Summer 2015

DMS 108 film & Media History II
Shilina-Conte,Tatiana :: Online
reg#12426

This intensive course in Film History will expose students to screenings and scholarship chronicling the political, social and technological conditions of film production from the 1890s to the present. We will examine early motion pictures, pre-code Hollywood, German Expressionism, French Impressionism and Surrealism, Soviet Montage, Neorealism, the French New Wave, Post-colonial filmmaking, 1970s Hollywood, as well as digital and large-format filmmaking. Since the course will be taught online, students will be expected either to be Netflix subscribers or rent / purchase the films we’ll be analyzing in this class.

DMS 213 Immigration and Film
Lessner, Elizabeth :: Online
reg#11667

This course examines cinematic representations of global migration.  We will examine the cultural and political relationship between cinema and empire, the function of film and video in relation to issues of international migration, identity, and memory, as well as the position of cinema in the debate between assimilation and multiculturalism.  Films will be screened in class and discussed alongside critical readings. Readings and lectures will be interdisciplinary, drawing on film theory about the cinematic gaze, representations of ethnic and racial others, spectatorship, post colonialism, and the cultural and historical origins of global migration over the past century.

DMS 216 Fiction As A Document Of Reality
Vaubel,Stanzi :: Online
reg#12427

Have you ever wanted to make a fiction film? Have you struggled to come up with a plotline that others will believe? This course will radically shift your dependency on the three-act structure. It will alleviate that nagging feeling that your film has to be about something in order to be worth watching. Instead of seeking out actors you don’t know, you might discover that the people and incidents around you hold keys to plot and story, that, although seemingly minute, can actually be the foundations for an unfolding story. More than just the funny videos you might post on YouTube, this course explores a radical alternative for how we might understand and thus utilize the camera.  It brings us back to the very materiality of the device we are utilizing and its primary function to capture the chance and incidents that surround our everyday lives. Considering the filmmakers as diverse as PT Anderson, Hal Hartley, John Cassavetes, Elaine May, Robert May, Lena Dunham, and Sophia Coppola.

DMS217 The Selfie
Ayson,John-Patrick Antonio :: Online
reg#12428

This online course will engage students in select critical readings on the history of the Self-Portrait to Present day texts, artworks & research on the Selfie; students will then write responses to & take their own Selfies/make creative projects based on the assigned material — all of which will accumulate to either a 5 page essay OR one main creative Selfie project by the end of the course’s 5 week duration.

DMS218 Race, Ethnicity, and Class in Media
Dhillon,Nitasha :: Online
reg#12429

The course will analyze recent news through the lens of race, ethnicity and class. We will also look at films and artists whose works critique the mainstream dominant narrative. Based on this understanding students will be required to work on a multimedia project that will then be hosted on the web.

DMS315 Cult Cinema: “So Good It’s Bad”
Joy, Jonathan :: Online
reg#12074

The course will examine the historical, contextual and cultural impact of cult films in Western Cinema, focusing on four major elements: Anatomy, Consumption, Political Economy, and Cultural Status. We’ll, also, take a look at “camp,” new media theory and recent adaptation theory as lenses of appreciation for each production. We’ll discuss the evolution of cult cinema, the relationship to mainstream cinema concerns and how this genre challenges the conventional narrative.

DMS316 Accented Cinema
Gilichinskaya,Yulia :: Online
reg#12430

‘Accented cinema’ is an aesthetic response to the experience of displacement (exile/migration/diaspora). Through screenings, readings, and discussions this course will explore the accented nature of works produced by filmmakers who live in countries other than their country of origin.
Accented films reveal ‘double consciousness’ of their creators and differ from the standard, neutral, and value-free dominant cinema. Exilic, diasporic, postcolonial ethnic, and identity filmmaking will be the focus of this class. Students will be exposed to a body of films that deal with charged concepts such as homeland, identity, multiculturalism, contemporaneity, chronotope, memory, trauma, displacement, exile, and journey.

DMS415 Cinema Poetics Survey
Glazier, Loss :: Online
reg#12431

The question to be undertaken in this online course is: what are the poetics of cinema? “Poetics” here means, how art is made — conceived, imagined, realized, and appreciated. In this course we will screen some of the great films in mid-century to late-century film with emphasis on directors like Fellini, Almodovar, and Kurosawa (and possibly Passolini, Di Sica, and Antonioni) with an eye to those devastating moments in these works that give them lasting impact. We will read a few key essays about film and poetics, along with specific filmic poetic works to gain insight into what makes film expressive, how language and film are interwoven, and what it means “to make” in this especially contemporary medium. This is a course about understanding film, making image artworks, and engaging poetics. This course allows you to view and understand some films truly central to contemporary cinema, to view them with a poet’s eyes, and to be able to appreciate the content of these works, essential to future goals as a film student, filmmaker, appreciator of great works, or as one who wishes to work in film or in writing. In “Cinema Poetics Survey”, one gains an understanding of the role of image in imagination, of films as language/language as filmic, and of “poetics” as making, expressing, and exploring our perceptions and ideas.

DMS417 Facebook and the economy of Likes
Karppi, Tero Jukka :: Online
reg#12444

This online course focuses on facebook and critically examines how facebook makes money out of its users. Through weekly readings and online discussions we will examine facebook’s advertising and data mining mechanisms and the new modes of power these mechanisms entail. During the class you will follow your own facebook feed and write a reflective journal of the effectiveness and accuracy, failures and success of facebook advertising. The objectives of the class are a) to give theoretical tools to critically analyze social media platforms such as facebook, b) to analyze and understand our online connectivity, and c) to give abillties to gather and analyze social media related research material.

DMS418 Listening To Serial
McGough, Laura :: Online
reg#12432

Serial, a narrative nonfiction podcast told over the course of 10 episodes, exploded on the “tiny radio” scene during the fall of 2014, averaging over 1 million downloads each week. In this class, we will listen to Serial in an attempt to understand its pioneering storytelling format and listener appeal. Throughout the semester, we will analyze the traditional story elements Serial utilizes to build narrative – traditional plot and structure, setting, character development, conflict, point-of-view, tone – as well non-traditional components such as sound, music supporting graphics and blog posts. We will also examine how Serial’s listeners inserted themselves into the podcast’s unfolding narrative – participating in online discussions and creating interactive timelines, character maps, location video tours, and even podcasts about Serial. How does audience interaction work to expand or disrupt the narrative? Finally, we’ll consider the impact of Serial. What is the potential and the limitations of the medium? What are the ethics involved with narrativizing real-life events in serial format? In addition to listening to Serial and other related podcasts, students will participate in online discussions and, in lieu of traditional papers, will undertake a series of podcasting assignments. Weekly lectures will also be delivered via podcast.