in the era of globalization.
1 credit.
Fall 2012. Kong.

FMST 097. Independent Study

Students must apply for preregistration approval in writing.
0.5 to 1 credit.

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