The Cinema Studies BA Program | Academic Requirements | Student Learning Outcomes | Courses | Faculty

The Cinema Studies Program: Courses

1000–1999 (lower level, freshman)
2000–2999 (lower level, sophomore)
3000–3999 (upper level, junior)
4000–4999 (upper level, senior)


Note: Students who have taken CIN 2760 and 2770/Cinematic Expression I and II (discontinued in Fall 2012) will have satisfied a prerequisite of CIN 1500 and 1510. CIN 1500 is a prerequisite for CIN 1510.


1000–1999:

Directing the Scene I
CIN 1100
/ 4 credits / Fall
An intensive production-oriented course that explores content and form, designed to familiarize students with the fundamentals of storytelling for narrative film. Aspects of filmmaking covered include the dramatic elements and the stylistic elements. Students direct and edit three short films, with each assignment demonstrating specific principles covered in class. Students must have experience operating a video camera and must have access to a digital editing platform or be familiar with Final Cut Pro.
Prerequisite: Permission of instructor

Introduction to Cinema Studies I and II
CIN 1500
and 1510 / 4 credits (per semester) / I: Fall; II: Spring
An intensive study of film history with analysis of specific films that represent stages in the evolution of the formal aspects of cinematic expression. Film showings, lectures, seminars. The discussion is required.

Anatomy of an Indie
CIN 1770
/ 3 credits / Special topic (offered irregularly)
An in-depth introduction to the making of independent feature films, from inception through release. This course provides a look at the creative, business, and techniques of filmmaking and how they interact to shape the final product. A basic knowledge of film history and/or arts management is recommended.
Formerly offered as SOA 1770 for students in other disciplines; TFI 1770 crosslisting discontinued Fall 2013 (8/07/13).

The following courses are offered on an irregular basis by the School of Liberal Studies & Continuing Education:

  • Introduction to Video Techniques and Technology
  • Documentary Production
  • Motion Picture Production Workshop

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2000–2999:

Close Analysis
CIN 2000
/ 4 credits / Every year
The techniques of filmic expression are examined through a focused, detailed analysis of cinematography, editing, lighting, mise-en-scène, and soundtrack in celebrated cinematic works from around the world. Course content is organized around the establishment or subversion of narrative, generic, and stylistic conventions through the works of one director, a particular genre, or a film movement.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Directing the Scene II
CIN 2100
/ 4 credits / Spring
Examines the various emotional and intellectual levels layered within a scene that can and do impact the audience. Students closely analyze the construction and purpose of a short sequence in the context of the overall story and write, direct, and edit a short sequence during the semester. Students must have experience operating a video camera and must have access to a digital editing platform or be familiar with Final Cut Pro.
Prerequisite: Permission of instructor

Prefix changed from NME (with CIN crosslist) to PSW Fall 2014 (2/14/14):
Storytelling with Images
PSW 2150
Refer to Playwriting and Screenwriting Courses for description.

Music Video and Popular Culture
CIN 2200
/ 4 credits / Special topic (offered irregularly)
Examines the history of music videos, studying their effectiveness as a sales mechanisms as well as their influence on how today’s movies, television and commercials are photographed. Students are required to shoot practice exercises throughout the semester, complete a final paper, and shoot a music video on their own for a campus band or musician. Students must have experience operating a video camera and have access to a digital editing platform or be familiar with Final Cut Pro.
Prerequisite: Permission of instructor

Research Practicum: Silent Cinema
CIN 2240
/ 4 credits / Alternate years
The goals of this course are two-fold. First, the history of silent film through the advent of sound is explored to reveal what early cinema can teach about the present and future of visual culture. Second, students use this exploration into early cinema to improve their film research skills, from data gathering to revision.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Principles of Montage
CIN 2500
/ 4 credits / Alternate years
An intensive course for cinema studies majors that combines hands-on practice with close analysis. Students explore the art of montage by analyzing the film language of great directors and by shooting and editing short video projects, with an emphasis on the major principles of montage.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Replaced by CIN 3720 Fall 2014 (1/08/14):
The Film Noir
CIN 2720
/ 4 credits / Special topic (offered irregularly)

Happiness: Philosophy, Film, Literature
PHI 2835
Refer to Philosophy Courses (School of Humanities) for description. Formerly also offered as CIN 2835.

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3000–3999:

Cinema and Revolution
CIN 3000
/ 4 credits / Alternate years
Third cinema was a movement proposed by Latin American directors in the 1960s and further developed by African directors in the 1970s. It addresses important questions about independent national cinemas, colonialism, race, and identity. This course examines the movement and its global influence, with emphasis on the cinemas of Latin America, Africa, black Britain, and American minorities.
Formerly also offered as LST 3000.
Prerequisite: CIN 1500 and 1510, or permission of instructor

Added Spring 2015 (6/24/14):
Cinema and the Archive
CIN 3005
/ 4 credits / Alternate years
An intensive focus on the intersection between cinema and history. Students examine the debates around cinema’s status as historical document, surveying different approaches to the relationship between cinematic formal traditions and social history. The course emphasizes the analysis of primary sources, such as reviews, posters, magazine and newspaper articles, personal correspondence, trade publications, and blogs.

Cross-Cultural Video Production
NME 3011
Refer to New Media Courses for description. Formerly also offered as CIN 3011.

Women and Film
LIT 3025
Refer to Literature Courses: 3000–3999 (School of Humanities) for description. Formerly also offered as CIN 3025.

Documentary Film and Theory
CIN 3030
/ 4 credits / Alternate years
Through a historical survey of documentary and ethnographic film, this course explores documentary theory, aesthetics, and ethics. Topics include early cinema, World War II propaganda, cinema verité, radical documentary, the essay film, counter-ethnographies, and contemporary mixed forms. Films by the Lumières, Flaherty, Marker, Rouch, Minh-ha, and others.
Prerequisite: CIN 1500 and 1510, or permission of instructor

Film Sound: Technique and Theory
CIN 3040
/ 4 credits / Special topic (offered irregularly)
An intense focus on sound technology, with careful attention to the way image, dialogue, music, and sound interact in both film and video. The history of sound technology and sound theory are explored by comparing sound innovations in other fields (music, radio, television) to developments in film/video. Films include The Jazz Singer, The Conversation, Pi, and Run Lola Run.
Prerequisite: CIN 1500 and 1510, or permission of instructor

Cult Cinema
CIN 3060
/ 4 credits / Alternate years (Spring)
An exploration of cult films and the subculture surrounding them. What elements determine the second life of films beyond their initial phase of consumption? Do these films share certain characteristics, or does their cult status depend entirely on viewing practices? How do these subcultures police their boundaries? What reading strategies do these subcultures employ? These questions also allow students to reflect on their attachment to films.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Television Studies
CIN 3070
/ 4 credits / Special topic (offered irregularly)
Examines the state of television today, with special attention to new genres, narratives, technologies, audiences, and corporate practices, with special attention to the growth of cable networks, online sites, streaming serials, new modes of spectatorship, and new forms of fan culture.
Prerequisite: CIN 1500 and 1510

History of American Television
CIN 3075
/ 4 credits / Special topic (offered irregularly)
A survey of the development of broadcasting and electronic media in the United States. It emphasizes the cultural and institutional history of the medium, as well as the aesthetic of televisual genres.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Mexican Cinema
CIN 3080
/ 4 credits / Alternate years (Spring)
A survey of the history of Mexican cinema from the early 1930s to the present. Students examine popular genres like la comedia ranchera (Mexican cowboy musical), el género cabaretil (dancehall film), and el cine de luchadores (wrestling film) as well as the work of the most prominent Mexican filmmakers (e.g., Arturo Ripstein, Jaime Humberto Hermosillo, Nicolás Echeverría, María Novaro, Guillermo del Toro).
Formerly also offered as SPA 3080 and LST 3080.

Fantasy, Film, and Reality
PHI 3120
Refer to Philosophy Courses (School of Humanities) for description. Formerly also offered as CIN 3120.

Animation
CIN 3130
/ 4 credits / Special topic (offered irregularly)
A survey of animated filmmaking from the inception of cinema to the contemporary era.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Cinema and the City
CIN 3140
/ 4 credits / Special topic (offered irregularly)
Explores the role of cinematic representation in shaping the urban imagination. Taking both a historical and a comparative approach, students study the figuration of American, European, and non-Western cities from the silent era to the digital age. Discussions include how cinema has portrayed these metropolitan areas and their people, cultures, and public and private spaces.
Prerequisite: CIN 1500 and 1510

Added Fall 2014 (12/12/13):
Improvisation in Film
CIN 3150
/ 4 credits / Fall
An examination of improvisation in scripts, performances, and the directorial design and production process. Students study the techniques of such filmmakers as John Cassavetes and Mike Leigh, the basics of improvisation taught by Viola Spolin and others, and theories of aleatory form; participate in improvisatory scenes; and make a film using improvisational techniques. 

The Cinematic Bestiary
CIN 3170
/ 4 credits / Alternate years (Fall)
The invention of cinema was fueled by the desire to capture animals and their movements. This course focuses on cinema’s enduring obsession with animals, inquiring to what extent that obsession indicates concerns about human limitations. Moving across film genres, students examine the intersection of cinema with animal studies, ecocriticism, and posthumanism.
Formerly also offered as PHI 3170.
Prerequisite: CIN 1500 and 1510

The Vietnam War in U.S. Literature and Film
LIT 3195
Refer to Literature Courses: 3000–3999 (School of Humanities) for description. Formerly also offered as CIN 3195.

Film, Media, and War Machines
CIN 3200
/ 4 credits / Special topic (offered irregularly)
An advanced seminar on theories of cinematic and computational media via “the war machine.” Focus is on the relationship between cinematic and military techniques and technologies—what Virilio dubbed “the deadly harmony” between eye and weapon. Emphasis is also placed on the sociopolitics of code, the ramifications of informatic capture and the formation of coded bodies, and the rise of new machines of war and resistance.
Formerly also offered as NME 3200 for new media majors.
Prerequisite: Permission of instructor

Spanish and Latin American Cinema
SPA 3211
Refer to Spanish Courses (School of Humanities) for description. Formerly also offered as CIN 3211.

Latin American Cinema
CIN 3245
/ 4 credits / Alternate years
Drawing from the rich cinematography of Latin America, this course focuses on the interaction between film and culture in Latin America. Students discuss and analyze films in the context of sociopolitical events and aesthetic movements, with emphasis on the cultural perspective.
Formerly also offered as HIS 3246 (added Spring 2014), SPA 3245, and LST 3245.
Prerequisite (for cinema studies majors only): CIN 1500 and 1510

Light and Truth: Film, Photography, and Reality
PHI 3275
Refer to PHI 3275 in Philosophy Courses (School of Humanities) for description. Formerly also offered as CIN 3275.

Advanced Broadcast News
JOU 3310
Refer to Journalism Courses (School of Humanities) for description. Formerly also offered as CIN 3310.

Added Spring 2015 (6/24/14):
Film Authors
CIN 3320
/ 4 credits / Alternate years
A detailed examination of a filmmaker’s career. Students analyze films in light of a filmmaker&38217;s entire output while situating the artist’s creative process in relation to the industrial and historical context. The course also introduces students to the tradition of auteur criticism.
Prerequisite: CIN 1500 and 1510

The Screenplay
CIN 3325
/ 4 credits / Special topic (offered irregularly)
Designed to foster screenwriting, beginning with creation of the script and working toward completion of a short film by the end of the term. Creative writing and cinema studies students collaborate at all stages of the process, including writing, producing, directing, and editing.
Formerly also offered as CWR 3325.
Prerequisite: CIN 1500 and 1510, and permission of instructor; for creative writing majors: CWR 3400 or 3500, and permission of instructor

Genres of Affect
CIN 3330
/ 4 credits / Special topic (offered irregularly)
In this course, affect is considered as a form of power—the embodied capacity to affect and be affected. Students explore affective genres of visual culture, such as horror, comedy, melodrama, and pornography. The course draws on a range of theoretical perspectives on affect and emotion, emphasizing work from psychoanalysis, philosophy, feminism, and queer theory.
Formerly also offered as MSA 3330.
Prerequisite: CIN 1500 and 1510

Classic Hollywood, Early America
HIS 3345
Refer to History Courses (School of Humanities) for description. Formerly also offered as CIN 3345.

Contemporary Global Cinema
CIN 3400
/ 4 credits / Alternate years
A study of contemporary global cinema and recent trends in cinematic style and narrative. The course focuses on non-American/non-European cinemas and co-productions and on important developments in the regional cinemas of Africa and Latin America. The final quarter examines “cinema” from a global perspective, particularly the extent to which new technology and cultural circuits have fostered techniques, styles, and narrative forms.
Prerequisite: CIN 1500 and 1510, or permission of instructor

Contemporary European Cinema
CIN 3420
/ 4 credits / Special topic (offered irregularly)
Focuses on the changing landscape of national and regional cinemas of Europe from the 1980s to the present, including the advent of the MTV-influenced cinéma du look movement in France and the neorealist, indie-inspired filmmaking in the Balkan and former Soviet states. The contested (re)definition of what now encompasses "European cinema” is a defining undercurrent of the course.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Intermediate Video
NME 3470
Refer to New Media Courses for description.

Methods in Film Criticism
CIN 3480
/ 4 credits / Alternate years (Fall)
An introduction to the history and modes of film criticism, using the films of Alfred Hitchcock or John Ford (depending on the instructor) as the focal point. The goal is to familiarize students with the diversity of critical approaches in film studies, to make them better critics, and to do so by understanding both the aesthetic qualities and social forces that have made Hitchcock (or Ford) not only one of the great film personae of the 20th century, but also a marketing device, an aesthetic, a genre, and a field of study.
Prerequisite: CIN 1500 and 1510

Added Spring 2015 (6/24/14):
Cinema in the Internet Age
CIN 3500
/ 4 credits / Alternate years
Networked computing has reconfigured cultural production, distribution, textual practices, and consumption. Students investigate how cinema registers these shifts by analyzing films that address the Internet and by examining the ways that computing technologies renew film’s significance. Readings cover the latest conversations in media theory, addressing such issues as photographic indexicality, database narratives, digital aesthetics, software studies, and social media. 
Prerequisite: CIN 1500 and 1510

Film, History, and Trauma
CIN 3513
/ 4 credits / Special topic (offered irregularly)
Historical trauma has characterized the 20th century. Traumatic events return in unexpected forms, haunting communities and shaping both collective memory and mourning practices. Taking a comparative approach across national cinemas, this course analyzes the historical context, style, and narratives of films that circle around the question of trauma. The course covers German, Israeli, Chilean, Japanese, Russian, and American cinemas.
Formerly also offered as HIS 3513.

Eastern European Film
CIN 3515
/ 4 credits / Alternate years
Major tendencies in Eastern European cinemas between World War II and the late 1980s are explored. Focusing on Polish, Hungarian, Czechoslovakian, and Yugoslav films, students examine the development of these national cinemas in the sociopolitical context of state socialism, and the flourishing of these cinematic traditions into internationally recognized movements and schools. Major thematic and stylistic preoccupations of Eastern European filmmakers are addressed through a close study of works by Polanski, Wajda, Forman, Jancso, Makavejev, Kusturica, and others.
Prerequisite: CIN 1500 and 1510, or permission of instructor

Race and Representation: U.S. Literature and Film
CIN 3533
/ 4 credits / Special topic (offered irregularly)
Racial imagery in the U.S., from the minstrel era to the present, is examined. Students interrogate the mythologies of this imagery as depicted in U.S. literature and film; rethink key analytical categories in cinema and literary studies in light of U.S. race history (genre and spectatorship); and study the racial uses of and meanings behind certain technical innovations in U.S. literature and filmmaking.
Formerly also offered as LIT 3533.
Prerequisite: Permission of instructor

Queer Cinema
CIN 3540
/ 4 credits / Special topic (offered irregularly)
Emerging queer cinema is explored in its historical contexts and its relation to contemporary theories of gender, sexuality, and their intersection with race, class, and nationality. The course focuses on the “queering of the gaze,” interrogating conventional notions of representation, desire, identification, filmmaking, and spectatorship. Featured directors: Warhol, Fassbinder, Haynes, Von Trotta, Akerman, Rozema, La Bruce, Araki, Denis, Jarman.
Formerly also offered as GND 3540 and PHI 3540.

Kubrick
CIN 3600
/ 4 credits / Special topic (offered irregularly)
Stanley Kubrick was one of the most original and cinematic of all film directors. His films were highly original in form, with an innovative use of the medium’s primary elements, including editing, composition, and camera movement. Most were also adaptations of classic and contemporary literature. His ability to transform an author’s literary vision into his cinematic vision was one of the keys to his genius. This course analyzes his films on their own terms and in comparison to their literary sources.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Cronenberg
CIN 3605
/ 4 credits / Special topic (offered irregularly)
An exploration of the cinema of David Cronenberg from the beginning of his career to the present.
Prerequisite: CIN 1500 and 1510

Surrealism and Its Legacy
LIT 3680
Refer to Literature Courses: 3000–3999 (School of Humanities) for description. Formerly also offered as CIN 3680.

American Film Genres
CIN 3705
/ 4 credits / Special topic (offered irregularly, Fall)
A detailed examination of the notion of film genre, and consideration of one or more classical Hollywood genres, including the western, musical, melodrama, and film noir.
Prerequisite: CIN 1500 and 1510

The Western
CIN 3715
/ 4 credits / Special topic (every third year)
In light of a resurgence of the western in film and television, this course spans the history of the genre, from the earliest silent screen versions of dime store novels to its contemporary manifestations. While paying careful attention to the western as myth, epic, and landscape art, the course also explores themes of freedom, justice, and individualism as embedded and transformed in the genre.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Philosophy and Film
PHI 3716
Refer to Philosophy Courses (School of Humanities) for description. Formerly also offered as CIN 3716.

Formerly CIN 2720; course number changed and title modified Fall 2014 (1/08/14):
Film Noir
CIN 3720
/ 4 credits / Special topic (offered irregularly)
Film noir represents the intersection of theme and style that gave American films from 1941 to 1955 a new cynicism, moral ambiguity, and atmosphere of terror. This course attempts to define and explore the concept of film noir by close analysis of films like The Big Sleep, Double Indemnity, Detour, The Big Heat, The Big Combo, Somewhere in the Night, and Kiss Me Deadly.
Prerequisite: CIN 1500 and 1510

The American Avant-Garde Film
CIN 3730
/ 4 credits / Every third year
Film and theories of the American avant-garde cinema since 1943. The approach is historical, surveying the various periods in the American avant-garde and their relation to contemporary cultural phenomena. Among the artists considered are Harry Smith, George Landow, Jonas Mekas, Ken Jacobs, Ernie Gehr, Stan Brakhage, Maya Deren, Kenneth Anger, Michael Snow, and Hollis Frampton.
Prerequisite: CIN 1500 and 1510

Experimental Cinema
CIN 3733
/ 4 credits / Special topic (offered irregularly)
Examines the historical, cultural, and production contexts of experimental and avant-garde filmmaking. This course attempts an internationalist breadth of coverage by examining the European historical avant-gardes, the American avant-garde of the pre– and post–World War II periods, the underground and independent film movements of the 1960s, and the function of experimental cinema in shaping personal and communal identities (feminist, queer, and minorities).
Prerequisite: CIN 1500 and 1510

The Independent Spirit in American Film
CIN 3736
/ 4 credits / Special topic (offered irregularly)
History of American independent filmmaking from the 1940s to the present. Focuses on a range of directors, including Sam Fuller, Morris Engel, John Cassavetes, and Robert Altman.
Prerequisite: CIN 1500 and 1510

Meaning and Truth in Cinema
CIN 3745
/ 4 credits / Alternate years
A survey of the most important developments in film theory. Early theoretical discussions were mostly guided by the need to understand and to legitimize film as a distinct art form and as a new technology of seeing. As a result of the legitimization of film as a cultural fact, film theory became more specialized and a field of its own, alongside art history, literary theory, and philosophy. This course explores how each of these fields has contributed to a deeper understanding of cinema.

Transcendent Visions: The Spiritual on Film
CIN 3755
/ 4 credits / Special topic (offered irregularly)
Investigation of a range of filmmakers who attempt to convey the spiritual through manipulation of film form. Films by Ozu, Bresson, Dreyer, Tarkovsky, and others.
Prerequisite: CIN 1500 and 1510

New Waves of East Asian Cinema
CIN 3757
/ 4 credits / Special topic (offered irregularly)
In this course on internationally acclaimed auteurs of East Asian cinema (Japan, China, Taiwan, Hong Kong, Korea), emphasis is placed on the concepts of “national cinema” and “new waves.” In particular, the critique of nationalism via a radicalization of both content and form in the various new waves is examined.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Topics in Classical Cinema
CIN 3765
/ 4 credits / Alternate years
A key element of the classical Hollywood tradition (e.g., classical form, the auteur, the star system, or studio practices) is considered in detail.
Prerequisite: CIN 1500 and 1510

American Cinema of the ’50s
CIN 3783
/ 4 credits / Alternate years
American cinema underwent significant upheaval during the 1950s with the crumbling of the studio system, the proliferation of television, fallout from the McCarthy hearings, and the Cold War. This course examines how such directors as Minnelli, Fuller, Welles, Preminger, Sirk, and Ray responded to these extremes, with attention to the historical circumstances and formal innovations that defined the era.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Hawks and Wilder: Hollywood Auteurs
CIN 3785
/ 4 credits / Special topic (offered irregularly)
Howard Hawks and Billy Wilder—two of Hollywood’s greatest directors—made sophisticated, brilliantly crafted variations on such genres as the gangster film, comedy, western, musical, and film noir. This course examines the complex issues surrounding authorship in Hollywood film, while considering films to be artworks, social artifacts, and commercial entities shaped by genre expectations and factors beyond the control of any individual creative figure.
Prerequisite: CIN 1500 and 1510

The New Hollywood
CIN 3787
/ 4 credits / Special topic (offered irregularly)
A study of American mainstream films of the “New Hollywood” or “New American” period of cinema, c. 1965 to the present. Students explore the evolution of American popular cinema in relation to stylistic innovation in international cinema, shifting audience demographics in the domestic market, and industrial and social change in the U.S.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Warhol in Context
CIN 3795
/ 4 credits / Special topic (offered irregularly)
Andy Warhol was the most influential visual American artist to emerge during the 1960s, redefining the practice and meaning of fine art and popular culture. Turning his studio, the Factory, into an avant-garde version of a Hollywood soundstage, Warhol created films that are astonishingly rich in pictorial and behavioral nuance. This course examines Warhol’s films and his legacy in film/video art.
Prerequisite: CIN 1500 and 1510

Italian Cinema After Neorealism
CIN 3830
/ 4 credits / Special topic (offered irregularly)
Survey of Italian cinema of the postneorealist era, with special focus on the films of Michelangelo Antonioni and Federico Fellini.
Prerequisite: CIN 1500 and 1510

André Bazin, Realism, and Cinema
CIN 3835
/ 4 credits / Special topic (offered irregularly)
An advanced seminar focusing on the criticism of André Bazin, a co-founder of the influential magazine Cahiers du Cinéma and prolific author (What is Cinema? Vol. 1 and 2); the cinema that he championed, including Italian neorealism; his influence on post–World War II film studies and criticism; and his current renaissance in contemporary filmmaking and criticism.
Prerequisite: CIN 1500 and 1510

French Cinema
CIN 3855
/ 4 credits / Alternate years
The French refer to filmmaking as the seventh art, i.e., an art form on the level of other fine arts. This course examines French cinema from the silent era to 1970, with special focus on poetic realism and the French New Wave. Films by Vigo, Carné, Renoir, Melville, Truffaut, Godard, Rivette, Rohmer, Resnais, Marker, Varda, and others.
Formerly also offered as FRE 3855.
Prerequisite: CIN 1500 and 1510

Contemporary French Cinema
CIN 3857
/ 4 credits / Special topic (offered irregularly)
The profile of what people think of as “French” cinema has undergone considerable change from the turbulent post-1968 period to the present. This course focuses on major developments in contemporary French cinema from the vantage points of aesthetics, industry, and culture. The role of government subsidies, large European co-productions, and shifts in cultural attention from high-art auteurs (individual authors) to the banlieue (suburb) are studied closely.
Formerly also offered as FRE 3857.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Melodrama
CIN 3870
/ 4 credits / Special topic (offered irregularly)
Melodrama is both a historical genre and a mode of imagination that operates across media. To bridge these two aspects of melodrama, the course examines its theatrical origins, the film genres that employ its rhetorical devices (the woman’s film, action and disaster films, horror), and its further development in television series and soap operas.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Cinema Studies Junior Seminar
CIN 3890
/ 4 credits / Every year
A survey of the most important developments in film theory. The goal is to familiarize students with the diversity of critical approaches in film studies and increase understanding of both the aesthetic qualities and social forces at work. Topics include the relationship of film to other forms of media and alternative or counter-hegemonic conceptions of cinema.
Prerequisite: CIN 1500 and 1510

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4000–4999:

Theory and Praxis: Welles and Resnais
CIN 4210
/ 4 credits / Special topic (offered irregularly)
In this advanced seminar comparing the directors Welles and Resnais, their entire oeuvres and their engagement with contemporary theories and philosophies are addressed.
Prerequisite: CIN 1500 and 1510, and permission of instructor

Science Fiction in Film, Literature, and Art
CIN 4220
/ 4 credits / Special topic (offered irregularly)
Science fiction is addressed as an expanded field of inquiry into bodies, machines, science, and technology. The course focuses on narratives about metropolis, colony, utopia, and other technologies of state, self, gender, race, and capital. It also focuses on various figures (e.g., automaton, android, cyborg, avatar, alien) that have populated films from the birth of cinema to the present.
Prerequisite: CIN 1500 and 1510

Cinema Studies Senior Colloquium
CIN 4890
/ 2 credits / Fall
Prepares cinema studies majors for the conception and writing of their senior project. The course emphasizes research skills, the formulation of a prospectus and a literature review, the development of a bibliography and a filmography, and the outline of a schedule for completion of the project.
Prerequisite: CIN 1500 and 1510, senior standing, and permission of instructor

Senior projects changed to I and II, 4 credits each, and prefix changed from CIN to SPJ, Fall 2014:
Senior Project I and II
SPJ 4990
and 4991 / 4 credits (per semester) / Every year
Students are expected to write an extended (c. 40-page) essay on a distinctive topic in cinema studies, in consultation with a senior thesis advisor. Two semesters required (8 credits total).

Updated June 24, 2014

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