Introduction to Visual Culture (ARTH 13500)
An examination of the crucial roles that images and objects play in shaping our society. The course covers the larger culture of visual images, including art, print, media, film, photography, and electronic media, and focuses on how images define, shape, and communicate beliefs and behaviors in a variety of contexts. The course emphasizes developing a sense of "visual literacy" and becoming more self-consciously aware of the act and nature of looking, in a world in which ideas increasingly are communicated in visual, rather than linguistic, form. (ICC – Creative Arts)
Hollywood and American Film (CNPH 21400)
From Hollywood blockbusters to independent and experimental cinema, from popular culture to marginalized voices, explore the rich and diverse history of film in the US. Weekly screenings are discussed from a range of critical perspectives, charting the industrial and artistic evolution of the moving image in wider cultural, social, economic, and political contexts – from the nineteenth century to the very latest developments. (ICC – Creative Arts, Humanities)
Fiction Film Theory (CNPH 30000)
Close visual analysis of film, focusing on cinematographic and directorial aspects of film style. Detailed examination of specific films and various theories. (ICC – Writing Intensive)
History and Theory of Documentary (CNPH 30100)
Investigation of the social, historical, cultural, and aesthetic implications of nonfiction film through historical overview of various films. This course uses social theory, economic theory, ethnography, historiography, and documentary theory to explore the intersection of historical contexts and film movements. (ICC – Writing Intensive)
Blaxploitation (CSCR 23300)
This course examines Blaxploitation cinema as a contested body of Black popular culture, political expression, and commercial filmmaking that emerged during the 1970s. Through films, criticism, music, advertising, and visual culture, students investigate the genre's relationship to Black Power, urban life, capitalism, sexuality, gender, violence, pleasure, fashion, and the aesthetics of "cool." The course considers debates over whether Blaxploitation films exploited Black audiences or created new audiences or created new possibilities for Black visibility, agency, filmmaking, and spectatorship. It also traces the genre's influence on later Black cinema, popular music, television, fashion, and contemporary visual culture.
Utopias and Dystopias of Emerging Media (EMED 32000)
Analysis of theoretical, social, economic, political, technological, and cultural perspectives that impact and are impacted by new and emerging media technologies. Theoretical framework or technological focus defined by contemporary issues and student interest.
Film and the Holocaust (JWST 24000)
This course will look at how the Holocaust has been represented in film, examining a broad range of documentary and fictional works from 1945 to the present, focusing on several key questions: To what extent have filmmakers aligned themselves with or pushed back against the notion that the Holocaust is essentially unrepresentable? What are the ethical and political dimensions of Holocaust representation? How has the form and significance of cinematic representation of the Holocaust changed over time? (ICC – Creative Arts, Humanities, Diversity)
Religion at Play: Games, Ritual, Media (RLST 32600)
Considers the intersection of religious studies, communication studies, and theories of ritual as these are evident in games that either have explicit religious content or that function in ways that are like religion. Focuses on key texts in the study of religion and games, including the early history of board games and religion, as well as contemporary video games and immersive experiences. Explores the relationship between ritual theory and gamer theory. Draws on emerging theory of play as this relates to contemporary discussions about religion.
Introduction to Television and Film Industries (TVR 12400)
Introduction to digital and electronic media industries, both traditional and emerging. Focus on ethical, legal technological, economic, and creative shifts resulting from new media platforms and cross-platform distribution. Discussion, research, writing, and group collaborative work focused on emerging challenges and opportunities in the new media environment.
Film Studies courses in Los Angeles:
Fiction Film Theory (CNPH 30000)
Close visual analysis of film, focusing on cinematographic and directorial aspects of film style. Detailed examination of specific films and various theories. (ICC – Writing Intensive)
Contemporary Film Criticism (CNPH 30500)
Analysis and evaluation of contemporary films and criticism. Students trace current feature films to their artistic and cinematic roots and assess the value of the new offerings. At the same time, they evaluate national criticism (not reviews) of the new offerings.
Electronic Media Criticism (TVR 33500)
Critical exploration of the complex role television programming plays in the cultural representation and construction of marginalized social groups and the medium’s treatment of issues related to gender, race, class, and sexuality. The course analyzes from a historical, industrial, economic, and social perspective how classical and contemporary television shows both perpetuate and challenge negative stereotyping and false social myths related to sexism, racism, transphobia, and homophobia. (ICC – Writing Intensive)
Film Studies courses in London:
Photography in London (IC London Center 205)
Introduces key concepts, historical frameworks and current debates in the study of contemporary photography. Readings, lectures and visits to exhibitions focus on particular genres, ideas and international practices within the contemporary media arts, specifically photography. (ICC – Creative Arts)
Global Cinema (IC London Center 208)
Focuses on post-Second World War global cinema up to the present day. Study of the themes and styles of international film, authorship, and the relation of audience to film criticism. Includes opportunities to attend film festivals and viewings in London. (ICC – Creative Arts)
British Comedy: Film, Television and Radio (IC London Center 310)
Exploration of how the cultural characteristics of British Comedy programming for cinema, television, and radio developed since 1900. Traces the evolution of comedic forms and surveys contemporary genres: sketch, broken, sitcom, satire, stand-up, improv, the impressionists, and "sittrag." Emphasis on the making of comedy in an ethnically and culturally diverse society.