Introduces graduate study in the critical practice of film and digital media. Conducted as a pro-seminar, with faculty presentations and discussion.
Investigates methods for rhetorical production of written and visual/aural texts. Emphasizes questions about delineation between theory and practice, and provides groundwork in theories relevant to key areas in film, television, and digital media studies.
Investigates methods for rhetorical production of written and visual/aural texts. Emphasizes interwoven practices of the artist/researcher/teacher, formal and expressive possibilities of hybridized research, and cultural issues raised by integrated methods of inquiry.
Prepares students for teaching assistantships and instructor roles. Topics include TAships, designing inclusive course syllabi and lesson plans, active learning, teaching technologies, and classroom environment.
Prepares graduate students with professional skills in the discipline, such as CV writing, grants research and writing, public presentation, exhibition, publication, and job seeking.
Introduces graduate students to critical methodologies in media studies and offers sustained examination of theoretical approaches to media studies. Methodologies may include (but are not limited to) contemporary theory (semiotic, psychoanalytic, ideological), cultural studies, intertextuality, feminist film, and television theory.
Focuses on essayistic approaches to scholarship and production, emphasizing relationships between theory and praxis that this mode of production requires.
Instructor
Irene Gustafsonq
Considers theoretical and strategic, situated difference in the era of (semi-)colonialism, post-colonialism, and globalism, examining theoretical writing alongside media works on the topic.
Today, our lives are woven into vast software systems that facilitate our family communications, personal relations, jobs, and cultural, economic, political, and social institutions. Course examines these conditions of life and thought using insights from the arts and humanities.
Examines queer subjectivities, practices, and theories in relation to globalization, transnationalism, and postcoloniality, focusing on film/media produced outside the United States. The course addresses representation and also uses queer theoretical work to engage wider contexts of film/media production, distribution, and exhibition.
Instructor
Peter Limbrick
Studio-based hybrid practice/theory to explore problems of historical representation in film, video, and new media and engage with the production of new cinematic/visual forms that take on issues of personal, collective, and national memories.
Explores moving image archives in relation to social movements, technological change, and moving image use and reuse. Theories of memory, information, and technology provide a framework for discussions, site visits, and individual projects.
Instructor
Rick Prelinger
Examines the forms, discourses, and practices of documentary film, television, video, and other media in relation to cultural, social, and political history and theory. While the thematic focus varies from term to term, each edition of the course places critical thought and documentary work in conversation around issues central to forms of social knowledge and action.
Students explore the aesthetic, political, and ethical dimension of new and expanded forms of documentary practice including: new media; database-driven, interactive documentary; participatory media; social media; and documentation-based art practices.
Explores topics in postcolonial theories and film and media around themes such as colonialism, modernity, and institutions of cinema; colonial histories and national or transnational film and media; race, gender, sexuality and colonialism; the uneven implications, pitfalls, and possibilities of the term postcolonial in relation to film and media.
Students learn the technical and critical skills required for fieldwork-based ethnographic video and audio media production. The course is structured around cumulatively building filmmaking skills with an emphasis on critically informed nonfiction ethnographic observation.
Investigates an ethics of new media. Using an intersectional approach, students read thematic units that consider issues of race, class, and gender as they crosscut questions of advanced technological tools and their implementation in modern society.
Investigates feminist histories of film, radio, television, video, technology, playable media, and digital culture from the 19th century through the present day. Students learn varied historiographic methodologies and also engage in primary historical research.
Through readings and assignments, students explore the notions of making and the temporal context of the Anthropocene. Making is broadly defined as any creative production. The Anthropocene and climate change are studied as urgent and compelling context.
Develops fluency in the languages of critical practice as expressed across media. Integrates critical and analytical writing about objects and experiences created by and through electronic and digital media with ongoing, student-driven critiques of audiovisual scholarship.
Explores the production and perception of information (news, stories, figures, identities, controversies, and complacencies). Students research, analyze, theorize, and define the scope of the politics of information, study the consequences of media(ted) knowledge, and propose possibilities for critical intervention and change.
Explores advanced media theory and the methodologies of media analysis. Themes and issues to be drawn from media history; material, popular, or mass cultures; network and information theory; and intellectual, institutional, political, or cultural contexts.
Instructor
Edward Shanken
A study of new media art in the context of digital culture. Electronic, digital and online technology art are set in critical relation to discourse on history, aesthetics, hypermedia, the interface, hacks, embodiment, robotics, artificial life and other topics.
Instructor
Edward Shanken
Traces the rise of motion picture culture from the late 19th century through the end of the 1920s, looking at film's emerging visual and narrative grammar, its changing cultural status, and its engagement with shifting registers of class, ethnicity, gender, and sexuality.
Directed reading that does not involve a term paper. Students submit petition to course-sponsoring agency. Enrollment restricted to graduate students.
Quarter offered
Fall, Winter, Spring
Either study related to a course being taken or a totally independent study. Students submit petition to sponsoring agency. Enrollment restricted to graduate students. May be repeated for credit.
Quarter offered
Fall, Winter, Spring
Students submit petition to course-sponsoring agency. Enrollment restricted to graduate students.
Quarter offered
Fall, Winter, Spring
Students submit petition to course sponsoring agency. Enrollment restricted to graduate students.
Quarter offered
Fall, Winter, Spring
Students submit petition to course sponsoring agency. Enrollment restricted to graduate students.
Quarter offered
Fall, Winter, Spring
Cross-listed Courses
Introduction to media representations and their consequences for individuals and communities. Assignments emphasize dialogic and collaborative processes of critical reflection on media materials. Materials in a variety of media address struggles for representation, justice, and agency--especially relative to race, gender, citizenship/documentation, and communities of diaspora--in terms of media frameworks and the dialogues they foment.
Cross Listed Courses
FILM 2
General Education Code
PR-E
This thematic, graduate-level, hybrid, production/critical studies course provides opportunities to learn specific technical skills while engaging in the analysis and critical interpretations of cinema, social documentary, animation, art, television, and new media. Technical topics may include animation; motion graphics; interactive web media; and installation, editing, cinematography, and sound.
Cross Listed Courses
FILM 233