Theatrical Trailer Production: From Film to the Silver Screen, Monday, 4-10,
Brown 411, Moore 6 credits, 9 seats available for MICA students and hold 9 for JHU
In collaboration with JHU, students from both schools will have the opportunity to shoot and edit several theatrical trailers which will run at the Charles Theater over the next few years. From scripting and storyboarding, through client approvals, to shooting and editing, through post-production in 35mm film, this hands-on studio class will provide students with the experience of producing several 1 minute public service messages to be screened publicly in Baltimore.
Prerequisite - Film I or Video I : 061.141 (H) Introduction to the Study of Film II
Instructor: Bucknell Lab Fee: $40
Monday, 1:30-4 PM, screenings Wednesday & Thursday, 7:30-10 PM
Overview of American and international cinema from the post-WWII era to present. Explores aesthetic, cultural, political, and economic forces of film and film industry. Regular quizzes, and writing assignments.
061.145 (H) Introduction to Visual Language
Instructor: Yasinsky Lab Fee: $40
Wednesday, 4:30-7 PM, screening Tuesday, 7:30-10 PM
Introduction to the aesthetics and meaning of moving images. Film and video art -- by Murnau, Bresson, Lynch, Nauman, etc. -- will be screened to analyze picture, editing, and sound. With video project.
061.150 (H) Introduction to Film Production
Instructor: Mann Lab Fee: $100
Friday, 12-2:30 PM
Introduction to Film Production presents the basic elements of 16mm film production. Working in groups students shoot weekly exercises and complete a short 16mm film for a final project.
061.222 (H, W) Theorizing Popular Culture: Special Topics
Instructor: Ward Lab Fee: $40
Thursday, 1:30-4 PM, screening Wednesday, 7:30-10 PM
This course explores the changing role of popular culture via the major paradigms through which it has been considered. Presents a range of media from contemporary popular music to film and television. Pre-reqs: 061.140, Introduction to the Study of Film I, or permission. 061.230 (H) Intermediate Film Production
Instructor: Porterfield Lab Fee: $100
Tuesday, 1:30-4 PM
Expands the work accomplished in Introduction to Film Production with the inclusion of sound. Students work individually, from concept to completed short 16mm (black & white or color, non/sync. sound). All editing is performed through digital non-linear system. Pre-req. 061.150, Introduction to Film Production or permission.
061.245 (H, W) Introduction to Film Theory
Instructor: Ward Lab Fee: $40
Tuesday, 1:30-4 PM, screening Thursday, 7:30-10 PM
An introduction to the major developments and tendencies in film theory. Authors studied will include Eisenstein, Benjamin, Kracauer, Bazin, Baudry, Mulvey, and Wollen.
061.301 (H) Advanced Film Production
Instructor: Mann Lab Fee: $100
Tuesday, 1:30-4 PM
Advanced Film Production allows each student to shoot a short (6-15 minute) film in black & White or color negative. This course involves synchronous sound. Pre-reqs: 061.150, Introduction to Film Production, AND 061.230, Intermediate Film Production.
061.314 (H, W) Sketching the Scene: Image as Narrative Tool
Instructor: Porterfield Lab Fee: $40
Thursday, 4:30-7 PM, screening Wednesday, 7:30-10 PM
Departing from traditional screenwriting technique, this course will promote precise visual image as a foundation for developing scene, character, and story. Students will explore narrative from the inside out.
061.316 (H, W) Characters for the Screenplay
Instructor: Bucknell Lab Fee: $40
Wednesday, 1:30-4 PM, screening, Monday 7:30-10 PM
A workshop devoted to creating complex characters for the screen. Students will examine memorable characters in the films of Murnau, Ford, Hitchcock, Woody Allen, the Cohen brothers, and others, with attention to how these characters are revealed through both the drama and the mise en scene. Weekly screenings. Short critical and creative written exercises and a longer, creative final project. Pre-reqs: 061.312, Writing the Screenplay OR 061.313, Story and Character Design OR 061.315, Screenwriting by Genre OR 061.348, Narrative Productions OR 220.342, Introduction to Dramatic Writing, Film OR 220.347, Intermediate Dramatic Writing, Film.
061.350 (H) Practicum in Online Media/Journalism
Instructor: Livingston Lab Fee: $40
Wednesday, 10-1 PM
In conjunction with visiting professionals/faculty, students will get real world experience helping to create the regional arts journal, Radar REDUX. Involves critical writing, video, webcasting and podcasting. This course is cross-listed with MICA. Pre-reqs: 061.140, Introduction to the Study of Film I, OR 061.245, Introduction to Film Theory.
061.354 (H) Wien Baltimore: Holocaust Education and Documentary Film
Instructor: Wegenstein
Wednesday, 4:30-7 PM
This class will accompany the documentary production of Wien-Baltimore (www.wienbaltimore.com) from January to April 2010. The film relieves the experiences of Holocaust-survivor Leo Bretholz--from witnessing Hitler's annexation of Vienna to escaping from Nazi-occupied France to his success in creating a new life in Baltimore,. MD--Wien-Baltimore. Students will be working closely with Austrian filmmakers Lukas Stepanik and Bernadette Wegenstein, and Baltimore-based cinematographer Allen Moore and assistant Carret Guidera. Readings and screenings will include Facing History and Ourselves: The Holocaust and Human Behavior (High School resource book), Night by Elie Wiesel and Leap into Darkness: Seven Years on the Run in Wartime Europe by Leo Bretholz and Michael Olesker. The history of Holocaust documentaries from Night and Fog over Shoah to current documentaries such as Defamation will be included. Cross-listed with German & Romance Languages. 061.368 (H) Influence and Interpretation
Instructor: Yasinsky Lab Fee: $40
Monday, 3-5:30 PM, screening Thursday, 7:30-10 PM
Short stories, poetry, novels and films will provide a starting point for students' original short video productions. We'll study video artists' and filmmakers' work inspiried by other artists, filmmakers' and writers' works. Text will include Harold Bloom's Anxiety of Influence.
061.369 (H) A Critical Introduction to Israeli Documentary Cinema
Instructor: Dan Geva Lab Fee: $40
Tuesday, 4:30-7 PM, screening Monday, 7:30-10 PM
This course explores the unique filmic approaches, styles, genres, and storytelling techniques that have been employed by filmmakers in Israeli documentary cinema to manifest its own grand and petite narratives.
061.420 (H) The French New Wave
Instructor: Roos Lab Fee: $40
Thurday, 1:30-4 PM, screening Tuesday, 7:30-10 PM
Conducted in English. Study of the major films of the French New Wave, their origins, context, and afterlife. Cross-listed with German and Romance Languages.
225.375 (H) Critical Moments in American Radical Theatre
Instructor: Astin
Tuesday, 3-5:20 PM
An in-depth examination of selected significant events in twentieth century American radical theatre.
300.366 (H, W) Avant-Garde Cinema
Instructor: Moss
Examines the extraordinary flourishing of avant-garde cinema in the Soveit Union in the 1920s and 30s including films by Eisenstein, Vertov, Pudovkin, and Dovzhenko, their theoretical writings, and their far-reaching influence on film and film theory.
The following courses are offered in the Film and Media Studies Program on a rotating basis. Check the current schedule of classes (above link) to determine which are being offered next semester. 061.140 (H, W) Introduction to the Study of Film I, from 1892-1941
Staff
Part one of a two semester survey of the history of film, designed with prospective film majors in mind. Students learn the aesthetic vocabulary of film and study key films in weekly screenings. 061.141 (H, W) Introduction to the Study of Film II
Staff
Introduction to the Study of Film II provides an overview of American and international cinema from the post World War II era to the present. Through lectures and discussion, weekly screenings, and intensive visual analysis of individual films, we will explore the aesthetic, cultural, political, and economic forces that have shaped the art and industry of film over the past 60 years. Regular quizzes, writing assignments, class participation required. 061.145 (H) Introduction to Visual Language
Yasinsky
This course is a study of the visual language used to create a moving picture. Through screenings, discussions of the films and videos and related readings you will begin to develop a visual critical facility. You will demonstrate this facility in the creation of a still image sequence and two other short videos. The first part of the course will focus on image construction including composition, framing and use of light. We will look at moving images using a stationary camera and those with camera movements and learn to be attentive to rhythm and tempo in picture editing and sound. The importance of sound as information (not as a mood enhancer) will be studied in screenings and shown in two of your assignments. We will have classes introducing (very generally) different genres of documentary and experimental video. The main assignments for the class are all creative productions, listed below. This course is focusing of the aesthetics of film language and NOT dialogue driven traditional narratives. if you don't know Final Cut Pro or Premiere and dvd authoring, you are required to attend those workshops at the DMC. There is usually someone at the DMC to help or always feel free to call me. We will also have a few in-class video assignments that you will work on in small groups of three. 061.150 (H) Introduction to Film Production
Mann, Porterfield
This course introduces students to the basic considerations of shooting 16mm film. Through lectures, the course approaches the basics of light meter readings, basic camera operations and shot composition. Each week students, working in groups of three, shoot film exercises providing a general overview of film production. For the final project, each student shoots and edits (physical edits) a short (3-5 minutes) film on 16mm black and white reversal film stock. 061.151 (H) Introduction to Animation
Yasinsky
Students will produce several animations using hand-made, stop-motion techniques, including drawing animation, collage-based and puppet animation. Work will be shot digitally. Screenings and readings will provide a historical and conceptual context.
061.220 (H, W) Special Topics: Silent Classics
Bucknell
A survey of silent era classics including films by Chaplin, Eisenstein, Keaton, Lubitsch, Murnau, Von Sternberg, and others. A review of the basics of film analysis with an oral presentaion, and analytical and creative writing exercises. Suggested Prereqs: Intro to Study of Film (061.140-141), Intro to Visual Language (061.145) or Intro to Film Production (061.150).
061.221 (H, W) Special Topics: Reading Film
Bucknell
The critical analysis of film with particular attention to the writing of analytical essays.
(Prereq: Intro. to the Study of Film (061.140) or Permission Required.)
061.222 (H, W) Special Topics: Theorizing Popular Culture
Ward
This course explores the changing role of popular culture via the major paradigms through which it has been considered.
Presents a range of media from contemporary popular music to film and television. 061.230 (H) Intermediate Film Production
Mann, Porterfield
This course continues the work of the Introduction to Film Production course. The course also introduces the use and design of sound through the incorporation of non-sync voice(s) and effects. Each student is responsible for the complete production of a short (4-6 minutes) film, from treatment to shooting script to final edit. The films are shot on 16mm color and/or black and white negative film stock and transferred to digital video. All editing for the films is with non-linear software, generally Final Cut Pro. 061.244 (H,W) Film Genres
Bucknell
A survey of American genres: the Western, the Gangster Film, Science Fiction, Horror, Comedy, Melodrama, and others. 061.245 (H) Introduction to Film Theory
Staff
An introduction to the major developments and tendencies in film theory.? Authors studied will include Eisenstein, Bazin, Metz, Baudry, Mulvey, and Doane.
061.301 (H) Advanced Film Production
Staff
This course continues the work accomplished in the Intermediate Film Production course. The course also introduces the use and design of sync sound (voice/effects). Each student is responsible for the complete production of a short (4-8 minutes) film, from treatment to shooting script to final edit. The films are shot on 16mm color and/or black and white negative film stock and transferred to digital video. All editing for the films is with non-linear software, generally Final Cut Pro. 061.308 (H) Experimental Video
Yasinsky
An introduction to experimental video from the 1960s to present. Understanding "experimental" as an operative to change existing forms of video using aesthetic and ideological innovation. In class screenings we will study different ways of structuring video such as loops, action/performance based work, multi-channel (screen) works and sound driven video. Screenings will include early video artists such as Bruce Nauman, Vito Acconci, William Wegman and the contemporary artists Matthew Barney and the collectives Forcefield and Paper Rad. With four video projects. 061.309 (H) Film and Haiku
Instructor: Mann Lab fee: $100
Explores similarities between a filmmaker's approach to the natural world and a haiku writer's. Along with film screenings and readings, students shoot short films exploring filmmaking as a meditative process. 061.312 (H,W) Writing the Screenplay
Roper
Course is a rigorous introduction to writing in screenplay form, based on writing exercises, the reading of scripts, and the screening of popular films. 061.313 (H,W) Story and Character Design for the Screenplay
Instructor: Bucknell Lab fee: $40
A workshop devoted to developing dimensional characters and compelling and original stories.? Weekly screenings and short written exercises. 061.315 (H, W) Screenwriting by Genre
Bucknell
Story design for the screenplay with special attention to the genres of comedy, horror, melodrama, and adventure. Regular workshops, short written exercises, and a longer final project. 061.320 (H, W) Silent Masterpieces
Bucknell
Chaplin, Griffith, Keaton, Lang, Murnau, Von Sternberg, and others. 061.321 (H,W) The Uses of Difference
Instructor: Bucknell Lab fee: $40
Representations of African Americans, Native Americans, Asians, Hispanics, and other "others" in Hollywood film. 061.322 (H) Women in Hollywood Film
Bucknell
Female beauty, villainy, and humanity in popular film from the silent era to the present. 061.323 (H) Masculinities
Bucknell
From tap dancer to gangster, assassin to anguished teen, versions of the male in film from the silent era to the present. 061.324 (H) The Decadent Black and White
Roper
This course studies some of the most alluring films made under the old Hollywood system. As black-and-white was disappearing, a brilliant "final" burst of effort yielded some of the richest American filmed stories. Class will view movies, study scripts and try to comprehend the historical moment (roughly 1958-63). 061.325 (H) The Westerns of Ford, Leone, and Peckinpah
Bucknell
A study of three masters – John Ford, Sergio Leone, and Sam Peckinpah – their impact on the genre and on each other. 061.328 (H,W) Gangster Films
Bucknell
The bad guy as hero from Little Caesar to Goodfellas. 061.331 (H) America Since Brando
DeLibero
Traces the actor's influence on American film and culture. Close examination of the actor's performance methods, life, and movies, as well as the cultural contexts that informed his work. 061.334 (H,W) Technology in Hollywood Film
Bucknell
Representations of technology in narrative film (itself a highly technological medium) reflect the modern world's ambivalence toward its machines: from the Iron Horse to HAL, tommy-guns to the Atomic Bomb. 061.335 (H.W) Monster Films
Bucknell
Monsters and misfits in Hollywood film, including King Kong, Hannibal Lechter, and the Great White shark. 061.336 (H,W) American Landscapes in Film
Bucknell
American setting and identity: the frontier, the city, the highway, the sea, the small town, and outer space in the films of Ford, Wellman, Siegal, Leone, Allen, Spielberg, and others. 061.337 (H,W) Films of the Fifties
Bucknell
Cultural, social, and political concerns of the decade as reflected in the films of Lang, Sirk, Ray, Fuller, Kazan, and others. 061.338 (H) Russian Cinema from Avant-Garde to Socialist Realism
Moss
Examines the origins and development of Russian cinema to the 1930s: silent era, montage, the advent of sound, Formalism, Socialist Realism, Stalinism, the role of ideology, censorship and the state. Conducted in English. 061.339 (H,W) A Cinema of Anxiety
Bucknell
Postwar film noir: Fuller, Huston, Lang, Mann, Tourneur, and others. 061.345 (H) Primitive Film
Mann
Primitive Film explores pre-cinematic and early cinematic devices and spectatorship. The course offers readings as well as production techniques. Students construct and film a zoetrope. 061.346 (H) Drawing Animation
Yasinsky
A hands-on drawing animation course. Work shot digitally and scanned. No specific drawing skills necessary but a strong interest in hand drawn animation and substantial time commitment to drawing are required. 061.347 (H) Writing With Light
Plow
Writing with Light explores the stylistic applications of lighting for film. The course will include readings and class projects emphasizing various lighting modes. 061.348 (H) Narrative Productions
Allen Moore and Doug Sadler
Students from MICA and JHU will collaborate to produce short narrative works from their original screenplays. Production accompanied workshops with filmmakers on Production Design, Directing, Cinematography, and Art Direction.
061.350 (H) Practicum in Online Media/Journalism
Livingston
In conjunction with visiting professionals/faculty, students will get real world experience helping to create the regional online arts journal, RADAR REDUX. Involves critical writing, video, webcasings, and podcasting. This coures is cross-listed and will meet at MICA.
061.352 (H) Media Workshop: Theory and Practice
Porterfield & Ward
This course mixes the theory and practice of media-making. It is designed to enable students to explore their craft while grappling with some of the major issues present in film theory. Students will read the work of filmmaker theorists (Vertov, Eisenstein, Bresson, Brakhage, Deren, Godard) and produce creative work informed by the text.
061.353 (H) Documentary Film Production: Cities and Fields
Mann
Expanding the parameters of city films and nature films, each student produces a short documentary film exploring the development of a subjective voice with emphasis on Extreme Close-ups, Time-lapse, and Slow-motion.
061.361 (H,W) Documentary Film Theory: The Work of Documentary in the Age of Reality Reproduction
Mann
This course explores contemporary documentaries with an emphasis on theoretical implications suggested by their work. We will look at a variety of philosophical and political issues emerging from these films.
061.362 (H,W) American and European Experimental Film
Mann
Exploration of aesthetic and theoretical development of experimental films.? Emphasis placed on contemporary films and filmmakers. 061.363 (H,W) The Short Film
Mann
An inquiry into what makes the short film a unique and possibly provocative art form. The course primarily will concentrate on narrative films. 061.364 (H,W) Hitchcock and Film Theory
DeLibero
Close examinations of Hitchcock's films from The Lodger to Frenzy. Special attention to vast array of theoretical and critical responses that his work provoked. 061.365 (H,W) The New Hollywood: American Films of the Seventies
DeLibero
Films of Altman, Peckinpah, Coppola, Penn, Scorsese, and others. Intensive examination of the films and their cultural/political context. 061.367 (H) Bresson & Ophuls: Two Masters of Form
Roos
Close examinations of the major works of these two very different filmmakers, Robert Bresson and Max Ophuls; secondary focus on their influence on film theorists and other filmmakers.
061.382 (H) The Craft of Filmmaking
Mann
Explores the film and media industry and how to find your place in it. Along with lectures and screenings, course includes a wide range of visiting speakers, directors, screenwriters, producers, etc. 061.401 (H) Dance for the Camera
Mann
This course is a collaborative effort between Film and Media Studies students from JHU and student choreographers
from Towson University. Dance for the camera is an emerging genre with several national and international festivals
devoted solely to these works. The course will be team taught by John Mann (FMS) and Susan Mann, a dance professor from
Towson University. The course will include an overview of recent works and discussions related to these works.
One student from the FMS program will work with one student choreographer on several small exercises during the semester.
The final project for each pair of students will be a short (3-6 minute) project. All exercises and the final project will
be shot on 16mm negative film stock.
(Prereq: permission Req'd and Advanced Film Production, 061.301) 061.402 (H, W) Critical Approaches to Contemporary Film
Instructor: DeLibero Lab fee: $40
A workshop wherein student submit short critical essays each week about recent films. Discussion of the history of criticism and the changing nature of film discourse in the 21st century.
061.412 (H,W) Kubrick and His Critics
DeLibero
Intensive examination of Stanley Kubrick's films, as well as the history of their critical reception. 061.413 (H) Lost and Found Film
Mann
This course explores various elements of film production and filmic expression through a somewhat nebulous field typically described as lost films. Lost films (or as they are sometimes described "orphan" films) can be generally described as films that have, for a variety of reasons, fallen out of the public view. They frequently come from educational, scientific, medical, or industrial films from the 1950s and 1960s. Using these films as source materials, lost film filmmakers explore and expose cultural conventions, visual icons, and historical value materials. Each week, students are responsible for re-editing sources found on an internet archive site. The assignments follow thematic concerns related to film editing. Students complete a final project (4-8 minutes). All editing for the course is accomplished with non-linear software, generally Final Cut Pro. 061.420 (H) The French New Wave
Roos
Study of the major films of the French New Wave, their origins, context, and afterlife. 061.447 (H) ECUSLOMOTL: Extreme Close-Ups, Slow-Motion, and Time Lapse Vis a Vis Jean Epstein
Mann
ECUSLOMOTL: Extreme Close-Ups, Slow-Motion, and Time Lapse Vis a Vis Jean Epstein is a theory/filmmaking course exploring Epstein's voices in "the soul of cinema." Using only these filmic elements, each student completes a short 16mm film.
Students may take up to 3 credits of independent study, senior project, and/or internship work per semester, to a maximum of 6 credits per academic year (summer through following spring).? An undergraduate student can earn a maximum of 24 of these credits in pursuing his/her degree.? 061.440-441 (H) Senior Project in Film Production
Instructor: Mann Lab fee: $100 061.442-443 (H) Senior Project in Digital Video Production
Instructor: Staff 061.501-502 Independent Study in Film and Media Studies
Instructor: Staff Lab fee: $100 (if production-related) 061.503-504 Independent Study in Film Production
Instructor: Mann Lab fee: $100 061.505-506 Internship in Film and Media
Instructor: DeLibero S/U only Contact the primary department for more information about the following courses. 300.326 (H) Living in Doubts: Skepticism in Philosophy, Literature, and Film
Instructor: Fenno 300.333 (H) The Dramatic Event
Instructor: Macksey 300.337 (H,W) Thinking Films
Instructor: Marrati 300.352 (H) Philosophical and Theological Paradoxes in French Literature and Film
Instructor: Geroulanos 090.305 (H) Wireless Imagination: Introduction to Media Theory
Instructor: Niebisch 090.395 (H) Literature and Photography
Instructor: Tobias 090.403 (H) Visions of Cinema: Explorations in Weimar Film
Instructor: Gold 090.420 (H) The Human and the Machine in German Literature and Film
Instructor: Pahl 211.360 (H) Women and Film
Instructor: Staff 211.409 (H) La Nouvelle Vague
Instructor: Roos 211.412 (H) Political Cinema
Instructor: Roos???? Lab fee: $40 212.352 (H) Narration and Text in Film
Instructor: Gonzalez 212.451 (H) Films of Almodovar
Instructor: Gonzalez 213.335 (H) Technology and Sexuality in Berlin
Instructor: Kolarov 360.262 (H) Gender, Sexuality, and Identities in Mass Media, 1950-2004
Instructor: Hijar 220.336 (H,W) Art of the Screenplay
Instructor: Lapadula 220.337 (H) Advanced Screenwriting
Instructor: Lapadula |
