Specific course topics vary from year to year. We will begin by reading some of the early, influential works in the dystopian genre by authors like Mary Shelley, H.G. We also examine emerging mobile phone cultures in the Global South and the environmental impact of digitization. This course focuses on the practices and theory of producing narrative based cinema. An introduction to Writing about Literature, with emphasis on a particular theme, genre, or period. Organized around a series of case studies of artists, collectives, infrastructures, and curatorial projects, the course includes: in-class discussion and viewing; workshops with class visitors; site visits; participation in small reading groups. CIMS 250 Andrei Tarkovsky: Cinema, Spirit and the Art of the Long Take. Other questions we will ask include: What particular indigenous modes of storytelling do African films employ? Class lecture/discussions will be illustrated with recorded examples. A mix of the theoretical with the practical, we will be using UbuWeb (the largest and oldest site dedicated to the free distribution of the avant-garde) as our main case study. they work in the film and media industry (advertising, agents, and production); pursue PhDs in Cinema and Media studies; write professionally (screenplays and journalism); and pursue careers in management, law and finance. Building on camera, sound, and editing skills acquired in Video I, students will produce a portfolio of short videos and one longer project over the course of the semester using advanced level camera and sound equipment. But we will also think about trash: what counts as trashy media, and for whom? Additionally, the course analyzes how film, poetry and prose use their respective languages to reconstruct the image of childhood; it discusses the authors and directors struggle to penetrate the psyche of a child and to retrieve fragments of past events. We will read plays by authors as diverse as Plautus, Anton Chekhov, and Lynn Nottage, and filmmakers including Charlie Chaplin, Sofia Coppola, and Bong Joon-ho. Prior to joining the faculty at Penn, she held postdoctoral teaching positions in NYU Shanghai (2019-2020) and Stanford University (2016-2019). Specific coursetopics vary from year to year. 250 words) to dagw@english.upenn.edu and redkaren@sas.upenn.edu. This course will also explore the unique "personal statements" and the sometimes controversial "star personas" of such screen artists as Sidney Poitier, Dorothy Dandridge, Paul Robeson, Richard Pryor, Oscar Micheaux, Spike Lee, Bill Cosby, Eddie Murphy, and Whoopi Goldberg. Kurosawa claimed that Tarkovsky had "no equal among film directors alive now." Mona Merling, College House Fellow: Assistant Professor, Department of Math CIMS 081 Film Music in Post 1950 Italy: Nino Rota and Ennio Morricone. CIMS 502 Masters in Liberal Arts Seminar. The PDF will include all information unique to this page. support email: help@english.upenn.edu. Also Offered As: AFRC 294, ARTH 274, ARTH 674, ASAM 294, LALS 274. Canvas. Penn Summer COVID-19 Update Penn Summer staff are not onsite, but we are still available Monday through Friday from 9 a.m. - 5 p.m. by phone and online in case you need support: (215) 898-7326 or summer@sas.upenn.edu. There are no prerequisites. Notes: Two 200-level French courses taken at Penn or equivalent are required for FREN 382. Also Offered As: COML 261, GRMN 259, GRMN 550, CIMS 261 Topics In 20th-Century Literature. department or program reference (type dept name to search/select): Cinema and Media Studies. If it leads to change then it can be useful, since it is then no longer guilt but the beginning of knowledge. ARTH 529 Vitruvian Studies ARTH 552 Proseminar in Renaissance/Baroque Art . Specific course topics vary from year to year. What can video art, experimental documentary, and sensory ethnography teach us about the practice of urban research? This course explores the history of American gender through film. This course takes as its starting point Audre Lorde's 1981 Keynote presentation at the National Women's Studies Association Conference, "The Uses of Anger: Women Responding to Racism." All students, white and BIPOC, are welcome to participate, but we will begin this course by working together to establish a community agreement that takes account of the different ways in which such a course is likely to be experienced by white and BIPOC people. Our video production courses, offered through Fine Arts, focus on the acquisition of basic media language skills and insist upon evidence of a growing facility of comprehension and application. As cinema enthusiasts, Goebbels and Hitler were among the first to realize the important ideological potential of film as a mass medium and saw to it that Germany remained a cinema powerhouse producing more than 1000 films during the Nazi era. It seeks to participate in the development of more just and inclusive academic modes and spaces by fostering time and structure for thought and self-reflection, by generating ideas for implementation, and by learning from our readings as well as from each other. We will focus on: the Roman Empire, Middle Ages, Renaissance, Unification, Turn of the Century, Fascist era, World War II, post-war and contemporary Italy. Italian language, literature, and cinema; study abroad; law and business. Weekly course materials will include both films (primary sources) and analytical readings (secondary sources). All readings and discussions in English. Documentary Video is an intensive production course involving the exploration of concepts, techniques, concerns, and aesthetics of the short form documentary. This course explores literature that resists normative categories of gender and sexuality. Cinema and Media Studies students also learn how the history of production, social history and film theory are interrelated. The course is taught in English, although Japanese materials will be made available upon request. The scope and substance of the festival provide a unique opportunity, not only for students of cinema, but also for liberal arts students studying cultural diversity and international relations. Contact. Writers and film directors examined may include: Kawabata Yasunari, Hayashi Fumiko, Abe Kobo, Mishima Yukio, Oe Kenzaburo, Yoshimoto Banana, Ozu Yasujiro, Naruse Mikio, Kurosawa Akira, Imamura Shohei, Koreeda Hirokazu, and Beat Takeshi. Cinema Studies Program 209A Fisher-Bennett Hall ⋅ 3340 Walnut Street ⋅ Philadelphia, PA 19104 ⋅ (215) 898-8782 How has our image of Italy arrived to us? CIMS 584 20th-Century Italian Fiction and Film. Also Offered As: ENGL 276, THAR 275, URBS 274, CIMS 240 Modern Italian Culture: Italian American Experiences, Please check the website for a current course description at: http://www.sas.upenn.edu/italians/courses, CIMS 244 Metropolis: Culture of the City. See the Cinema Studies website at for a description of the current This offerings. No previous knowledge of VR or experience is necessary. Also Offered As: COML 265, ENGL 279, GRMN 261, JWST 263. Please see the Spanish Department's website for the current course description: https://www/sas/upenn.edu/hispanic-portuguese-studies/pc, Also Offered As: COML 390, GSWS 391, LALS 396, SPAN 390. Penn Cinema and Media Studies graduates go on to do many different things, e.g. Specific course topics vary from year to year. In what different ways (through what platforms, interfaces, and screens) do people in different continents access televisual content? To encourage the international perspective that we believe is essential for any good film and media scholar, 3 of the remaining 10 courses for the major (or 1 of the remaining 4 courses for the minor) must focus on cinemas outside of the U.S. context. Topics include: the city as site of avant-garde experimentation; technology and culture; the city as embodiment of social order and disorder; traffic and speed; ways of seeing the city; the crowd; city figures such as the detective, the criminal, the flaneur, the dadny; film as the new medium o the city. Interested students should email Prof. Peter Decherney to obtain a permit for the course. All readings and discussions in English. About the Cinema course block In the Cinema course block, you engage in an interdisciplinary, critical study of film history and theory and develop skills in interpreting visual media. NYU CINEMA STUDIES STUDENT CONFERENCE. This course studies the emergence of organized terrorism in nineteenth-century Russia and its impact on public life in the West, the Balkans, and America. Gwendolyn DuBois Shaw, an associate professor of Latin American and Latino Studies, Cinema Studies, and Gender, Sexuality, and Women's Studies, discusses the largest-ever exhibition of portraits of First Ladies. These issues and the nature of individual and collective memory will be discussed from a psychological point of view. Admission to the course will be by permission only and students are required to submit a short statement of interest (max. You state your goals, and we help you craft your course of study … Topics include the emergence of film technology and early film audiences, the rise of narrative film and birth of Hollywood, national film industries and movements, African-American independent film, the emergence of the genre film (the western, film noir, and romantic comedies), ethnographic and documentary film, animated films, censorship, the MPPDA and Hays Code, and the introduction of sound. Viacom streaming service, which broadcasts live streams of films, MTV's multiple channels, Spike's multiple channels, FoodTV. Alongside this Hollywood tradition of Jewish film, Yiddish film blossomed from independent producers between 1911 and 1939, and interpreted literary masterpieces, from Shakespeare's "King Lear" to Sholom Aleichem's "Teyve the Dairyman," primarily for an immigrant, urban Jewish audience. There are no pre-requisites for CIMS 382. Can we study television in countries where we do not know the existing local languages? Penn Summer COVID-19 Update Penn Summer staff are not onsite, but we are still available Monday through Friday from 9 a.m. - 5 p.m. by phone and online in case you need support: (215) 898-7326 or summer@sas.upenn.edu. Specific course topics vary from year to year. Students must be prepared to travel to Addis Ababa and Washington D.C. as described in the syllabus, and must hold a passport. Julia Alekseyeva, Assistant Professor of English and Cinema and Media Studies, took some time away from her online-teaching preparations to give us her suggestions for the best works of global cinema available on Netflix. Although the course will introduce several key Japanese auteurs (Mizoguchi, Ozu, Kurosawa, Oshima, Suzuki, etc), it will emphasize lesser known directors and movements in the history of Japanese film, especially in the experimental, arthouse, and documentary productions of the 1960s and 1970s. Taught in English. CIMS 501 Nationalism and Ethnic Conflict in Film. This course presents the Russian contribution to world cinema before WWII - nationalization of the film industry in post revolutionary Russia, the creation of institutions of higher education in filmmaking, film theory, experimentation with the cinematic language, and the social and political reflex of cinema. Course not offered every year. Class sessions will combine lectures, discussion, audio-visual materials, and creative as well as analytical writing exercises. We will explore virtual reality projects, including narrative and documentary films, commercial applications, and games. What did people read, and to what ends? This course explores the visual history of race in the United States as both self-fashioning and cultural mythology by examining the ways that conceptions of Native American, Latino, and Asian identity, alongside ideas of Blackness and Whiteness, have combined to create the various cultural ideologies of class, gender, and sexuality that remain evident in historical visual and material culture. Guests will include screenwriters, agents, producers, directors, distributors, film festival curators and film critics. This topic course explores aspects of Cinema Studies intensively. Students will be admitted on the basis of an application by email briefly describing their interest in the course to the instructor. This course explores the major auteurs, styles, themes, and currents of the so-called "New Korean Cinema" that emerged in the mid-to-late 1990s to continue to this day. There are no perquisites. We investigate the political and cultural origins of terrorism, its conspiratorial routine, structures, methods, manuals, and manifestoes. Also Offered As: CLST 019, ENGL 015, GSWS 017, LALS 016, CIMS 016 Freshman Seminar in Cinema and Media Studies. This course will provide an introduction to some of the most important film theory debates, and allow us to explore how writers and filmmakers from different countries and historical periods have attempted to make sense of the changing phenomenon known as "cinema," to think cinematically. Students will learn about different Japanese film genres and histories, including (but not limited to) the benshi tradition, jidaigeki (period films), yakuza films, Pink Film, experimental/arthouse, J-horror, and anime. Drawing from texts on critical film and Korean studies, we will pay particular attention to how the selected works re-present, resist, and interweave the sociopolitical climate they concern and are born out of. 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