This course surveys the earliest periods of cinema from its inception in the late-19th century up to its consolidation as a form of mass art by the beginning of World War II. At its point of origin,cinema was considered "an invention without a future" by its makers, but we will put this idea to test by exploring the uncanny shocks of the very first short films, through the development of visual storytelling across decades of experimentation, culminating in the extravagant, technically dazzling productions of the 1920s. From then onwards, we will investigate the late silent and early sound cinema through a global lens, making transnational discoveries on how the invention of cinema travelled alongside radical ideas at a time of political upheaval. Through readings and select primary materials, the students will learn about the contextual study of film by considering the technological, economic, aesthetic and social factors that shaped the circumstances of the films' production, exhibition and reception.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Tuesday | 12:10 | 13:30 | M-013 |
Friday | 12:10 | 13:30 | M-013 |
Courses on different topics in the discipline, enriching the present course offerings. These classes are taught by permanent or visiting faculty. Topics vary each semester. For the course description, please find this course in the respective semester on the public course browser: https://www.aup.edu/academics/course-catalog/by-term.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Monday | 15:20 | 16:40 | C-501 |
Thursday | 15:20 | 16:40 | C-501 |
What precisely is cinema’s relationship to reality and the real world? Is cinema a form of art, an escapist mode of entertainment, or a means of ideological control? In what ways have technological developments impacted filmmaking and its cultural, social and political functions? This course explores enduring questions of film theory: the history of ideas concerning cinema as medium of art, entertainment and technology, and the multifaceted effects films are claimed to have upon their spectators. The course will explore central debates about the nature of film and provide an opportunity to reflect on different—and often competing—theoretical frameworks. Students will read foundational writings of film theory, critically evaluate the conceptual underpinnings of key commentators, and discuss the validity of theoretical models through close analyses of seminal films.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Monday | 13:45 | 15:05 | Q-704 |
Thursday | 13:45 | 15:05 | Q-704 |
Shows the evolution of modern French culture in its relationship to cinema. Examines the early influence of literature and theater on cinema and its subsequent detachment, to be recognized as an art in itself with its own particular form. Emphasizes the viewing and discussing of one film each week: two class meetings plus one film per week. One or two off campus visits organized per semester.Taught in French.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Wednesday | 09:00 | 11:55 | SD-4 |
Courses will be developed from time to time which examine various aspects of film studies, focusing on different problems, phenomena, practices and personalities. These are taught by permanent or visiting faculty, and will be generally specific to their specialization.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Tuesday | 13:45 | 16:40 | M-013 |
Courses will be developed from time to time which examine various aspects of film studies, focusing on different problems, phenomena, practices and personalities. These are taught by permanent or visiting faculty, and will be generally specific to their specialization.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Wednesday | 15:20 | 18:15 | C-501 |
Courses will be developed from time to time which examine various aspects of film studies, focusing on different problems, phenomena, practices and personalities. These are taught by permanent or visiting faculty, and will be generally specific to their specialization.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Tuesday | 16:55 | 19:50 | M-013 |
Involves a particularly focused look at an important aspect of film theory or history, a filmmaker, actor or actress, or a cinematic topic or genre. Subjects will vary according to the particular interest of the professor, with the course work aiming at developing methodical and critical skills of analysis.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Friday | 15:20 | 18:15 | M-017 |
This course strengthens basic skills acquired in Principles of Video Production, and builds on them to further develop a deep understanding of the end-to-end workflow needed to make a professional film (fiction or nonfiction). Extensive hands-on and practical skill-development will be provided in three distinct areas: (1) pre-production, including idea-development, research, budgeting, pitching, grant-writing, storyboarding, etc; (2) production, covering advanced cinematography, sound recording, lighting, interviewing, directing, etc; (3) post-production, including professional editing workflows, soundtrack development, color correction, etc.
| Day | Start Time | End Time | Room |
|---|---|---|---|
Wednesday | 12:10 | 15:05 | C-501 |
TOPICS VARY BY SEMESTER
| Day | Start Time | End Time | Room |
|---|---|---|---|
Thursday | 09:00 | 11:55 | Q-709 |