Apocalyptic Cinema
GH191 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
Today’s media routinely bring us images of man’s inhumanity to man and his environment. Be it nightly reports on the war in Iraq, ethnic cleansing in Darfur, the latest horrendous campus shooting, or another global warming related weather disaster; these images herald the coming of the End of Days for some, while offering motivation to turn away from such destructive practices to others. The objective of this course is to explore films that focus on man’s destruction by his own hand as told through the eye of the cinema — themes of redemption, self-destruction, judgment, and hope through the lenses of directors such as Stanley Kubrick, Robert Wise, Sidney Lumet, Alfonso Cuaron and Terry Gilliam; and through the pen of such great writers as Pierre Boullé, Arthur C. Clarke, Tom Stoppard and Rod Serling.
Auteurs: Great Filmmakers Series
GHXXX (4 units)
Prerequisite: History of Critical Analysis in Cinema 1
The filmmaker in the spotlight changes, but the course remains firm – the students will be exposed to an in-depth examination of the works of a great filmmaker past or present. These may include Kurosawa or Hitchcock; Chaplin or Bergman; or filmmakers whose body or celebrated work continues to grow, such as Ang Lee, Woody Allen, and the Coen Brothers. (Students may take two Auteur courses towards fulfilling the requirements of their BFA.)
Documentary Films
GH387 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
A history of documentary film, with special emphasis on the development of narrative, genre and aesthetics from the 1920s to the present. The evolution of cinema technology is also covered. The major focus is on the evolution of the documentary as a social document, addressing major social and political themes. Topics covered include the work of Vertov, Riefenstahl, Cooper, Lorentz, Huston, Resnais, Fellini, Spike Lee, Wertmuller, Herzog, Altman, Jarmusch, Sayles, Coppola, de Antonio, Kopple, Epstein, Sauvage, Morris, Ophuls, Trent, Lee and Shapiro. Students are expected to write creative projects as well as do midterms and finals.
Film History: Genre
Prerequisite: History of Critical Analysis in Cinema 1
See “Gangster to Gangsta Films,” “Horror Films,” “Shakespeare on Films,” “Documentary Films,” “War is Hell on the Big Screen,” etc. These courses seek to explore an enduring category of films. Recent offerings: Experimental Films, Boy Meets Girl and Other Variations, and The Metafilm.
Film History: Movements
Prerequisite: History of Critical Analysis in Cinema 1
These courses explore a cinematic movement in greater depth than a survey course can. Coming soon: Exploitation Films, Remodernist Films, Neo-Realism, and French New Wave. Also see Film Noir.
Film History: Topical Surveys
Prerequisite: History of Critical Analysis in Cinema 1
These courses examine the works of a range of filmmakers who have created works that continue to resonate on a particular subject or theme. Coming soon: Comic Book to Screen, Coming of Age on the Big Screen, Sexual Perspectives in Cinema, A Socio-Political History of Film. See also Apocalyptic Cinema and Remakes & Sequels.
Film Noir
GH388 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
Femme fatales, gritty cinematography, sex, and violence. These are the calling cards of film noir. The international history of this genre is conveyed through weekly screenings, readings of the literature that spawned it, creative projects, a midterm, and the final exam. Topics include the classic era of the 40s and 50s “Double Indemnity to Touch of Evil”, Science-Fiction interpretations, the “true story” model, and the resurgence of the style with the popular Neo-Noir movement.
Gangster to Gangsta Films
GH381 (4 units)
Prerequisite: History of Critical Analysis in Cinema 1
An exploration of the violent underworld of gangster films dating from the 1920s to the more recent reinvigoration of the genre through gangsta films – how the texture of the genre has changed, while the sociopolitical underpinnings are often quite the same. Students screen and analyze the films.
History of Critical Analysis in Cinema 1
GH152A (4 units)
Prerequisite: Visual Design
An introduction to the concepts, philosophies, and movements that have shaped cinema since its origins. Through lecture and screenings students will learn the progression of both film theory and film analysis, covering such wide-ranging topics such as formalism, romanticism, mise-en-scene, montage, structuralism, and semiotics. The class enables the student to develop a greater critical understanding of the cinema arts as well as fill their own arsenals with tools they will employ as filmmakers.
History of Critical Analysis in Cinema 2
GH252A (4 units)
Prerequisite: History of Critical Analysis 1
An advanced examination of the theories and philosophies that have influenced art in general and filmmaking specifically, including an in-depth investigation into the writings of Arnheim, Bazin, Kracauer, Eisenstein, Zavattini and others, as well as the screening of films relevant to their concepts. The course also examines how painting has influenced cinematography, the difficulties in adapting material from other media to the screen, and techniques of acting as taught by Hagen, Strasberg, Clurman, Meisner, et al.
Horror Films
GH383 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
What scares you and why? The world of the contemporary horror film and its original models such as Psycho, Repulsion and Night of the Living Dead. Works by the modern masters of horror including Wes Craven, George Romero, John Carpenter, Clive Barker and films based on the works of Stephen King, together with their sociological and political underpinnings. Students discuss the films and create essays.
Movies Through the Ages
GH295 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
This course is a survey of the breadth and history of motion pictures in the world landscape and the medium’s impact on international culture. Special emphasis is on the development of film narrative, genre, aesthetics, and technology from 1890 – to the present. The aesthetic transition from silent films to sound films, and from the predominant use of black and white to the almost exclusive use of color will be examined, as well as the works of such filmmakers as Muybridge, Edison, the Lumiẻres, Meliẻs, Porter, Griffith, Eisenstein, Murnau, Lang, Chaplin, Ford, Arzner, Hitchcock, Welles, Wyler, Renoir, Fellini, Lean, Kurosawa, Truffaut, Satyajit Ray, Wajda, Wertmuller, Kubrick, Scorsese, Spike Lee, Ang Lee, and many more.
National Cinemas
GHXXXX (4 units)
Prerequisite: History of Critical Analysis in Cinema 1
The great filmmakers, culture, and cultural anthropology of a country or region are explored in a series of film history courses that also often encompass great film movements, such as the French New Wave. Courses in this series include French Cinema, Italian Cinema, Pan African Cinema, Latin American Cinema, Pan Asian Cinema, and Cinema From Down Under.
Pan-African Cinema
GH371 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
An exploration of the films of the African Diaspora as well as Africa itself from the silent era through Jim Crow segregation and vilification by stereotype to the more modern day “blacksploitation” film, independent African American film voice, films by Caribbean filmmakers, and films that speak of post-colonial Africa. Class lectures and discussion delve beyond film to the cultural anthropology of those of African descent today.
Remakes & Sequels
GH285 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
Imitation is the sincerest form of Hollywood. From the pioneering days of cinema, remakes and sequels have been a staple of the business. This course is a critical study of motion pictures that have been remade or turned into a franchise, and the underlying artistic and business motivations that spawned them. Comprehension is tested through evaluations, criticisms, and research papers.
Science Fiction Film History
GH394 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
An examination of the science fiction film feature and its historical development. Works examined include:
Metropolis, King Kong, Things to Come, The Invisible Man, When Worlds Collide, The Day the Earth Stood Still, War of the Worlds, The Time Machine, 2001: A Space Odyssey, Alien, Blade Runner, Invasion of the Body Snatchers, The Thing, Terminator, E.T., Star Wars, Star Trek, and many others. Students discuss the films viewed and write critiques.
Script Analysis 1
GH155 (4 units)
Prerequisite: None
How do you arrive at a script’s dramatic core so as to give it maximum impact and express its deepest meaning? An attempt to identify the essential elements of drama, and to understand how those elements affect an audience and create the dramatic experience. Students develop analytical tools for penetrating to the intellectual and emotional heart of a script.
Script Analysis 2
GH255 (4 units)
Prerequisite: Script Analysis 1
The methods of Script Analysis I are put to work in a rigorous and practical way. Several scripts are analyzed in a variety of genres. The student examines—separately—the original script and the finished film, comparing his/her own analysis and dramatic plans with those of the actual filmmaker.
Script Analysis 3
GH355 (4 units)
Prerequisite: Script Analysis 2, Junior Standing
Taught collegially by several faculty members, the course combines advanced script analysis with the student’s area of film specialization. A directing student, for instance, analyzes the script to direct it, working with the Script Analysis instructor and a Directing instructor. The student creates a detailed plan for realizing the script and compares it with the actual film.
Shakespeare on Film
GH386 (4 units)
Prerequisite: The History of Critical Analysis in Cinema 1
A review of Shakespeare on film, including early experiments such as the Pickford/Fairbanks silent classic Taming of the Shrew and the Max Reinhardt A Midsummer Night’s Dream, the classics of the genre by Olivier and Welles, modern variations by Zeffirelli and Branagh, and classics adapted from Shakespeare by filmmakers such as Kurosawa, Mazursky and Stoppard.
The Law v. Hollywood: Movies on Trial
GH370 (4 units)
Prerequisite: History of Critical Analysis in Cinema 1
Examines how the law – criminal, civil, constitutional – is depicted in cinema and television. Students view portions of films and then study the law attached and whether it has been appropriately and accurately presented.
TV History
V210 (4 units)
Prerequisite: History of Critical Analysis in Cinema 1
Through screenings and discussion, this course follows the development of the various TV genres and also includes some programming from outside the United States. Students learn both, the history and dynamics of program forms from drama to comedy to TV movies, and other entertainment genres as well as news and sports.
Visual Design
GH150 (4 units)
Prerequisite: None
Explores the expressive visual components of motion pictures, including color, line, shape, movement, rhythm, and time, and how these elements are exploited and organized into narrative structure. As a final project, students produce a slide storyboard accompanied by music—learning to tell a simple story without words.
Visual Production Design
F345 (4 units)
Prerequisite: Tier 1
Gives students an “eye” towards the elements in the screen frame that are essential to the entire language of storytelling beyond the words and actions of the actor and the placement of the camera. This course trains directors and cinematographers in particular to understand the importance of color schemes – both lighting and set design, production design, costumes, and other elements to what they are conveying to the audience.
Western Films
GH380 (4 units)
Prerequisite: The History of Critical Analysis in Cinema1
A survey of the styles and development of the Western film in Hollywood and throughout the world, from “The Great Train Robbery” to the present. Students will see a variety of approaches including the classic Ford/Hawks Western, the television variations, the Spaghetti Western, the Samurai film, the work of revisionist masters such as Peckinpah, and contemporary approaches. The class contains a significant unit on the portrayal of Native Americans.
