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Requirements for the Film Studies Minor
The Film Studies minor requires the completion of 18 credits (9 in core courses and 9 in electives).
| Courses | Credits |
|---|---|
| ENL 200 Art of the Film | 3 |
| FLM 301 Theory and Criticism of Film | 3 |
| FLM 302 Documentary and Experimental Film (Courses in film and video production, such as ART 415 or CMC 348, may be used to fulfill this requirement.) |
3 |
| Electives (one of these should be under the category of Film and Society) | 9 |
| Total | 18 |
Core Courses:
ENL 200 Art of the Film (A,F). An introduction to film as an art form combining visual, dramatic, and aural arts. Covers basic film vocabulary, elements of film art, trends in film esthetics, and analysis of style of important selected filmmakers; includes screening of short and feature films. Required for Film Studies minors. 3 Cr. Every Semester
FLM 301 Theory and Criticism of Film (A,D,W). Introduces and develops a specialized set of advanced critical tools used to evaluate, explicate, and interrogate filmic texts. 3 Cr.
FLM 302 Documentary and Experimental Film (A). Provides an introduction to documentary and experimental films. Explores the nature of documentary and experimental films as creative scientific works; as statements by individuals living within particular cultural frame works; as instruments of persuasion and propaganda; and as devices which expand our perspectives on the world around us. 3 Cr.
Electives:
In addition to the courses described here, other film courses (including transfer courses) may also count toward the minor. Please contact the program director for approval.
ART 415 16mm Film I (B). Course fee. (Taught at Visual Studies Workshop, lab hours weekdays during Media Center hours.) Provides an introduction to independent 16 mm film production. Focuses on individual expression through script writing, film production and post-production. Includes sessions covering topics such as the history of film, camera operation, the use of light meters, lighting, composition, directing actors, and the principles and techniques of editing. Expects students to demonstrate competence with equipment as a prerequisite for working on individual projects. 3 Cr.
ART 416 16mm Film II (B). Prerequisite: ART 315 or instructor's permission. (Taught at Visual Studies Workshop) Provides a follow-up to basic filmmaking, with a more in-depth analysis of sound production including sync recording mixing of complex tracks, working with ensemble acting and dialogue. Highlights animation techniques, titling, and counterpoint in editing. Requires students to ready film projects for final post-production and distribution. 3 Cr.
ART 418 Documentary Film/Video (A). (Taught at Visual Studies Workshop, lab hours weekdays during Media Center hours.) Provides insight into the practice of documentary film/video making. Introduces and discusses basic tools and the principles of film narration and montage, as they apply to documentary film/video making. In hands-on exercises, allows participants to explore the creative process of interpreting "the world out there" by means of the moving image. 3 Cr.
CMC 348 Television Production (B). Course fee. Prerequisite: CMC 346. Covers the principles and practices of television production, with projects designed for television broadcast. Requires students to produce and direct both in-studio and field projects. 3 Cr. Every Semester
CMC 446 Advanced Television Production (B). Course fee. Prerequisite: CMC 348. Requires students to write, produce and direct advanced problems for television. Allows students to work individually and in small production units. Focuses on the development and execution of professional television production problems. Allows students to gain practical skills and finish the course with work that could be used in their video résumé tape or portfolio. 3 Cr. Spring
ENL 457 Women and Film (A,I,W). Cross-listed as WMS 457. Focuses on films by women. Considers the following questions: Have women filmmakers depicted the world differently from "dominant" cinema? What possibilities exist for forms of "feminine" film discourse that are truly different from dominant film discourse? What has been the history of women filmmakers? How many of these women have indeed tried to speak a different "language"? 3 Cr.
ENL 458 Great American Film Actors: Selected Topics (A). Closely studies great actors of American film who have lent their unique talents to film tradition and analyzes the artistic, social, personal, and cultural aspects of these actors and their careers. Focus and actors selected may vary, but may not be repeated for credit. 3 Cr.
ENL 460 Great American Film Directors (A). Using various critical perspectives, provides an in- depth study of major films of selected American film directors–Hitchcock, Capra, Welles. Specific focus shown by subtitle. May be repeated for credit with significant change in focus. 3 Cr.
ENL 462 Selected Topics in Film (A). Explores significant themes and/or eras in film, for example: films of the 1950s, romantic couples, musicals, detective and western films, and film noir in cultural context. Specific topics shown by subtitle. May be repeated for credit with significant change in topic. 3 Cr.
ENL 463 Great International Film Directors (A). Using a variety of critical perspectives, provides for an in-depth study of major films of selected international film directors. Normally focuses on two or three directors such as Fellini, Ingmar Bergman, Truffaut, Renoir, Eisenstein, Sagawa, and others. Specific focus shown by subtitle; may be repeated for credit with significant change in focus. 3 Cr.
ENL 464 The Film Star (A). Focuses on the contribution of the actor to the film, differences between acting for silent and for sound films, and differences in acting on stage and in film. Screens films and provides for discussion. 3 Cr.
ENL 465 American Film Comedy (A). Surveys the development of American comic style in film from the silent era to today. Requires screenings of films from Sennett's "Keystone" slapstick to Allen's cerebral comedy. Explores the function(s) of comedy, the theory of laughter, comic visions of America, and personal style vs. genre in comedy. 3 Cr.
FLM 490 Topics in Film (A). Addresses current topics, issues, controversies, etc. in film studies. Specific topics vary each semester. Descriptions of specific topics offered may be obtained from the director of film studies. May be taken more than once for credit if the topics differ. 3 Cr.
FLM 491 Seminar in Film (A). To be defined by the instructor in accordance with the specific subject matter covered that semester. Content varies with the appropriate subtitles provided. Example: "The Coen Brothers." 3 Cr.
