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Film Studies Courses
Fall 2016
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An asterisk (*) next to a course number indicates that admission to the course is by application only. FST 451
and 495 require applications. You must complete a separate application for each course for which you wish to apply,
and submit with each application a copy of your Degree Audit, available on SeaNet. You will be notified by e-mail if
you have been accepted; those who have not been accepted will be placed on a waiting list.
Important due dates for courses that require applications:
Feb. 22
Applications for production courses are available to students.
March 18 Applications due to the Film Studies Office (KI 102) by 4:30 p.m.
March 24
Students admitted to courses will be notified by e-mail by 5:00 p.m. Accepted students will be
given an override, which will permit them to register for the course(s) during pre-registration.
Students who do not receive an e-mail have been placed on a waiting list.
April 4
Pre-registration for Fall 2016 classes begins.
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A dollar sign ($) next to a course number indicates that the course requires an $18 liability insurance fee.
Once you register for the course(s), this fee will automatically post to your student account as a tuition fee, and is due
with your tuition payment according to university policy.
A “w” (for “writing intensive”) next to a course number indicates that the course satisfies the Writing
Competency Requirement in the Film Studies major.
Production courses sometimes require students to pay for hardware, software, or film processing. The department
absorbs as much of the costs as it can, but students should be aware that such courses often have additional
expenses. You may consult with your instructors to learn specific costs associated with individual courses.
If you find that you cannot get into a cross-listed course by way of the FST prefix, try the cross-listed course prefix;
either one will satisfy the same requirement in the film studies major.
Course changes and additions are sometimes made before pre-registration begins. Please check the Film
Studies website periodically for updates.
FST 110-001
Concepts in Film (3)
#12634
F 9:00 a.m. – 12:45 p.m. (KI 101)
D. Kreutzer/125 students
NOT RECOMMENDED FOR FILM STUDIES MAJORS. An introduction of film form and style designed to help students
move from passive viewers to active “readers” of cinema. Weekly film screenings and lectures explore the many cinematic
concepts and techniques filmmakers use to convey story, mood, and meaning. We’ll study the concept and practice of
genre, examine major filmmaking movements, and explore the relationship between form and content. This course is
designed for non-majors in film studies.
FST 200-001
Introduction to Film Study (3)
#11616
Discussion T 12:30 p.m. – 1:45 p.m. (KI 104)
J. Kase & C. Andres /15 students
& Screening & Lecture R 12:30 p.m. – 3:45 p.m. (KI 101)
Prerequisite: PFST major. Designed for prospective majors in Film Studies, this course teaches students how to
analyze movies. We’ll break down movies into their component parts: acting, sound, mise-en-scene, and the techniques
of editing and cinematography. Students will also learn how film sounds and images work together to form a narrative.
We have drawn films from various national cinemas—representing diverse styles, periods, genres and production
modes—in order to give students an understanding of the wide range of cinema’s expressive possibilities.
FST 200-002
Introduction to Film Study (3)
Discussion T 2:00 p.m. – 3:15 p.m. (KI 104)
& Screening & Lecture R 12:30 p.m. – 3:45 p.m. (KI 101)
Prerequisite: PFST major. See description for FST 200-001.
#11617
J. Kase & C. Andres /15 students
FST 200-003
Introduction to Film Study (3)
Discussion T 12:30 p.m. – 1:45 p.m. (BR 164)
& Screening & Lecture R 12:30 p.m. – 3:45 p.m. (KI 101)
Prerequisite: PFST major. See description for FST 200-001.
#11618
J. Kase & TA /15 students
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FST 200-004
Introduction to Film Study (3)
Discussion R 4:00p.m.- 5:15 (KI 104)
& Screening & Lecture T 4:00 p.m. – 7:15 p.m. (KI 101)
Prerequisite: PFST major. See description for FST 200-001.
#12395
H. Frank/ 15 students
FST 200-005
Introduction to Film Study (3)
Discussion R 5:30 p.m. – 6:45 p.m. (KI 104)
& Screening & Lecture T 4:00 p.m. – 7:15 p.m. (KI 101)
Prerequisite: PFST major. See description for FST 200-001.
#13113
H. Frank / 15 students
$ FST 201-001
Introduction to Film Production (3)
#10647
M 12:30 p.m. – 3:15 p.m. (KE 1114 & 1122)
T. Linehan /20 students
Prerequisite: FST 200 and FST major. Co-requisite FST 205. Study and application of cinematic concepts and
techniques. Students complete a series of collaborative exercises exploring narrative, documentary and experimental
film forms.
$ FST 201-002
Introduction to Film Production (3)
#12646
R 3:30 p.m. – 6:15 p.m. (KE 1114 & 1122)
F. Hackler /20 students
Prerequisite: FST 200 and FST major. Co-requisite FST 205. See description for FST 201-001.
FST 204-001
The Business of Film (3)
#15222
F 9:00 a.m. – 11:45 a.m. (KE 1114)
E. Dunton /20 students
Introduction to the business aspects of the motion picture industry with an emphasis on decisions regarding creative
development, financing, legal, marketing and exploitation.
FST 205-001
Introduction to World Cinema (3)
#10734
Screening & Lecture W 9:00 a.m. – 12:15 p.m. (KI 101)
T. Palmer / 20 students
& Discussion M 9:00 a.m. – 10:15 a.m. (KI 104)
Prerequisite: FST 200 and FST major. Co-requisite FST 201. This course is a historical survey of world cinema and
examines, in largely chronological order, the major movements and breakthroughs in the aesthetic, cultural and political
development of cinema around the world. Case studies include: the early cinema of attractions, German Expressionism,
Soviet Montage, classical Hollywood, Italian Neo-realism, French New Wave, postcolonial cinemas of India, Africa, Latin
America, Asian cinema (Hong Kong, Korea and Japan), and Iranian cinema.
FST 205-002
Introduction to World Cinema (3)
#10967
Screening & Lecture W 9:00 a.m. – 12:15 p.m. (KI 101)
T. Palmer / 20 students
& Discussion M 10:30 a.m. – 11:45 a.m. (KI 104)
Prerequisite: FST 200 and FST major. Co-requisite FST 201. See course description for FST 205-001.
FST 210-001
Moviemakers & Scholars Series (3)
#11621
F 1:00 p.m. – 3:45 p.m. (KI 101)
L. Buttino / 125 students
This course is designed to teach students a variety of perspectives on filmmaking and film studies. Combining
presentations by local and visiting filmmakers with lectures and film screenings conducted by film scholars, the course
introduces students to a wide variety of film styles, film scholarship, and professions in the industry.
FST 220-001
3D Computer Graphics (3)
#15570
MW 3:00 p.m. – 4:15 p.m. (BR 165)
TBA/ 8 FST students
(ART 220, CSC 220) Pre-requisite: CSC 105 or CSC 131. This class provides an introduction to the artistic and
technical field of computer graphics and animation, focusing on basic 3-D modeling, shading, lighting and rendering.
Major concepts are covered and applied in several projects using advanced software, building to a final course project
where comprehensive knowledge gained is applied in an interdisciplinary nature. (Students may choose to continue
developing skills in the succeeding course, ART/CSC/FST 320.)
$ FST 301-001
Film Tools and Techniques (3)
#11622
W 9:00 a.m. – 11:45 a.m. (KE 1114 &1133)
G. Pack/16 students
Pre-requisite: FST 201. Instruction in the techniques and technologies of digital filmmaking, including camera, lenses,
lighting, grip, sound and set protocol.
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$ FST 301-002
Film Tools and Techniques (3)
W 12:30 p.m. – 3:15 p.m. (KE 1114 & 1133)
Pre-requisite: FST 201. See course description for FST 301-001.
#13574
G. Pack /16 students
$ FST 302-001
Intermediate Film Production: Narrative (3)
#13015
T 12:30 p.m. – 3:15 p.m. (KE 1114 & 1133)
G. Pack /16 students
Pre-requisite: FST 201. This class is a comprehensive practicum in motion picture pre-production, production, and postproduction. Students will be introduced to basic camera, lighting, grip and sound techniques while emphasizing nonequipment duties (producing, directing, casting, locations and assistant directing). Students as a group, will develop, plan
and orchestrate one 3-page film.
$ FST 302-002
Intermediate Film Production: Documentary (3)
#13016
W 4:00 p.m. – 6:45 p.m. (KE 1114)
S. Silva /16 students
Pre-requisite: FST 201. This course will explore issues and concepts that characterize documentary production as
students study and discuss different modes of documentary filmmaking (Poetic, Expository, Observational, Participatory,
Performative and Reflexive). Working in groups, students will apply this knowledge to the making of four short (2-3
minute) video assignments that come together by the end of the semester to create one short (5-7 minute) festival-ready
documentary film. In addition to developing a stronger aesthetic and conceptual understanding of documentary
filmmaking, each assignment will allow students to gain experience with various production techniques associated with
non-fiction video such as location shooting, interviewing, lighting, sound and editing.
$ FST 302-003
Intermediate Film Production: Experimental (3)
#13017
R 12:30 p.m. – 3:15 p.m. (KE 1114)
A. Silva /16 students
Pre-requisite: FST 201. Diaristic Film, Lyrical Film, Structural Film, Collage & Culture Jamming. With a wide range of
historical and contemporary samples to guide us from the personal to the political, this production course will explore
various historical, critical and technical aspects of avant-garde filmmaking. Students will be required to do readings, lead
in class presentations, and produce several film, video, audio or multimedia productions that focus on the issues
discussed in class.
FST 318-001
Screenwriting I: Introduction to Screenwriting (3)
#12267
T 6:30 p.m. – 9:15 p.m. (KE 1114)
T. Linehan/16 FST students/4 CRW students
(CRW 318). Prerequisite or co-requisite: FST 201; or prerequisite: PCRW, CRW, and CRW 207, CRW 208, or CRW
209. To immerse you in the fundamentals of writing and work shopping the short script from concept to completed and
revised first draft. Topics include: concept, formatting, story structure, character development, conflict, visible outer
motivation, dialogue, scene writing, and writing for emotional impact, among other things.
FST 318-002
Screenwriting I: Introduction to Screenwriting (3)
#14336
M 3:30 p.m. – 6:15 p.m. (KE 1114)
F. Hackler /16 FST students/4 CRW students
(CRW 318). Prerequisite or co-requisite: FST 201; or prerequisite: PCRW, CRW, and CRW 207, CRW 208, or CRW
209. See course description for FST 318-001
FST 318-003
Screenwriting I: Introduction to Screenwriting (3)
#16650
R 11:00 a.m. – 1:45 p.m. (KI 104)
L. Buttino /16 FST students/4 CRW students
(CRW 318). Prerequisite or co-requisite: FST 201; or prerequisite: PCRW, CRW, and CRW 207, CRW 208, or CRW
209. See course description for FST 318-001
FST 320-001
Computer Animation (3)
#15563
MW 4:30 p.m. – 5:15 p.m. (BR 165)
TBA/ 8 FST students
Pre-requisite: FST 220 (ART 220) (CSC 220) This course continues material introduced in FST 220 and concentrates
on character animation including its related theory, production and industry. Advanced 3D modeling, shading, rendering,
character-design and rigging skills are developed in conjunction with traditional principles of story, animation, lighting and
cinematography. Students complete several projects and the production cycle for a final animated short-film project.
FST 330-001
Producing: Narrative (3)
#13577
T 3:30 p.m. – 6:15 p.m. (KE 1114 & 1122)
T. Linehan/ 20 students
Pre-requisite: FST 201. Students will learn the creative and practical aspects of producing a narrative feature film from
conception to distribution including: forming a company, budgeting and scheduling software, financing, the production
bible, SAG documentation, music rights, distribution models, and other considerations.
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FST 331-001
Introduction to Editing (3)
#11630
W 4:00 p.m. – 6:45 p.m. (KE 1122)
M. Kramer / 16 students
Pre-requisite or co-requisite: FST 201. An introduction to the techniques and aesthetics of non-linear editing for motion
pictures. Students will learn through the instruction and use of Adobe Premiere Pro digital editing software to explore
editing in a variety of genres: narrative, documentary and found footage experimental.
FST 331-002
Introduction to Editing (3)
MW 9:00 a.m. – 10:15 a.m. (KE 1122)
Pre-requisite or co-requisite: FST 201. See course description for FST 331-001
#11631
D. Kreutzer / 16 students
FST 332-001
Interactive Media (3)
#16653
M 3:30 p.m. – 6:15 p.m. (KE 1122)
A. Silva/ 16 students
Pre-requisite or co-requisite: FST 201. Students learn various aspects of 2D digital animation and gain instruction on
Adobe After Effects and Photoshop to create motion graphics and character-based animations while being exposed to an
array of stylistic techniques. Furthermore, students gain basic animation production management skills necessary to
complete more ambitious animations.
w FST 363-001
Producing the Undergraduate Film Magazine (3)
#13578
T 5:00 p.m. – 8:15 p.m. (KI 104)
TBA/ 15 students
Pre-requisite or co-requisite: FST 205. This class will introduce students to the publication process of an undergraduate
film magazine. Depending upon the needs of the magazine, students will: create magazine policy and protocol, based
upon research of different publication models; set and disseminate calls for themed issues; solicit and review content from
peers throughout the world; liaise with contributors and publishers; write original content; prepare content for publication;
design layouts, incorporating images to enhance texts; and promote and market the resulting product. Students will gain
real-world experience, partnering with Intellect – a scholarly press based in Bristol (UK) and Wilmington – and producing
actual magazine issues that will be distributed globally.
w FST 367-001
Film Authors: James Cameron & David Fincher(3)
#13579
Screening & Lecture T 12:30 p.m. – 3:15 p.m. (LH 246)
G. Richardson/ 15 students
Discussion R 2:00 p.m. – 3:15 p.m. (LH 246)
Pre-requisite or co-requisite: FST 205. In this course students will study the directing styles of James Cameron and
David Fincher, both of whom started their careers with an Alien saga film, to decide whether these two prolific filmmakers
should, indeed, be considered worthy of the designation “auteur” based upon their oeuvre of work. Cameron and Fincher
show a propensity for auteurism with such qualities as their technical competence, personal style in the “look” of their
movies, and approaches to interior meanings demonstrated in genres such as action/adventure movies, thrillers, and scifi. The innovations that they have contributed to the art of film also qualify them as masters of spectacle and aesthetics.
Such virtuosity should be appreciated, and so we will determine during the course of the semester whether they have
proven themselves worthy to be counted among the greatest of film authors. For this writing-intensive course,
assignments may include critical essays, class participation, oral reports, and exercises designed by the instructor.
w FST 368-001
Studies in Film Styles and Genres: Horror Style (3)
#15237
T 9:30 a.m. – 10:45 p.m. (LH 246)
J. Kase / 15 students
R 4:00 p.m. – 7:15 p.m. (KI 101)
Pre-requisite or co-requisite: FST 205. Despite its dismissal by critics, parents, and arbiters of good taste, the horror
genre has proven to be one of the most adaptive and culturally vibrant film modes of the last century. In its continual
efforts to disgust, repulse, aggravate, and terrify viewers, the horror film often challenges mainstream notions of visual
and sonic pleasure. In fact, this genre has engaged, perhaps more than any other, in a continual flirtation with both
exploitation and art cinemas. In this international survey of horror we will watch some bold, revolting and unsettling films –
showcasing taboo-breaking encounters with zombies, cannibals, sadists, perverts, monsters and maniacs – in order,
ultimately, to reflect on the complex historical relationship that cinema has forged with the aesthetics of violence. This is a
writing intensive course.
w FST 368-002
Studies in Film Styles and Genres: Horror Style (3)
T 11:00 a.m. – 12:15 p.m. (LH 246)
R 4:00 p.m. – 7:15 p.m. (KI 101)
Pre-requisite or co-requisite: FST 205. See course description for FST 368-001
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#16658
J. Kase / 15 students
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w FST 368-003
Studies in Film Styles and Genres: The Hollywood Musical (3)
#16660
T&R 3:30 p.m. – 5:30 p.m. (LH 246)
P. Furia
Pre-requisite or co-requisite: FST 205. The original Hollywood musical is probably the shortest-lived genre in film
history. While silent films sometimes managed to incorporate songs, the movie musical only came in with the advent of
sound in 1927. After early problems with how a song should be presented in film, by 1930 studios were experimenting
with presenting songs expressively, as they are presented in stage musicals, rather than merely "performances" before an
on-screen audiences. By the 1950s, however. competition from television and the fallout from the divestment of theater
ownership by studios forced Hollywood to cut back on making original film musicals and instead made clunky, "stagey"
adaptations of Broadway stage musicals, such as South Pacific, West-Side Story, and Fiddler on the Roof. The course will
also consider how songs are presented in dramatic films, such as "As Time Goes By" in Casablanca and "The Sounds of
Silence" in The Graduate. Students do not need to have any musical knowledge but will learn some fundamentals of
songwriting. This course satisfies the Writing Intensive Competency for University Studies, so there will be several writing
assignments involving revision, work-shopping, and individual work with the instructor.
FST 371-001
History of Documentary Film (3)
#15241
Screening & Lecture M 9:00 a.m. – 12:15 p.m. (KI 101)
M. Johnson / 20 students
& Discussion W 9:00 a.m. – 10:15 a.m. (KI 104)
Pre-requisite or co-requisite: FST 205. In this course we will study the history of documentary film, grappling with the
many debated issues, both theoretical and practical, related to the cinematic representation of reality. How does
documentary differ from other kinds of filmmaking? How do documentaries make claims to trust and how these claims
influence the ways in which these films are received and circulated? Students will be exposed to multiple genres (e.g.,
ethnographic, cinema verite, experimental) and documentary directors (e.g., Vertov, Rouch, Morris), their various formal
strategies, as well as the historical, social and political contexts in which such strategies have been used.
FST 371-002
History of Documentary Film (3)
Screening & Lecture M 9:00 a.m. – 12:15 p.m. (KI 101)
& Discussion W 10:30 a.m. – 11:45 a.m. (KI 104)
Pre-requisite or co-requisite: FST 205. See course description for FST 371-001.
#15242
M. Johnson / 20 students
FST 375-001
Studies in Global Film History: Cuba (3)
#16662
Screening & Lecture W 12:30 p.m. – 3:45 p.m. (KI 101)
M. Johnson / 20 students
& Discussion M 12:30 p.m. – 1:45 p.m. (KI 104)
Pre-requisite or co-requisite: FST 205. Cuban cinema is known for producing highly original and creative films under
massive economic and geopolitical constraints. Francis Ford Coppola, for instance, applauded the agility and innovation
of Cuban directors. Comparing Hollywood filmmakers with those on the island, he said, “We don’t have the advantage of
their disadvantages.” In this course we will study the history, aesthetics and unique circumstances of Cuban national
cinema. We will examine major periods, from pre-revolutionary film culture to the radical “imperfect cinema” of the 1960s,
to the rise of co-productions and contemporary “street” films. You’ll study the works of key filmmakers, such as Tomas
Gutierrez Alea and Santago Alvarez, and explore topics related to revolutionary aesthetics, the relationship between
propaganda and art, cinephilia, exile cinema, and Cuban role as safe haven for radical filmmakers from around the world.
FST 375-002
Studies in Global Film History: History of Animation (3)
#16664
Screening & Lecture T 12:30 p.m. – 3:45 p.m. (KI 101)
H. Frank/ 20 students
& Discussion R 2:00 p.m. – 3:15 p.m. (KI 104)
Pre-requisite or co-requisite: FST 205. This class provides a historical survey of animation, from its pre-cinematic
origins to present-day computer-generated imagery. We will cover the full range of animation styles and techniques,
including but not limited to cel animation, stop-motion and claymation, Flash and vector animation, pixilation, and
machinima. In addition to films produced by major international studios (Disney, Toei, Ghibli, Soyuzmultfilm, Pixar, etc.),
we will study the work of independent and experimental animators from across the globe—the United States, Canada, the
United Kingdom, Germany, France, Japan, Cuba, Argentina, Croatia, the Czech Republic, Australia, and beyond.
Students will learn to conduct original primary research on a film’s exhibition and reception history and will work together
to develop a vocabulary for analyzing the visual aesthetics of animation in its myriad forms.
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FST 377-001
American Cinema Since 1961 (3)
#15246
Discussion M 4:00 p.m. – 5:15 p.m. (KI 104)
T. Berliner / 20 students
Screening & Lecture W 4:00 p.m. – 7:15 p.m. (KI 101)
Pre-requisite or co-requisite: FST 205. This course introduces students to the history and form of American cinema
since the end of the studio system, a period that gave us movies as diverse as The Man Who Shot Liberty Valance,
Bonnie and Clyde, Faces, Star Wars, Taxi Driver, Die Hard, Do the Right thing, Unforgiven, Jerry Maguire, and
Mulholland Drive. Studying these and many other films, we will consider the major historical topics pertinent to the period,
including the ratings system, “blockbuster syndrome,” home video, indie filmmaking, and other stuff like that. But we will
always study American movies as movies (as experiences for spectators) and will never be far from our central question
and the only question about the cinema that I care much about: What is it about the movies people enjoy that makes
people enjoy them?
FST 377-002
American Cinema Since 1961 (3)
Discussion M 5:30 p.m. – 6:45 p.m. (KI 104)
Screening & Lecture W 4:00 p.m. – 7:15 p.m. (KI 101)
Pre-requisite or co-requisite: FST 205. See course description for FST 377-001.
#16668
T. Berliner / 20 students
FST 387-001
Introduction to French Cinema (3)
#16671
Screening & Lecture M 12:30 p.m. – 3:45 p.m. (KI 101)
T. Palmer / 20 students
Discussion W 12:30 p.m. – 1:45 p.m. (KI 104)
Pre-requisite or co-requisite: FST 205. This course offers an introduction to one of the largest film industries in the
world, the French film industry. This course includes the study of major historical periods, the aesthetics of song and
dance, censorship, stars, exhibition practices, and French cinema. The course satisfies the Foreign – language/Global
Cinema requirement and the Critical Studies elective.
$ FST 393-001
Sound Recording (3)
#14367
F 9:00 a.m. – 11:45 a.m. (KE 1122 & 1133)
A. Markowski /20 students
Pre-requisite: FST 201. This course will cover the essential elements of recording sound for film and television with a
lecture and exercise structure. Our lectures will cover the mechanics, esthetics and politics of recording audio for
production. Students will be instructed in the proper techniques of recording production dialog, voice over. Students will
be using a wide variety of sound equipment including production digital recorders, audio mixers, boom and radio
microphones.
$ FST 394-001
Sound Design (3)
#13586
F 12:30 p.m. – 3:15 p.m. (KE 1122)
A. Markowski/16 students
Pre-requisite: FST 201. This course will cover the world of film and television post production audio with lecture and
hands on activities with an emphasis on Pro Tools sound editing. Our activities will include the use of a variety of
advanced recording and editing equipment to create and fully understand the essential elements of a professional sound
track. This course is designed to demystify the world of audio and empower students with the advantages of
uncompromised audio. Topics include audio theory, recording techniques, sound editing skills, sound design artistry,
digital media management, sound processing and final mixing.
$ FST 398-001
Practicum in Film Production: Blocking (3)
#14370
T 9:30 a.m. – 12:15 p.m. (KE 1122 & 1133)
G. Pack /16 students
Pre-requisite: FST 201. Students will explore and practice the art of blocking. Blocking is broken into three key
components: 1) Script and Scene Analysis, 2) Staging, and 3) Composition. Students will work through the three steps to
create scenes that visually support the written word.
$ FST 399-001
Film Directing (3)
#12675
R 9:30 a.m. – 12:15 p.m. (KE1114)
F. Hackler/16 students
Pre-requisite: FST 201. Scene exercises emphasizing working with actors, blocking and staging, and using the camera
to effectively capture action and performance.
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w FST 445-001
Film Rhetoric (3)
#14374
R 9:30 p.m. – 1:30 p.m. (LH 246)
G. Richardson/ 15 students
Pre-requisite: FST 205. Geared towards film majors in both critical studies and production, this course will approach film
using principles of rhetorical theory and criticism to explore ways that films operate and function persuasively.
Understanding how films can create meaning visually, explicitly (through dialogue and sound), and implicitly will help
students to learn ways that they as future filmmakers can use film to manipulate, shape, guide, or persuade an audience.
And, as students of film criticism, individuals in this course will learn how film form and film style can “mean” rhetorically.
This course satisfies the Building Competencies requirement for the Qualitative and Logical Reasoning component of
University Studies and partially satisfies the writing-intensive requirement. Assignments may include active participation,
weekly class exercises, short writing assignments, and several analytical essays.
*$ FST 451-001
Film Festival & Conference (3)
#12965
T 12:30 p.m. – 3:15 p.m. (KE 1122)
S. Silva/ 12 students
Pre-requisite or co-requisite: FST 201 and FST 205 and permission of the chair of Film Studies. COURSE BY
APPLICATION ONLY. Students will gain real-world experience while producing, programming and hosting the VISIONS
Film Festival and Film Scholars Conference which celebrates the work of undergraduate filmmakers from around the
world. This class will introduce students to the producing and programming process of a film festival and conference.
Students will: create festival/conference policy and protocol, based upon research of different existing models; write,
design and promote calls for both production and critical studies entries; solicit and jury films and abstracts from peers
throughout the world; network with university film programs internationally; design press materials and a resulting DVD
compilation of work; and promote and market the final event.
*$ FST 495-001
Senior Seminar in Film Production: Narrative (3)
#10850
T 9:30 a.m. – 12:15 p.m. (KE 1114)
D. Monahan
Pre-requisite: FST 301 or FST 302, and permission of the chair of Film Studies. COURSE BY APPLICATION ONLY.
An intensive capstone course in which Film Studies students work in collaborative teams or alone to complete the
preproduction and production of short documentary and narrative films. Students should be prepared to submit a project
proposal for one of these three genres (or a hybrid) in the weeks preceding the first class meeting. Projects are then
selected based on equipment availability, crew, experience and the initial written project pitch. The short films, no longer
than 15 minutes in length, are edited in FST 497.
*$ FST 495-002 Senior Seminar in Film Production: Documentary/Experimental/Animation (3)
#10851
M 9:00 a.m. – 11:45 a.m. (KE 1114)
A. Silva/15 students
Pre-requisite: FST 301 or FST 302, and permission of the chair of Film Studies. COURSE BY APPLICATION ONLY.
An intensive capstone course in which Film Studies students work in collaborative teams or alone to complete the
preproduction and production of short documentary, experimental or animated films. Students should be prepared to
submit a project proposal for one of these three genres (or a hybrid) in the weeks preceding the first class meeting.
Projects are then selected based on equipment availability, crew, experience and the initial written project pitch. The short
films, no longer than 15 minutes in length, are edited in FST 497.
*$ FST 496-001
Senior Seminar in Film Study: Aesthetics of Hollywood Cinema (3)
#10855
MW 1:00 p.m. – 3:15 p.m. (LH 246)
T. Berliner/ 15 students
Pre-requisite: FST major and Junior or Senior Standing. Hollywood movies are arguably the most widely successful
pleasure-giving art objects the world has ever known. This course studies the pleasure that Hollywood cinema offers
mainstream audiences. We will study some of Hollywood’s most enduring movies, and a few beloved oddities, in an
attempt to figure out what makes them enjoyable. We will also read relevant literature in film studies, psychology, and
aesthetics to provide a framework for understanding Hollywood’s aesthetic appeal. This capstone course satisfies both
the oral and writing competency requirements in the Film Studies major.
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