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19 courses found.
FILM AND MEDIA STUDIES (L53)  (Dept. Info)Arts & Sciences  (Policies)FL2017

L53 Film 114First Year Seminar: Science Fiction Literature & Film: A Contrast in Hyper-imaginative Media3.0 Units
SecDays       TimeBuilding / RoomInstructorFinal ExamSeatsEnrollWaits
01M-W----1:00P-2:30PSeigle / 408 WihlNo final15160
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L53 Film 120Freshman Seminar: Horror Across Media3.0 Units
SecDays       TimeBuilding / RoomInstructorFinal ExamSeatsEnrollWaits
01M-W----4:00P-5:30PSeigle / L004 PowersDefault - none15150
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L53 Film 220Introduction to Film Studies3.0 UnitsLab Required
SecDays       TimeBuilding / RoomInstructorFinal ExamSeatsEnrollWaits
01M-W----2:00P-3:00PSeigle / L006 BurnettDec 18 2017 3:30PM - 5:30PM100940
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
A--W----3:00P-4:00PSeigle / L003 Burnett, LovelessNo final20200
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
B--W----3:00P-4:00PSeigle / L004 GSell, BurnettNo final20170
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
C--W----3:00P-4:00PSeigle / 109 Burnett, BrownNo final20180
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
D--W----4:00P-5:00PSeigle / L003 GSell, BurnettNo final2070
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
E----F--2:00P-3:00PSeigle / L003 Burnett, MoraNo final20190
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
F--W----3:00P-4:00PSeigle / 408 BurnettNo final0130
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
Waits managed by dept.

L53 Film 225Making Movies I: The Fundamentals of Narrative Dramatic Filmmaking3.0 Units
SecDays       TimeBuilding / RoomInstructorFinal ExamSeatsEnrollWaits
01-T-R---4:00P-5:30PSeigle / L016 PowersNo final0120
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
Waits managed by dept.

L53 Film 325French Film Culture3.0 Units

L53 Film 345Sexual Politics in Film Noir and Hard-boiled Literature3.0 Units
Description:Emerging in American films most forcefully during the 1940s, film noir is a cycle of films associated with a distinctive visual style and a cynical worldview. In this course, we will explore the sexual politics of film noir as a distinctive vision of American sexual relations every bit as identifiable as the form's stylized lighting and circuitous storytelling. We will explore how and why sexual paranoia and perversion seem to animate this genre and why these movies continue to influence "neo-noir" filmmaking into the 21st century, even as film noir's representation of gender and sexuality is inseparable from its literary antecedents, most notably, the so-called "hard-boiled" school of writing. We will read examples from this literature by Dashiell Hammett, James Cain, Raymond Chandler and Cornell Woolrich, and discuss these novels and short stories in the context of other artistic and cultural influences on gendered power relations and film noir. We will also explore the relationship of these films to censorship and to changing post-World War II cultural values. Films to be screened in complete prints or in excerpts will likely include many of the following: The Maltese Falcon, Double Indemnity, Murder My Sweet, Phantom Lady, Strangers on a Train, The Big Sleep, The Killers, Mildred Pierce, The High Wall, Sudden Fear, The Big Combo, Laura, The Glass Key, The Big Heat, Kiss Me Deadly, The Crimson Kimono, Touch of Evil, Alphaville, Chinatown, Taxi Driver, Devil in a Blue Dress, The Bad Lieutenant, and Memento. Required Screenings: Mondays @ 4 pm.
Attributes:A&S IQHUM, SC, SDArchHUMArtHUMBUBAENH
Instruction Type:Classroom instruction Grade Options:CPA Fees:
Course Type:HomeSame As:L14 3451  L77 345A  L98 3450Frequency:None / History
SecDays       TimeBuilding / RoomInstructorFinal ExamSeatsEnrollWaits
01M-W----1:00P-2:30PSeigle / L004 StudlarNo final22110
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L53 Film 352Introduction to Screenwriting3.0 Units
SecDays       TimeBuilding / RoomInstructorFinal ExamSeatsEnrollWaits
01-T-R---10:00A-11:30ASeigle / 305 ChapmanNo final0140
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
Waits managed by dept.
02-T-R---1:00P-2:30PSeigle / 210 ChapmanNo final0130
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.
Waits managed by dept.

L53 Film 423Histories of Media Convergence3.0 Units
Description:Entertainment and communications forms combine and blend, and they have done so across millennia. However, the phenomenon of media convergence has taken on a special salience over the last one-and-a-half-centuries, as exemplified by the growing intermixture of film, radio, television, gaming, and the internet. In particular, critics, consumers, politicians, and producers used convergence as structuring principle in understanding, regulating, and planning for the future of media culture. This course engages with contemporary worries and enthusiasms about convergence by considering the specific conditions in which the phenomenon has been understood and practiced. Tracing a historical arc though the Twentieth Century, we will first examine convergences of radio and film, film and music publishing, television and film exhibition, and disparate corporate entities as basis for understanding more recent media combinations. Building on that foundation, the majority of the course will consist of case studies of media convergence since 1980, considering it in terms of industry, technology, regulation, and audiences. These case studies will also provide students with a survey of and inquiry into questions of historiographic theory and method. Note: This course satisfies the history & historiography requirement for the FMS Graduate Certificate. Required Screenings: Mondays @ 4 pm.
Attributes:A&S IQHUMBUHUMENH
Instruction Type:Classroom instruction Grade Options:CPA Fees:
Course Type:HomeSame As:N/AFrequency:None / History
SecDays       TimeBuilding / RoomInstructorFinal ExamSeatsEnrollWaits
01M-W----11:30A-1:00PSeigle / L004 KelleyNo final25170
Actions:BooksSyllabus
Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

L53 Film 500Independent StudyVar. Units (max = 3.0)
SecDays       TimeBuilding / RoomInstructorFinal ExamSeatsEnrollWaits
01TBATBAStudlarSee department000
02TBATBAPaulSee department000
03TBATBABurnettSee department010
04TBATBALewisSee department000
05TBATBAChapmanSee department020

L53 Film 510GRADUATE PRACTICUM IN FILM & MEDIA STUDIESVar. Units (max = 3.0)
Description:The practicum in Film & Media Studies seeks to make our graduate students more competitive in the job market. It consists of professional experience that brings to bear academic knowledge and skills associated with the graduate study of moving image media (film, television, digital). The practicum may take a number of forms, but in every case, the experience must be planned in a way that contributes to the student's professional development. It might consist of work curating films for a screening or mini-festival accompanied by screening notes or other activities that enhance the academic value of the event. The student might organize a reading group or a scholarly symposium or lecture series to further the understanding of a particular aspect of the moving image on campus. The practicum may also consist of archival, or curatorial work in forms of the moving image at an archive, museum, or other non-profit organization (such as the St. Louis International Film Festival). The student might also pursue a film/media-centered oral history project or develop a film/media-centered blog or engage in other forms of writing that have a public presence. Students may initiate other projects, but any practicum requires a faculty mentor and in circumstances in which there is a collaborating organization, a letter of endorsement of the practicum from the student's on-site supervisor. Every student presents a written proposal/plan for any practicum to the DGS and to the faculty mentor/advisor. Both faculty must give permission to the plan and determine the appropriate number of credit hours (variable 1 to 3). Students may sign up for the practicum more than once to satisfy the 3 credits required in this area for the FMS master's degree; however, only one practicum should be pursued in a given semester. If there is a site supervisor, she/he must provide a letter upon completion of the practicum detailing the student's work and its quality. The student must provide a brief narrative (2 to 5 pages) detailing how the practicum served as a learning experience. The faculty advisor will award the grade for the practicum. Prequisite: MA status in FMS
Attributes:
Instruction Type:Independent study, tutorial, or other Grade Options:CPA Fees:
Course Type:HomeSame As:N/AFrequency:Every Semester / History
Label

Home/Ident

A course may be either a “Home” course or an “Ident” course.

A “Home” course is a course that is created, maintained and “owned” by one academic department (aka the “Home” department). The “Home” department is primarily responsible for the decision making and logistical support for the course and instructor.

An “Ident” course is the exact same course as the “Home” (i.e. same instructor, same class time, etc), but is simply being offered to students through another department for purposes of registering under a different department and course number.

Students should, whenever possible, register for their courses under the department number toward which they intend to count the course. For example, an AFAS major should register for the course "Africa: Peoples and Cultures" under its Ident number, L90 306B, whereas an Anthropology major should register for the same course under its Home number, L48 306B.

Grade Options
C=Credit (letter grade)
P=Pass/Fail
A=Audit
U=Satisfactory/Unsatisfactory
S=Special Audit
Q=ME Q (Medical School)

Please note: not all grade options assigned to a course are available to all students, based on prime school and/or division. Please contact the student support services area in your school or program with questions.