COURSES
1. Introduction to Film: From Script to Screen
07F: 3A 08X: 2A 08F: 3A
This course examines all the processes which go into the creation of a film, from its inception as a treatment and screenplay to its distribution as a film. Experts (writers, directors, actors, cinematographers, and distributors) may talk on various areas of expertise. The course will offer an in-depth analysis of classic films and different kinds of films, including an explanation and use of the key technical and critical concepts used in understanding them.
Open to all classes. Limited to 75 students. Dist: ART; WCult: W. J. Rapf, Lawrence, Williams
7. First-Year Seminars in Film and Television Studies
Consult special listings
10. Special Studies in Film Studies
Not offered in the period from 07F through 09S
20. Film History I (Silent to Sound)
07F, 08F: 2A
Detailed history of film from its origins to early sound films. Among the major topics to be addressed are: Pre-cinematic devices and early cinema; the rise of the feature film; the tradition of silent comedy; the rise of the studio and star systems; European movements and their influence; the coming of sound.
Prerequisite to the major in Film Studies. Open to all classes. Dist: ART; WCult: W. Lawrence, Gemünden.
21. Film History II (1930-60)
08W, 09W: 3A
A detailed history of film beginning with the golden age of the U.S. studio system and its major genres. Among the topics and films considered will be the rise of sound film; Hollywood in the 30s; the impact of World War II; neo-realism; film noir; the blacklist; the impact of television and the decline of the studio system; Japanese cinema; the emergence of European auteurs; beginnings of the French New Wave.
Open to all classes. Dist: ART; WCult: W. Williams, Lawrence.
22. Film History III (1960 to present)
08S: 10A 09S: 3A
A detailed history of film beginning with the French New Wave and its impact on American and international cinema. Among the topics and films to be considered will be the interrogation of genres in this period; the rise of alternative models of production; independent and radical film in the United States, Europe, and the Third World; new national cinemas (Eastern Europe in the 60’s, Australian and New German film in the 70’s, and Soviet, Chinese, and British film in the 80’s).
Open to all classes. Dist: ART; WCult: W. Ruoff, Desjardins.
30. Documentary Videomaking
07F: 2A 08X: 10A
This documentary workshop will explore in depth the rich world of nonfiction film and video production. Working in groups, students will tackle a variety of technological, aesthetic and ethical issues intrinsic to the medium. Each group will produce one 10-minute non-fiction narrative. The class will utilize standard professional production models, which require intense collaborative teamwork and the distribution of tasks and responsibilities.
Open to all classes; enrollment limit of 15. Permission granted by the instructor after the first day of class, on the basis of an application submitted before the end of the previous term. Supplemental course fee required. Dist: ART; WCult: W. Ruoff.
31. Filmmaking I: Basic Elements of Film
08W, 09W: 2A
An introduction to the theory and technique of filmmaking combining comprehensive analysis of significant works in various film styles with practical exercises in production. The course aims to provide a basic understanding of the filmmaking process—from script to screen. Students will work in 16mm and portable video for experience in scriptwriting, directing, cinematography, acting, and editing. Readings will include introductory film history, film theory and criticism, screenplays, and essays on new aesthetics in film and video.
Permission required with preference given to students who have taken Film Studies 1. Permission is granted by the instructor after the first day of class. Supplemental course fee required. Dist: ART. Brown.
32. Filmmaking II
07F, 08F: 3A
A workshop course in film production, with students, working alone or in collaboration, required to complete a project for showing at the end of the term. Weekly class meetings will include analysis of film classics and work in progress, as well as critical discussions with visiting professionals.
Prerequisite: Permission granted by instructor after the first day of class and if you have taken Film Studies 31. Supplemental course fee required. Dist: ART. Brown.
33. Writing for the Screen I
07F, 08W, 09W: 10A
An analysis of the creative writing process as related to film and other media. A variety of styles will be explored and the potential of specific content for a visual medium will be examined. Each student will be expected to complete a script for a work of at least twenty minutes as a term project.
Permission will be granted by the instructor, on the basis of material submitted before the end of fall term. Dist: ART. Nottage, Phillips.
34. Writing for the Screen II
08S, 09S: 10A
A continuation of Film Studies 33 in which the student is expected to complete a full-length screenplay begun in that course. Continued work on the methods of writing, particularly on character development and plot rhythms.
Permission is granted by the instructor and if you have taken Film Studies 33. Dist: ART. Phillips.
35. Animation: Principles and Practice
09W: 10A
A workshop course in a variety of animation techniques including drawing, object, process and 3-D computer animation. Working individually, students will complete four short exercises as well as one extended final project that will be shown at the Dartmouth Animation Festival in late May. Weekly classes will include thorough critiques of completed work, as well as screenings of professional animation and meetings with visiting animators from around the world. Students will be expected to work an average of 20 hours a week on independent projects outside of class. Permission of the instructor is required and given after the first day of class. Supplemental course fee required. Dist: ART. Ehrlich.
36. Experimental Videomaking
08S: 2A
The basic techniques and theories of portable and studio video production. The course covers the basics of developing a video project from idea through realization on the screen. Students are expected to produce several projects which emphasize ideas outside the traditional narrative and documentary forms, and are encouraged to develop their own form of aesthetic expression. Students show and critique their work in class weekly in preparation for a final project and public screening.
Permission is granted by the instructor after the first day of class, on the basis of an application submitted before the end of previous term. Supplemental course fee required. Limited to 15 students. Dist: ART. Ruoff.
37. Directing for the Camera
08W, 09W: 3A
Offered in conjunction with Theater 34 (Acting for the Camera), Directing for the Camera investigates the directorial process of translating the written script to the screen. Working with actors from Theatre 34, students analyze, rehearse, shoot and edit narrative scenes from existing or original screenplays. The exercises are critiqued and comparisons are then made between the existing works and the exercises. Students work in crews rotating between the roles of director, camera, and sound. Special attention is also given to lighting, cinematography, and audio recording. Texts will include works on directing, e.g., Truffaut /Hitchcock, as well as on cinematography and writing.
Permission required. Limit 10 students. Dist: ART. Brown.
38. Advanced Animation
08S: 2A
A workshop course in two-dimensional film animation, with the individual student required to complete an animated short with synchronized sound for showing at the Animation Festival at the end of the term. Weekly class meetings will focus on conceptualizing, storyboarding and scheduling the various stages of production, frame-by-frame analysis of sound, advanced animation techniques, and critiques of ongoing work.
Prerequisite: Film Animation I or previous animation experience. Permission of the instructor required. Supplemental course fee required. Dist: ART. Ehrlich
39. Advanced Videomaking (Documentary and Experimental)
09W: 2A
A workshop course in advanced digital videomaking, with students, working in pairs or groups, required to complete a short (10-minute or less) broadcast-quality documentary or experimental video for screening at the end of the term. Class meetings will focus on conceptualizing, preparing, and completing the various stages of pre-production, production, and post-production, with extensive in–class critiques.
Prerequisite: Film Studies 30, 31, 36, or significant experience shooting and editing digital video. Permission granted by the instructor after the first day of class, on the basis of an application submitted before the end of previous term. Supplemental course fee required. Dist: ART. Ruoff.
40. Theories and Methodologies of Film and Television Studies
08W: 11 09W: Arrange
This course is designed to introduce the film and television studies major to some of the field’s major scholarly methodologies and their theoretical value in explaining how texts, industries, creative artists, and audiences participate in meaning-making processes. Students will read scholarship and participate in projects that illuminate how meaning is created and negotiated at the levels of industrial production, artistic creation of texts, and audience knowledge and engagement. The screenings, readings, and assignments will ask the student to think about the relations among his/her own position as a scholar, as an audience member, and as a creative artist. This knowledge provides a foundation for critical thinking skills necessary for the student’s success in the major. The course is designed for students who have had some introductory exposure to the principles of film and/or television aesthetics and production techniques, but before they have completed their upper division major requirements. Dist: ART. Lawrence.
41. Genre
08W, 09S: 10A
An examination of the concept and use of genre with focus on a particular genre. How are the genres determined and how useful structurally and historically is genre as a concept of classification? What constitutes a genre? What is the relationship between periods and genres? Between genre and the Hollywood film? This course will consider genre as both an aesthetic concept and an economic one, producing stabilization and variation in product. The roles of repetition and variation, stability and change. Genres may include the western, the crime movie, the women’s film, the musical, family melodrama, the film noir or other genre-related topics such as film and literature. May be repeated for credit with a different topic. Dist: ART; WCult: Varies.
In 08W, Bond and Beyond: British Espionage in Film and Television of the 60’s. This course will focus on the way changing definitions of Britishness are worked through in the espionage genre as seen in British film. Lawrence.
In 09S, Animation History. An overview of animation from its invention to the work of contemporary American and international animators. The class will feature studio history (Disney, Fleischer, Warner Bros., U.P.A.), an examination of animation techniques (cel, drawing, fluid, cut-paper, object, puppet, clay and computer animation), and visits by contemporary auteurs. Particular attention will be paid to politically based animation produced during and after socialism in China and the former Soviet Union. Ehrlich.
42. National Cinemas
07F: 10A 09S: 2A
Focus on a specific national cinema or a particular period of a national cinema. May be repeated for credit with a different topic. Dist: ART (unless indicated otherwise); WCult: Varies.
In 07F, Native Americans: Film and Television (Identical to, and described under, Native American Studies 28). Goeman.
In 07F, North African Cinema. An exploration of selected films by North African directors from Tunisia, Algeria and Morocco. WCult: NW. Ruoff.
In 09S, Asian Animation. This course will feature the most interesting of works from China. Japan, Korea, Mongolia, India and Iran and students will analyze them within a socio-political and cultural context. Ehrlich.
43. The Film Creator: Directors, Producers, Actors, Writers
Not offered in the period from 07F through 09S
This course will focus on a single figure or group of related figures, examining their roles and creative authority in the filmmaking process, investigating the major films with which they are associated, and determining the central thematics of their works. Resources in addition to films will include biographies, film-scripts, critical writing, and some examples of theory. Dist: ART; WCult: Varies.
44. Television: A Critical Approach
Not offered in the period from 07F through 09S
Using the student’s exposure to television as a starting point, this course will examine prominent critical issues regarding television as an industry, as a narrative form, and as a cultural institution. Analytic viewing of past and present programs, assigned readings in books and periodicals, and lectures from scholars and industry veterans will be among the materials used as the basis for discussion and critical writing. A historical understanding of the medium will be emphasized. Dist: ART; WCult: W.
45. U. S. Television History
Not offered in the period from 07F through 09S
This course will examine the history of television as an emerging technology; its dynamic interaction with government, private industry, and audiences; and its impact on society and culture. It will include a consideration of both pre-television media (especially radio) and new media (cyber-culture) as they inform a historical understanding of TV. The norms and practices of the network era (1955-1985) will be positioned as a functional middle-ground, much in the way that classical Hollywood Cinema (1920-1960) serves as middle-ground in motion picture history. Students will be encouraged to develop their capacity for a critical distance from contemporary media via this historicized approach. Open to all classes. Limited to 50 students. Dist: ART; WCult: W.
46. Topics in Television
07F: 3A 08F: 10A 09S: 2A
This course presents a range of approaches to television studies with varying emphases on historical, theoretical, or new methodological approaches including the impact of the new technologies. Dist: Varies.
In 07F, Broadcast/Electronic Journalism and Public Policy (Identical to Public Policy 44, pending faculty approval). Williams.
In 08F, Television and Histories of Gender (Identical to, and described under, Women’s and Gender Studies 56). Dist: ART; WCult: CI. Desjardins.
In 09S, Industrial Roots of the Information Superhighway. This course surveys a historical understanding of the basic component technologies of the Information Superhighway: the telegraph, telephone, phonograph, motion pictures, radio, television, computers, and new media. We will examine issues regarding the technology, aesthetics, socio-cultural effects, and industrial organization of these media, regarding the development of each individually and in conjunction with one another. We will also consider how these technologies/media represent and have been represented, to discuss their hold on the historical imagination. Dist: TAS; WCult: W. Williams.
47. Topics in Film Studies
07F: 10A, 2A 08W, 08S: 2A 09W: 10A
This course presents a range of approaches to film studies outside traditional categories such as genre or national cinemas. Each course will emphasize a different combination of historical, theoretical, and new methodological approaches to one area of film studies.
In 07F at 10A (Section 1), Jews In Hollywood (Identical to Jewish Studies 22). Dist: ART; WCult: W. Bronski.
In 07F at 2A (Section 2), Women in the Film Industry (Identical to Women’s and Gender Studies 56). Women have worked in the film industry since its very beginnings in the 1890s, although there is a popular conception that this is a recent phenomenon. This course will examine how women participated in the mainstream American film industry from the 1890s to the present as producers, directors, writers, photographers, fashion designers, performers, and audiences. Concepts about female authorship, as well as historical questions about the cultural, social, and industrial contexts for women’s power in the industry, will be explored. Films made by prominent women producers, directors, and writers will be screened. Dist: ART; WCult: W. Desjardins.
In 08W, Queer, Queens, and Questionable Woman: Hollywood Films Shaped Post-War GLBT Politics and Vice Versa (Identical to Women’s and Gender Studies 65, pending faculty approval). This course will examine the interplay between post-war GLBT film representation and the development of a national GLBT political consciousness and movements. It will also explore how this new consciousness shaped popular culture. Dist: ART. Bronski.
In 08S, Beatniks, Hot Rods and the Feminine Mystique: Sex and Gender in 1950’s Hollywood Film (Identical to Women’s and Gender Studies 56 in 08S). Common opinion holds that the 1950’s in the United States was a decade of severe sexual repression and political conformity. Yet the decade’s popular culture exhibits a startling range of images and ideologies that not only resist social norms but posit a vibrant array of alternative, subversive ideas about sex, gender, race, and power. We will view popular Hollywood films, selected television shows and commercials, and listen to stand-up comedy, and discuss them within the broad cultural context of the 1950’s. Readings for the class will include feminist film theory by writers such as Teresa DeLauretis, Mary Ann Doane and others, critical cultural theory, and popular literature of the period, such as pulp novels, movie magazines, and popular non-fiction memoirs, as well as sociology such as John Kenneth Galbraith’s The Affluent Society, and political propaganda such as J. Edgar Hoover’s Masters of Deceit.
Open to all students. Dist: ART. Bronski.
In 09W, Film Festivals. Film festivals have recently become what one Toronto festival programmer calls “an alternative distribution network.” Invented in Europe in the 1930s, film festivals have become a worldwide phenomenon encompassing tourism, cultural nationalism, art, and commerce. Students will explore case studies of individual film festivals, such as Cannes, Toronto, Sundance, and others, with a special emphasis on the Telluride film festival. Dist: ART. Ruoff.
50. Topics in Film Theory
Not offered in the period from 07F through 08S
Introduction to basic issues of film and television theory as seen by classical and contemporary film theorists. Issues include the problem of realism and representation, signification, narrative, and the impact of semiotic, psychoanalytic, feminist, and structuralist theories on classical theory. Dist: ART; WCult: Varies.
Prerequisite: Film Studies 20 or 21.
80. Independent Study
All terms: Arrange
This course is designed to enable qualified upperclass students to engage in independent study in film under the direction of a member of the Department. A student should consult with the faculty member with whom he or she wishes to work as far in advance as possible. A proposal for any independent project must be submitted by the appropriate deadline in the term immediately preceding the term in which the independent study is to be pursued. Permission of instructor required. The staff.
93. Major Project
All terms: Arrange
This course, limited to Film and Television Studies majors or as part of a modified major, involves an individual project in some aspect of film and television history, theory or practice. The subject of the project, the term, and the hours are to be arranged. Each project must be directed by a faculty member of the Department. The approval of the faculty member and the Chair must be secured in advance, not later than the term immediately preceding the term in which the project is to be undertaken. This is a two term project.
95. Honors Project
All terms: Arrange
A thesis, screenplay, or film production written under the supervision of a member of the Film and Television Studies Department. This course must be elected by all honors candidates. Permission of the Film Studies Faculty required.