DMS 101 A
Basic Filmmaking
MW 9-10:50am
Reg.#418708
CFA 286
DMS 101B
Basic Filmmaking
TR 3-4:50pm
Reg.#193477
CFA 286
This course is intended to provide a basic introduction to 16mm film production. Classes will include screenings, lectures, and demonstrations. Students will learn basic camera operation, lighting, editing, and sound acquisition. In addition, the course will explore the critical relationship between theory and practice in the context of film production. Students will be required to complete collaborative class projects, individual assignments, and a critical paper. Each student will also be required to complete a short, non-sync, 16mm film project. Class materials will cost approx. $150. Lab fee: $100. Class size is strictly limited.

DMS 103 A
Basic Video
MW 9-10:50
Reg.#196801
CFA 232
DMS 103B
Basic Video
TR 10-11:50am
Reg.#021527
CFA 286
This course is a basic introduction to the tools and techniques of video production. Students will become familiar with using video and develop strategies for its application as an alternative medium of communication. Crucial to this project is the concurrent development of a critical perspective on mainstream media culture. Video art screenings and readings in media theory will critically address the relations between viewers, producers, and the media. Students must expect to acquire materials and texts costing approx. $50.00 to be used in exercises in classroom presentations. Access to equipment and editing facilities will be available. Lab fee: $100. Class size is
strictly limited.

DMS 105 A
Basic Documentary
Reg.#439349
TR 9-10:50am
CFA 235
This course will present students with the fundamental, theoretical, creative, and technical concerns of documentary and video production. Students will be introduced to methods of research, production design, approach to subject, interviewing and the structuring of information, as well as the technical video skills of camera work, sound recording, and lighting and editing, as they apply specifically to the documentary process. The demands of documentary expression require preparation with a different emphasis from that which applies to the personal and experimental approaches to filmmaking and video making. Materials and texts will cost approx. $50. Lab fee: $100.
Class size is strictly limited.

DMS 108 TEL
History of Film 2
ARR (telecourse)
Reg. #155686
Henderson
American Cinema is an introductory course in film studies, which explores Hollywood films as an art, a craft, an industry, and a system of communication and representation. The course will examine how Hollywood films work, technically, formally, and culturally, to reinforce˜and sometimes to challenge˜the ideas that Americans can have of themselves, their society, and their nation. You will learn about the functioning of Hollywood institutions like the studio and star systems, about genres like the Western, Romantic Comedy, and Film Noir. The more fundamental goal of the course is to help make you more critical and active viewers, more award of how film achieves its effects and hence its power to influence in ways of which we may not be aware. In order to participate in this telecourse, you must be part of the Adelphia cable network.  Thoes students will have viewing options from the Health Science Library.  *Note: Students living in the UB dorms cannot access the telecourse from their dorms.* Students need to attend orientation in order to pick up the course packet and learn the course procedures. For information, contact: bhenders@buffalo.edu

DMS 109
Film Interpretation
Reg.# 343593
MW 12-1:50pm
Instructor: TBA
CFA 112
Description not yet available.

DMS 121 A
Basic Digital Arts
Reg. #110230
MW 9-10:50am
CFA 244
DMS 121 B
Basic Digital Arts
Reg. #330689
TR 1-20pm
CFA 244
This course will present fundamental concepts and methods that underlie the use of computers in generating and processing digital works and examine them in the context of contemporary artistic practice in painting, photography, film, and video. The impact of computers, both present and potential, on the more traditional arts will be discussed. Through the use of imaging audio and presentation software, students will explore the various ways in which computers deal with images, sound and structures, adapting these methods to produce work of their own. Work by contemporary artists working in the digital medium will be shown and examined on a regular basis. The class size is strictly limited. Lab fee: $100.

DMS 155 A
Introduction to New Media
Reg.# xxxxxx
CFA112 (lec) / CFA 244(lab)
DMS 155 A1 (lab)
Reg.# 466488
DMS 155 A2 (lab)
Reg.#291249
This course provides an introduction to design and the production of interactive multimedia. The content of the class will focus on the theoretical and practical aspects of creating and integrating digital media with authoring/presentation tools. This class will lay the foundation for creating interactive projects for the web and CD-ROMS, and will integrate art, journalism, and music through hands-on developmental projects in our new state-of-the-art Mac lab. Students will learn the process and skills necessary to create a web site and an interactive CD-ROM which integrates animation, graphic design, sound, and text, working in Adobe Photoshop, Macromedia Dreamweaver, Flash animation, Sound Edit 16, and Illustrator. The course will accommodate 48 students. Enroll now! Get the technological edge! Lab fee $100. NON-MAJORS WELCOME. NO PRE-REQUISITE KNOWLEDGE NECESSARY.

DMS 200 CK
Visual Studies
M 6-8pm
Reg.# 385935
Caroline Koebel
CFA 112
A visiting lecture series of visual arts professionals practicing in the fields of visual art, design, multi- media, cultural theory, and criticism. Students are exposed to a wide range of viewpoints, art practice, and contemporary theory. Speakers change each semester. Lab fee. 1 credit, pass/fail.

DMS 213
Immigration and Film
TR 5:30-7:20
Reg.#267921
Staff
CFA 235
This course is interested in issues of ethnicity, race, gender, and class in selected American films. We will examine cinematic representations of immigrants, paying close attention to social and political constructions of ethnic "difference" and notions of "the other" in America. The class will consist of assigned readings, regular class discussion, 2 exams, film screenings, and short response papers. Films may include: Chaplin's The Immigrant; Silver's Hester Street; D.W. Griffith's Broken Blossom; Wayne Wang's Eat a Bowl of Tea, Rea Tajiri's History and Memory, among others. Attendance is mandatory. Non-majors welcome. Fulfills the American Pluralism requirement.

DMS 215
Programming for the Digital Arts
Reg.# 313064
CFA 242
Permission of Instructor
This course is an introduction to computer programming for all intended digital concentration majors in Media Study. It is highly recommended that you enroll in this course if you intend to pursue the digital arts in Media Study. This course will give you the necessary background to aid you in DMS 419 and DMS 420. Registration is strictly limited to intended/declared digital arts majors. Graduate students may informally audit the course if they need programming experience. Lab fee $100.

DMS 216 BOH
Machine Culture
Marc Bohlen
Reg.#007289
TR 3-4:50
CFA 112
This lecture course will follow the conception and history of the machine from the monastery bell to the latest humanoid robot. This is not a history course, but a survey of events that may be considered pivotal in the conceptual construction of the role of the machine. Consequentially, the course will focus on cultural aspects of technologies, deployment of technologies and the fabrication of desire for and belief in the machine. The later part of the course will concentrate on aspects of machine and robotic art. Materials will be gathered from diverse authors and sources such as: Mumford, Virilio, Feyerabend, Kittler, Heidegger, Foucault, Marvin, Marr, Nye and others. Open to all students ˆ no prerequisites. marcbohlen@lycos.com www.buffalo.edu/~mrbohlen

DMS 217
Sound Poetics
Loss Pequeno Glazier
Reg.#375988
MW 5-6:50pm
CFA 232
Digital media sound works, sound poetry, and early twentieth century experimental literature share features of compositional method, structure, materiality, and improvisational register. This class will provide a close examination of innovative media and literary forms concentrating on sound, with a focus on "sound poetry", the often overlooked genre of radical experimentation with voice, sound-making machines, and performance that commanded worldwide attention from the fifties through the eighties. It will involve close listening to sound poetry, careful reading of experimental literature, and critical examination of digital media works, with an emphasis on works that engage chaotic, spontaneous, and visionary explorations of the materiality of sound. The point will be to establish an aesthetic framework for the innovative in relation to digital media design. This class will allow students the chance to examine a wide range of sound works and experimental literature, with an emphasis on hearing. We will investigate the possibilities of sound art through a focus on the marginal, the "other", jazz and experimental music, the dissonant, and works where conventional notions of mere conveyance of meaning are eschewed for a totally radical artistic vision. Willingness to explore new frontiers of listening is crucial. Required: Attendance, reading responses, oral report, and final project.

DMS 221 FER
Web Design
Staff
Reg.#406964
CFA 242
This course will involve the analysis and creation of Web sites and Web-based media for a variety of communication purposes (artform, gallery, information resource, education, business). Topics such as audience analysis, interface design, graphic design, and usability testing will be discussed. Students will build professional-quality Web sites with guidance through all parts of the design and development process. New advancements in Web-based multimedia will be explored. Class time will be divided between practical labs and discussion/lecture formats. Because this is a production-oriented course, students will be expected to spend substantial out-of-class time working on the computer. Prior web design and html experience are not required, although students should be fully comfortable with working on a computer. Basic digital is not a prerequisite, but is strongly suggested. Lab fee: $100.

DMS 231
3D Character Animation: Modeling in Maya
Jesse Fabian
M 18-21:50
Reg.#449012
CFA 242
Permission of Instructor
This class is an advanced course that covers simulation and visualization in Alias-Wavefront Maya. Additional software and tools may include 3DStudio, Softimage, Viewpoint software, and various types of data capture. The class is a survey class covering a broad range of technologies, focusing on technical mastery of a Maya 3D animation interface for the purpose of creating a final product. The class is one third lecture and two thirds production. Completion of the class requires successful creation of a visualization or simulation of quality sufficient for general public presentation. Lab Fee $100.

DMS 259
Intro to Media Analysis
Bernadette Wegenstein
Reg.#354121
MW 2-3:50pm
CFA 232
This introductory course to Media Analysis examines the rise of especially visual mass media in the 20th century, from photography, television, and film, to new media. It pays close attention to media historical moments, such as fascism and film in post world war II Italy, or the postmodern turn with the event of digitality. The respective media are analyzed in light of their materiality. Methodologies vary between Ideology-critique, Cultural Studies, Political Theory, Postmodern Theory, and Semiotics. Students will write essay exams based on course lectures and essays from the course reader: Media and Cultural Studies, ed. Meenakshi Gigi Durham/ Douglas M. Kellner, Malden, Mass./ Oxford, England: Blackwell, 2002.

DMS 301 MIS
Film Workshop I
Reg.#252913
Mistretta
MW 2-3:50pm
CFA 286
Permission of Instructor
An intermediate film production course, reviewing and expanding upon concepts of film production learned in Basic Film. This course, however, is exclusively devoted to the technical concerns and aesthetic possibilities of 16mm film production. A variety of approaches to these issues will be explored through 5 structured projects focusing on camera-less films, exposure techniques, film editing, sound recording and editing, and the development of individual artistic "style." Materials for the first four projects will be pre-packaged by the department for required purchased by class participants. Students will be responsible for all materials for the final project as well as film processing throughout the semester. Students can expect to spend a total of approx. $350 for materials and processing for the course, including the cost of pre-packaged materials. Lab fee: $100. This class is strictly limited in size.

DMS 303 CON
Video Analysis
Tony Conrad
Reg.#015733
MW 3-4:50pm
CFA 232
This course is about the history and variety of the independently produced media that has become known as "video art." In examining a wide range of works, the course will investigate how the content, form, and critical analysis of video reflect concepts of the representation of culture and self. We will look at the ways that artists‚ social and political concerns have called the status of „high class‰ art into question, and how in the very act of doing so their works have reaffirmed the distinction between video art and commercial television. Since very little video art is shown on broadcast TV, a lot of class time will be devoted to showing and discussing video works. From time to time, students must plan to attend outside video exhibitions in the Buffalo area. In addition, visiting artists or speakers will occasionally be invited to the class. The required course readings will be available as a photocopied compilation, Readings for Video Analysis DMS 303, Fall 2003. In response to the lectures, discussions, viewings, readings, outside activities, and so forth, students will be required to write a series of short essays, often in the form of a critique of the video works and readings. There is no final exam, though there will be occasional short quizzes on the reading material. The final grade will depend largely on the written assignments and on attendance. Regular attendance is irreplaceable (no make-ups are possible!), and is mandatory.

DMS 315
Production Management
Jamie Enser
Reg.#430431
MW 10-11:50am
CFA 112
This course will introduce students to the process of line producing television programming for broadcast and cable networks. The entire process, from treatment to delivery will be examined. Students will learn about the components and tools used by Line Producers and Production Managers that turn visions into reality. Topics will include: production planning; budgeting, scheduling, roles of production departments, staff, crew; production and contract management; union/guilds; rights and clearances and the post production process. Lectures will be focused on sitcom, sketch comedy, narrative and game show formats. Students will learn about the planning and operation of television production. Throughout the semester, students will complete projects that mirror preparation required throughout the industry (i.e. treatments, script breakdowns) and participation in production exercises (i.e. pitch, table read). Assignments include reading, small group presentations, screenings, web research and written reports. jenser@buffalo.edu

DMS 341 KNO
Intermediate Video Workshop
Meg Knowles
Reg.# 431181
TR 13-14:50
CFA 286
PR: DMS 103, 104, 105, or 106
This course is a workshop in the tools of video. It offers exercises in intermediate video production for students who have had some previous exposure to video as a creative medium. The course will emphasize the development of technical skills and knowledge which are necessary for the effective use of video as an artistic tool and for documentation or personal expression. The student will buy at least three videocassettes for use in hands-on assigned exercise concerning cameras, lighting, editing, and other aspects of production and post-production. Other topics to be covered are video electronics and staging. Each student will need to spend a substantial amount of time working with studio, portable, and editing facilities outside the regular class hours. In addition, some outside video tape viewing, as well as short papers, will be required. Readings will include classroom handouts in addition to the assigned textbook. Total minimum expenses for each student are $50. Lab fee: $100. Attendance is
mandatory.

DMS 375 ART
Science, Culture, & Media
Paul Vanouse
Reg.#046742
TR 10-12pm
Contact the Art Department for a course description. Jr./Sr. Standing.

DMS 406 ELD
Ethnographic Film
Sarah Elder
Reg.# 404495
TR 12-1:50
CFA 235
This course examines the particular visual and audio challenges of representing culture on screen˜either one‚s own culture or the culture of someone else. We will explore ethnographic film and video by integrating current visual representation concerns with hands-on video production practice. We examine various meanings of „ethnographic‰ and look at how ethnographic material interacts with documentary, visual anthropology, activist video, public television, and mainstream narrative. Students will screen significant ethnographic films form the US, Alaska, Canada, Australia, Africa, South America, New Guinea, and Indonesia; read contemporary visual theory from the fields of documentary, oral history, and anthropology; and produce their own ethnographic video work. Attention is given to issues of (re)production of culture, ethics, collaborative media making, reflexivity, identity politics, and indigenous media. We explore fundamental constructs in the ethnographic medium including fieldwork, language and translation, point of view, community priorities, interviewing, editing, copyright ownership, and viewer demographics. Previous background in documentary or anthropology is suggested but not required. Students will work according to their own level of production expertise˜from beginning to advanced. (Graduate students can petition to take this course for graduate credit and do an extended paper or project). Lab fee: $100.

DMS 411 HEN/DMS 512
Film Theory
Brian Henderson
Reg.#498942
MW12-1:50
CFA 235
This class is an exploration of the principle theories of film through a critical reading of texts and a close examination of films. The texts to be perused comprise four groups, beginning with classical film theory, which includes Munsterburg, Kuleshov, Pudovkin, Eisenstein, Balsazs, Arnheim, Bazin, and Godard. The critique of classical film theory includes Burch, Perkins, and Henderson. The course will also explore semiotics, psychoanalysis, and poststructuralism in Barthes, Eco, Metz, Baudry, Heath, and in feminist theory, including Gledhill, Silverman, Modleski, Williams, Doane, Studlar. A section on avant-garde theory and practice will include Vertov, Epstein, Deren, Brakhage, Sitney, and Michelson. These topic areas will be set in interaction throughout; e.g. Soviet editing and antirealism are continued in the avant-garde; rhetorical figures such as metaphor, metonymy, ellipsis, condensation, and displacement can be traced in very different theoretical contexts and in close examination of individual films.

DMS 415 ANS / DMS 515
Analysis of Interactive Environments in Art and Entertainment
Josephine Anstey
Reg.# 468560
MW 1-2:50
CFA 232
Electronic gaming is pervasive, but not the only locus of interactive environments. In this course we will analyze not only popular games but the wilder reaches of interactive installations and virtual reality constructed by artists and researchers. We will discuss the interdisciplinary nature of a media which depends on art, artificial intelligence, computer graphics, interface design, human-computer interaction, psychology, narrative, networking and technical innovation. We will ask why interactive experiences are popular, and try to understand the social and cultural implications of this new media. Games studied will include Black and White, Seaman, and Deus Ex. Artists/researchers studied will include Brenda Laurel, Char Davies and Jeffrey Shaw. Fulfills the digital theory requirement. http://www.ccr.buffalo.edu/anstey

DMS 416 REI/516 REI
Survey of Independent Film From 1990
Linda Reisman
Reg.#124792
R 9-12:50
CFA 232
The course will explore a selection of critically acclaimed independent films made from 1990. Among other topics we will examine what makes these films unique, what defines 'independent,' how the movies function within and out of the Hollywood mainstream, what effect they have had on other filmmakers and current trends in
contemporary filmmaking.

DMS 417 WEG/517 WEG
The Advertising Media
Bernadette Wegenstein
Reg.#309762
MW 11-12:50pm
CFA 232
This course analyses the different enunciations within the discourse of advertisement, the „text,‰ its creation/production, and its reception/destination, which are theorized from various perspectives (e.g. semiotic, psychoanalytical, gender-theoretical, intercultural). Students will write essay exams on the readings, which will be provided through a website, in connection with an analysis of a concrete advertisement campaign. A conference with advertisement theorists from Italy is planned. Jr./Sr. standing
required.

DMS 418 ELD
Advanced Editing
Sarah Elder
Reg.#308772
CFA 235
Permission of Instructor
Why do cuts work or not work? This production seminar looks at essential principals of editing and explores the theoretical, practical, and creative editing concerns of film and video artists. The class is designed for anyone working in narrative or alternative fiction, documentary, or experimental media either in video or film. Students will study advanced editing techniques learning how to fine cut their own work with some practice in creative editing design assignments. We will explore the nature of an edit, and examples of good cutting. Students will read essential editing theory including classics by Murch, Eisenstein, Cancyger, and Hollyn. The class will study and practice pacing, time cuts, rhythm, dramatic arch, multiple audio tracts, continuity and discontinuity, match cuts, story building, layering sound FX, editing room management, dialogue editing, anti-narrative, and the influence of dreaming. Guest editors will also visit and lecture on their work. Students must have previous editing experience and preferably bring raw footage or an edited rough cut project on which they would like to work during the semester. Each student will have different challenges depending on his/her genre-fiction, experimental, or documentary. Students will work on the Media 100, and students who wish to can also work on the 8 plate film Steenbeck. Class size is limited. Lab fee $100.

DMS 419 BOH/DMS 533 BOH
Advanced Digital: Machine Vision in the Arts
Marc Bohlen
Reg.# 469583
TR 11-12:50
CFA 246
PR: Permission of Instructor
This advanced undergraduate ˆ graduate course is designed as a first exposure to the possibilities and problems of machine vision for media artists. Students will be exposed to the theoretical, philosophical and mathematical details that make real time image processing possible. This course is an attempt to place the techniques and the implications of machine vision into a cultural context and to show how machine vision redefines the role of the image in the arts. DMS Lab246 is equipped with 3 color video cameras, frame grabber cards and an industry grade machine vision library. You will write code in C++ and investigate basic and composite operations on single and sequential images. Three assignments and a semester project build the basis for a final grade. Group projects are encouraged. Programming experience is required. Class size is limited to 10 students. Lab fee $100. For permission, contact: marcbohlen@lycos.com www.buffalo.edu/~mrbohlen

DMS 419 SCH/DMS 533 C
Advanced Digital Arts Production: Netcultures
Trebor Scholz
Reg.# 473249
MW 11-12:50pm
CFA 244
PR: DMS 121, 155, or Permission of Instructor
The objective of this survey-like course is to provide a social framework for the Internet and to point to transient places of resistance within it. Approaching net cultures with both, the due optimism and the necessary doubt, we will then join the love of thinking with the joy of making. We will discuss key issues such as access, privacy, e-letism, history of net art, commodification, identity, Internet standards/ broadband, creation and eradication of public spaces, community building, narration online, and sound. Please note that this is not a web design class. Lab fee $100. For permission, contact: treborscholz@earthlink.net

DMS 423 PAP/DMS 523
Programming Graphics I
Dave Pape
Reg.#046924
TR 10-11:50am
CFA 242
This production course will introduce students to the concepts and practice of programming 3D computer graphics and audio using OpenGL and other libraries. The major focus will be on creating interactive art or games experiences by programming both graphics and sound. The course has three goals: to demystify computer code - we get behind the Graphic User Interface to the machine below; to explore the potential of programming - writing our own code means we can create customized computer tools as well as customized visuals; and to teach the fundamentals of graphics programming. Prerequisites are experience in a programming language such as Python, C, C++, or Java (DMS 121, CSE 113/4/5 or equivalent). Permission of Instructor required. Lab fee $100. Contact: dave.pape@acm.org

DMS 435 HEN
Narrative Scriptwriting
Brian Henderson
Reg.#327526
MW 9-10:50
CFA 235
This course brings together students interested in dramatic writing in general and writing for the screen in particular. Aristotle‚s Poetics will be read and discussed by all, as will two of the many books on the writing of scripts: Screenwriting by Richard Walter and Writing the Character-Centered Screenplay by Andrew Horton˜one Hollywood oriented, the other oriented to European films, respectively. The class will also read Five Screenplays by Preston Sturges, in order to trace the writing of screenplays from first notes to final script to revisions during filming and editing. Students will be encouraged to bring to the class‚s attention other materials of interest they may discover in the course of their studies. There will be several short exercises, and the stages of scriptwriting, from draft to final project.

DMS 438/523
VR Art Project I
Dave Pape
Reg.#175691
T 1-4pm
CFA 266
This course is designed for students with graphics programming experience and/or experience with 3D modeling packages. Teams of modelers and programmers will collaborate to build immersive virtual reality art experiences over the course of 2 semesters. The course introduces students to Ygdrasil, a high-level VR authoring toolkit and Performer a graphics library. Ygdrasil handles a number of activities common to VR environments, such as assembling 3D models into a world, collision detection, navigation, and detecting events and passing messages in response to them. Modellers will face the challenge of modeling for a real time environment. Prerequisites are graphics programming (DMS 424 or equivalent) and/or advanced experience with 3D modeling packages. Permission of Instructor required. Lab fee $100. Contact: dave.pape@acm.org.

DMS 446 DEN
Interface Design
Vanessa Dennen
ARR-ARR
Reg.# 421305
CFA ARR
****This is an on-line course****
Why do computer-based products succeed or fail? Many factors play into this equation, but one critical factor is interface of interaction design. Human-computer interaction (HCI) is the study of how humans use computers. Knowledge in this area is essential to producing successful computer programs. This class will explore current topics in HCI and interface design while developing computer-based products in a group environment with a focus on developing a user-friendly interface. Students in this course should have Basic Digital Arts or the equivalent and be familiar with either Web production or Macromedia Director. $75 lab fee. Contact vdennen@mail.sdsu.edu

DMS 447
Sound Design
Tony Conrad
Reg.#223316
MW 11-12:50
CFA 286
The visual media˜film and video˜are powerfully inflected by their accompanying audio tracks, which frequently convey the work‚s preponderant sensibility, or even its core meaning. This course aims to prepare media students technically, conceptually, and musically to work with audio. Topics introduced will include sound design for media, field and studio recording methods, foley recording and editing, audio mixing strategies, signal modification and effects, multitrack audio reproduction, the basic physics of sound and audio signal electronics, the technological principles and specifications of microphones and sound recording systems, midi, music composition and improvisational approaches and practices, world music, and the qualities of song and speech production. This is not a course in audio software or CD burning. The textbooks are David Sonnenschein‚s Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema (Studio City CA: Michael Wiese Productions, 2001) and Tomlinson Holman and Gerald Millerson‚s Sound for Film and Television (Butterworth-Heinemann, 1997). The grade will be based on successful completion of a series of short production exercises, brief quizzes on the reading assignments, and regular attendance. There is no final exam. Lab fee $100. Prerequisites: Intermediate Film Workshop, Intermediate Video Workshop, or permission of the instructor.

DMS 450 KOE/DMS 603
Film & Development of Contemporary Art: Art Practicing the Body
Caroline Koebel
Reg.#089287
T 3-6:50
CFA 232
This interdisciplinary studio course takes "the body"˜in its myriad senses, significations and interpretations˜as the basis for aesthetic and critical inquiry. Course requirements will center on three major projects realized in the form/media of the student's choice, including performance, digital/cyberart, installation, video, audio, and text/writing. We will consider how artists and others position the turn-of-the-millennium body, and the influence of previous investigations on recent approaches to the corporeal self. A plethora of art works and writings by the likes of Samuel R. Delaney, Carolee Schneemann, Bob Flanagan, Lygia Clark, Orlan, and Gina Pane will act as a
catalyst for a discourse and praxis of engagement and vitality. Lab fee: $100.

DMS 456 REI/612
Novels to Film: Contemporary Authors
Linda Reisman
Reg.#195582
T 9-11:50am
CFA 232
This course will closely examine the screen adaptations of approximately seven contemporary novels. The authors will include writers such as Russell Banks, Rick Moody, Scott Spencer and A.S. Byatt -- with a range of filmmakers from Paul Schrader to Ang Lee adapting the books. We will read and discuss the novels, screenplays (where available) and screen the final films. This is a 3.0 credit hour course.

DMS 490
Internship
Staff
Variable Credit 1-4
Permission of Instructor
Media Study majors have the opportunity to gain variable academic credit for internships in local and national media production companies, television stations, cable companies, and media access centers. This is an unpaid internship available to majors. Guidelines are set by an internship supervisor in collaboration with a faculty sponsor to provide hands-on practical experience in an on-the-job training program. For registration info, see Nancy King in 231 CFA.

DMS 499
Independent Study
Staff
Variable Credit 1-4
Permission of Instructor
Students may arrange for special courses of study with faculty through „Independent Study.‰ The instructor will set the guidelines for the course on an individual basis. It permits the student to study, independently, in an area where no course is given. Syllabus for Independent Study should be prepared prior to semester, signed by the instructor, with one copy on file with the department. For registration info, see Nancy King in 231 CFA. Lab fee for production work: $100.