WUSTL Course Listings

Login with WUSTL Key

Search Results:		Display:	Open + Closed Just Open Just Closed	View:	Regular Condensed Expanded
19 courses found.

FILM AND MEDIA STUDIES (L53) (Dept. Info)

Arts & Sciences (Policies)

First-Year Seminar: Mr. Kiss Kiss Bang Bang: James Bond in Film, Literature and Popular Culture

Save Cancel My Note:

Originally a character in Cold War spy literature, James Bond has emerged as an international pop culture phenomenon. In this course, we will explore the evolution of James Bond from Ian Fleming to the "spy" parodies in international cinema. We will read several of Fleming's novels and short stories, including Casino Royale (1953), "Octopussy" (1966) and "The Property of a Lady" (1967), and discuss these texts in light of post-war spy literature. We will screen numerous Bond films, and compare and contrast James Bond the literary and cinematic character, how Bond emerged as a franchise hero through the vision of producers Harry Saltzman and Albert "Cubby" Broccoli, and critical aspects of the film franchise, including its storytelling roots in Hollywood serials, its use of gadgets and special effects, and the role of stardom in their marketing (Sean Connery, Ursula Andress, Roger Moore, Madonna, Pierce Brosnan and Daniel Craig). Finally, we will explore the re-envisioning of Bond in various media and art forms in global popular culture, including music, DC and Marvel Comics, games, children's television and in Asian cinema (Stephen Chow's 1994 From Beijing with Love). REQUIRED SCREENING: Wednesdays @ 4pm.

A&S: FYS A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

Unpredictable / History

Building / Room

01

-T-R---

3:00P-4:30P

Burnett

May 8 2019 3:30PM - 5:30PM

14

14

0

Actions:

Special Projects

Var. Units (max = 3.0)

Save Cancel My Note:

This course is intended for freshman and sophomores who wish to register for internships. Students must receive Program approval and file the Learning Agreement with the Career Center BEFORE the internship begins. Please consult the Program guidelines governing internships. NOTE: Internships may only be taken Pass/Fail.

Instruction Type:

Independent study, tutorial, or other

N/A

Building / Room

01

TBA

TBA

Studlar

No Final

0

0

0

Actions:

Waits managed by dept.

02

TBA

TBA

Paul

No Final

0

0

0

Actions:

Waits managed by dept.

03

TBA

TBA

Hilu

No Final

0

0

0

Actions:

Waits managed by dept.

04

TBA

TBA

Burnett

No Final

0

0

0

Actions:

Waits managed by dept.

05

TBA

TBA

Lewis

No Final

0

0

0

Actions:

Waits managed by dept.

06

TBA

TBA

Chapman

No Final

0

0

0

Actions:

Waits managed by dept.

Save Cancel My Note:

This course introduces the core concepts and skills for producing dramatic narrative film and video, building on the Hollywood paradigm. No previous technical experience is required, but students should have taken or be concurrently enrolled in Film 220. This course teaches students how films are put together to tell stories, negotiating between the possibilities of cinematic language and the practicalities of working with machines and other people. In order to develop an understanding of filmic narration, students will learn the basics of camera operation, lighting, digital video editing, sound design and recording, casting and directing actors, visual composition and art direction, and production planning and organization. These concepts will be put into practice through a series of exercises culminating in a creative, narrative short digital video. This course fulfills the prerequisite for 300 and 400 level video and film production courses in Film and Media Studies and the production requirement in the FMS major. Admission by waitlist only. Priority given to majors. Prereq: Film 220.

A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

N/A

Every Semester / History

Building / Room

01

M-W----

4:00P-5:30P

Powers

No Final

0

11

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Waits managed by dept.

British Cinema: A History

Save Cancel My Note:

British cinema has gotten a bad rap. French film director François Truffaut once declared that cinema and Britain were incompatible terms since "the English countryside, the subdued way of life, the stolid routine-are anti-dramatic. . . [even] the weather itself is anti-cinematic." Yet British films proudly rank among some of the most admired, beloved, or influential in film history, among them: Monty Python and the Holy Grail, The Ladykillers, Lawrence of Arabia, The 39 Steps, The Third Man, Black Narcissus, Trainspotting, The King's Speech, and the James Bond franchise. Admittedly, British cinema has had its ups and downs, never quite knowing whether to position itself as a distinctive national cinema or as a rival to Hollywood. This uncertainty has fostered a rich diversity and complexity that this course will emphasize in a survey approach. Along the way, we will explore how the era of World War II became, not only Britain's "finest hour" in staving off Hitler's military advance, but also inspired a creative surge in filmmaking. We also will give attention to the work of high-profile directors like Alfred Hitchcock and Michael Powell and to important "genres" in which the British seem to excel--like black comedy, documentary, and the so-called "heritage" films that paved the way for television's Downton Abbey and The Crown. Required Screenings: Wednesdays @ 4pm

A&S IQ: HUM BU: IS EN: H

Instruction Type:

Classroom instruction

L79 320 L97 320

Unpredictable / History

Building / Room

01

-T-R---

11:30A-1:00P

Studlar

May 6 2019 1:00PM - 3:00PM

24

12

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

French Film Culture

Save Cancel My Note:

Called "the seventh art," film has a long tradition of serious popular appreciation and academic study in France. This course will offer an overview of French cinema, including the origins of film (Lumière brothers, Méliès), the inventive silent period (which created such avant-garde classics as Un chien andalou), the poetic realism of the 30s, the difficulties of the war years, the post-war emphasis on historical/nationalist themes in the "tradition of quality" films, the French New Wave's attempt to create a more "cinematic" style, the effects of the political turmoil of May '68 on film culture, the "art house" reception of French films in the US, and the broader appeal of recent hyper-visual ("cinéma du look") films, such as La Femme Nikita and Amélie. While the primary focus of the course will be on French cinema, we will also discuss the reciprocal influences between American and French film culture, both in terms of formal influences on filmmaking and theoretical approaches to film studies. French film terms will be introduced but no prior knowledge of the language is expected. REQUIRED SCREENING: Tuesdays @ 7pm.

A&S IQ: HUM, LCD Arch: HUM Art: HUM BU: IS EN: H

Instruction Type:

Classroom instruction

L79 3250 L97 3250

Unpredictable / History

Building / Room

01

M-W----

2:30P-4:00P

Burnett

May 8 2019 1:00PM - 3:00PM

18

21

0

Actions:

History of American Cinema

Save Cancel My Note:

This course will survey the major economic and social developments in the history of American cinema, from its origins in the late 19th century through its continued, albeit radically altered, existence in the 21st century. We will begin with the earliest days of the U.S. film industry, tracing its growth as well as changes in modes of production and organizing structures that allowed it to become the dominant global force in the making and mass marketing of movies. We will explore mainstream American film's relationship to existing and emergent realms of culture and media as well as to expectations regarding its role and responsibilities as a "public entertainment" denied First Amendment protection until 1952. Film style and form do not constitute the major focus of this course, but we will approach a number of films with attention to style and form in order to understand how cultural, economic, industrial, aesthetic, and technological determinants have impacted American filmmaking as a blend of art and commerce. By the end of this course, you will have a detailed knowledge of the history of American cinema, the individuals and institutional processes that have shaped it, the most important challenges and milestones that have marked it, and the aesthetic forms and socio-cultural effects that have been attributed to it. Priority given to majors and minors. REQUIRED SCREENING: Mondays @ 7 pm.

A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

Annually / History

Building / Room

01

--W-F--

3:00P-4:00P

Paul

May 2 2019 6:00PM - 8:00PM

0

29

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Waits managed by dept.

A

M------

3:00P-4:00P

Paul

Default - none

15

10

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

B

M------

3:00P-4:00P

Hunt

Default - none

15

9

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

C

M------

3:00P-4:00P

Zhang

No Final

15

10

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

History of Electronic Media: From Radio to Television to Digital

Save Cancel My Note:

This course traces the history of electronic media as they have become the dominant source for entertainment and information in contemporary culture, starting with over-the-air broadcasting of radio and television through to cable and the "narrowcasting" achieved by digital technologies. While some attention will be paid to other national industries, the chief focus of the course will be on electronic media in the United States to determine, in part, the transformative role they have played in the cultural life of the nation. The course will explore the relationship of the electronic media industries to the American film industry, determining how their interactions with the film industry helped mutually shape the productions of both film and electronic media. REQUIRED SCREENING: Tuesdays @ 7pm

A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

Annually / History

Building / Room

01

-T-R---

2:30P-4:00P

Hilu

May 8 2019 3:30PM - 5:30PM

31

30

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Introduction to Screenwriting

Save Cancel My Note:

SPECIAL NOTE: Admission by Wait-list only. Preference will be given to Film & Media Studies AND English majors/minors. Writers will explore the various elements, structure and styles used in crafting a motion picture screenplay. They will experience this process as they conceive, develop and execute the first act of a feature-length script. Writers will create a screenplay story, present an outline for class discussion and analysis, then craft Act One. Writers will be encouraged to consult with the instructor at various stages: concept, outline, character and scene development, and dialogue execution. While the students fashion their screenwriting independently, the class will also explore the general elements of THEME, GENRE, and VOICE. A more specific examination of mechanics, the nuts and bolts of story construction, plotting, pacing, etc. will follow to support the ongoing writing process. In-class exercises will aid the writer in sharpening skills and discovering new approaches to form and content. Writers' work will be shared and discussed regularly in class. Screening of film scenes and sequences will provide students with concrete examples of how dramatic screenwriting evolves once it leaves the writer's hands. Priority given to majors.

A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

Every Semester / History

Building / Room

01

-T-R---

10:00A-11:30A

Chapman

No Final

0

15

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Waits managed by dept.

Writing Episodic Television

Save Cancel My Note:

This class will focus on all the factors that go into preparing and writing an episode for a network TV series (dramas only). Students begin with a "pitch" (verbally or in short outline form) for an idea for a show currently on a network schedule. Once the "pitch" is accepted, the student will then complete a "beat sheet," and ultimately a spec script that can run from 62 to 75 pages. Two drafts of the script will be required. During the course of this process, students will also learn how to research their narrative premises by contacting legal, medical, and law enforcement experts in order to guarantee the accuracy of their scripts. In addition to learning the actual writing process, students will be expected to watch several television shows and to read books, scripts, and industry trade papers as they pertain to the craft and business of television writing. Finally, students will also meet agents, producers, directors, and other television industry professionals in order to gain their insights into the script writing process and to gain a more global view of the steps involved in bringing their ideas to the screen.

A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

N/A

Building / Room

01

M-W----

10:00A-11:30A

Chapman

No Final

15

15

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Contemporary Women Directors

Save Cancel My Note:

Despite recent media attention to the gender gap in Hollywood, women still account for less than 10% of all directors, and only five women have ever been nominated for the Best Director Oscar. But these abysmal statistics do not reflect the reality that female directors are producing some of the most innovative and exciting films of the 21st century. This course is intended to provide a general overview of the remarkable contributions of women directors to contemporary cinema (1990-present). First, we will turn our attention to women in the commercial industry, examining topics such as female authorship, popular genres, and the gender politics of production cultures in Hollywood. Then, we will survey women directors working outside of the system in documentary, independent, and experimental filmmaking modes. Finally, we will adopt a transnational perspective to investigate the contributions of women directors to world cinema, contextualizing the films of "women cinéastes" from countries such as Hong Kong, Argentina, and Iran in relation to their national cinemas and international film festival networks. In addition, we will discuss the films of women directors in terms of feminist and gender issues and as texts that clarify critical issues in film analysis, interpretation, and criticism. REQUIRED SCREENING: Tuesdays @4pm. 3 units.

A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

Unpredictable / History

Building / Room

01

M-W----

1:00P-2:30P

Powers

No Final

22

19

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Save Cancel My Note:

SPECIAL NOTE: Admission by Wait-list only. Preference will be given to Film & Media Studies majors/minors and students enrolled in our in the process of applying to FMS graduate programs. This course is an introduction to both classical and contemporary film theory. It starts by examining the earliest attempts to understand the nature of cinema as a new art form, and then reviews the ways in which, through successive decades, a variety of theorists have formulated, and applied, their definitions of the essential nature of the medium. The course then examines more recent developments within film theory, notably its attempt to incorporate the insights of other critical and analytical paradigms, such as semiotics, structuralism, psychoanalysis, feminism, and postmodernism. REQUIRED SCREENINGS: Mondays @ 4 pm.

A&S IQ: HUM, WI Arch: HUM Art: HUM EN: H

Instruction Type:

Classroom instruction

N/A

Annually / History

Building / Room

01

M-W----

8:30A-10:00A

Burnett, Lewis

May 2 2019 8:00AM - 10:00AM

0

18

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Waits managed by dept.

American Film Genres

Save Cancel My Note:

By close examination of three or four specific types of film narratives, this course will explore how genre has functioned in the Hollywood mode of production. Students will gain an understanding of genre both as a critical construct as well as a form created by practical economic concerns, a means of creating extratextual communication between film artist/producers and audience/consumers. Genres for study will be chosen from the western, the gangster film, the horror movie, the musical, screwball comedy, science fiction, the family melodrama, the woman's film, and others. In addition to film showings, there will be readings in genre theory as well as genre analyses of individual films. Required screenings Tuesdays @ 4pm

A&S IQ: HUM Arch: HUM Art: HUM EN: H

Instruction Type:

Classroom instruction

L98 457 U96 650

Every 2 Years / History

Building / Room

01

M-W----

11:30A-1:00P

Paul

No Final

15

12

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Advanced Screenwriting

Save Cancel My Note:

Building / Room

01

-T-R---

1:00P-2:30P

Chapman

No Final

0

9

0

	Actions:		Books		Syllabus
	Syllabi are provided to students to support their course planning; refer to the syllabus for constraints on use.

Waits managed by dept.

Theory and Practice of Experimental Film

Save Cancel My Note:

Filmmaker Stan Brakhage famously wrote: "Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception." In this course, we will embark upon our own adventures of perception, examining and producing works of art that challenge our preconceptions of what cinema is or can be. From city symphonies to pop collages, portraiture to handcrafted animation, ethnography to gender studies, we will explore the multifaceted and transformative avant-garde cinema through the work of its greatest practitioners, contextualize films in relation to aesthetic aspirations (formalism, opposition, reflexivity, transcendence, etc.) and movements in art and cultural theory (such as Dadaism, Abstract Expressionism, Pop, Performance Art, Minimalism), and acquire the digital production skills to make our own experimental videos. Each week, we will mix the classic with the contemporary to demonstrate the ongoing vitality of--and make our own contributions to--this often misunderstood cinematic tradition. REQUIRED SCREENINGS: Wednesdays @ 7pm. Credit 3 units.

A&S IQ: HUM Arch: HUM Art: HUM BU: HUM EN: H

Instruction Type:

Classroom instruction

N/A

Unpredictable / History

Building / Room

01

-T-R---

1:00P-2:30P

Powers

No Final

18

14

0

Actions:

MEDIA CULTURES IN LATIN AMERICA

Save Cancel My Note:

One of the key topics in Latin American Studies today is the history and theory of media and the way in which media cultures have shaped the nation, social subjectivities and the reigion's relationship to modernity. This course is a study of both the history of key audiovisual media in Latin America (print, radio, television, cinema, cybermedia) as well as of the key paradigms for media studies regarding this production. After discussing foundational concepts (media, mediation, cultural industry, popular culture), the course proceeds by in-depth studies of the role media played in different countries from the 19th century, through the different national processes of the 20th century to the present. In doing so, the class engages with questions of technology, identity, indigenous culture, urbanization and other theoretical concerns. This course fulfills the "Seminar Requirement" for Latin American Studies majors and minors. PreReq L45 165D or a 300-level course on Latin American culture.

A&S IQ: HUM Arch: HUM Art: HUM BU: HUM, IS EN: H

Instruction Type:

Classroom instruction

L45 468 L97 4682

Unpredictable / History

Building / Room

01

M------

4:00P-7:00P

Sánchez Prado

May 3 2019 6:00PM - 8:00PM

30

25

0

Actions:

Special Projects

Var. Units (max = 3.0)

Save Cancel My Note:

This course is intended for juniors and seniors who wish to register for internships. Students must receive Program approval and file the Learning Agreement with the Career Center BEFORE the internship begins. Please consult the Program guidelines governing internships. NOTE: Internships may only be taken Pass/Fail.

Instruction Type:

Internship/Practicum

N/A

Building / Room

01

TBA

TBA

Studlar

No Final

0

0

0

Actions:

Waits managed by dept.

02

TBA

TBA

Paul

No Final

0

0

0

Actions:

Waits managed by dept.

03

TBA

TBA

Hilu

No Final

0

0

0

Actions:

Waits managed by dept.

04

TBA

TBA

Burnett

No Final

0

1

0

Actions:

Waits managed by dept.

05

TBA

TBA

Lewis

No Final

0

0

0

Actions:

Waits managed by dept.

06

TBA

TBA

Chapman

No Final

0

1

0

Actions:

Waits managed by dept.

Study for Honors

Save Cancel My Note:

This course is intended for majors pursuing honors in Film and Media Studies. In order to enroll for this course, students must apply in advance for honors and be approved by a faculty committee. Please consult with the Program for application deadlines and other requirements.

Instruction Type:

Independent study, tutorial, or other

N/A

Building / Room

01

TBA

TBA

Studlar

No Final

0

0

0

Actions:

Waits managed by dept.

02

TBA

TBA

Paul

No Final

0

0

0

Actions:

Waits managed by dept.

03

TBA

TBA

Hilu

No Final

0

0

0

Actions:

Waits managed by dept.

04

TBA

TBA

Burnett

No Final

0

0

0

Actions:

Waits managed by dept.

05

TBA

TBA

Lewis

No Final

0

1

0

Actions:

Waits managed by dept.

06

TBA

TBA

Chapman

No Final

0

1

0

Actions:

Waits managed by dept.

Independent Study

Var. Units (max = 3.0)

Save Cancel My Note:

This course is intended for students who wish to pursue areas of study not available within the standard curriculum. In order to enroll for this course, students must have a faculty adviser and submit a contract outlining the work for the course to the Film and Media Studies office. Please consult the Program guidelines governing independent study work. Opportunities for Independent Study are available to all undergraduate and graduate students working toward a degree in Arts & Sciences. Registration in an Independent Study requires sponsorship by a faculty member and approval of the Program Director. An Independent Study Proposal form can be obtained from the Film & Media Office. All proposals for Film 500 have to be submitted to the FMS main office no later than November 1 for Spring enrollment and April 1 for Film 500 to be taken in Fall semester. Approval is not automatic. The Independent Study course may be taken for 1 to 3 units per semester, depending upon the proposed work load. A total of 3 units of independent study may be counted toward the 120 units required to complete hte Bachelor of Arts degree. Independent Study courses cannot be used to replace required courses for the major or to replace courses that are regularly offered in the curriculum.

Instruction Type:

Independent study, tutorial, or other

N/A

Building / Room

01

TBA

TBA

Studlar

No Final

0

0

0

Actions:

Waits managed by dept.

02

TBA

TBA

Paul

No Final

0

0

0

Actions:

Waits managed by dept.

03

TBA

TBA

Hilu

No Final

0

0

0

Actions:

Waits managed by dept.

04

TBA

TBA

Burnett

No Final

0

1

0

Actions:

Waits managed by dept.

05

TBA

TBA

Lewis

No Final

0

0

0

Actions:

Waits managed by dept.

06

TBA

TBA

Chapman

No Final

0

0

0

Actions:

Waits managed by dept.

GRADUATE PRACTICUM IN FILM & MEDIA STUDIES

Var. Units (max = 3.0)

Save Cancel My Note:

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.

Instruction Type:

Independent study, tutorial, or other

N/A

Every Semester / History

Building / Room

01

TBA

TBA

Studlar

No Final

0

1

0

Actions:

Waits managed by dept.