cinema studies upenn

Latin American and Latinx Studies Program 473 McNeil Building 3718 Locust Walk Philadelphia, PA 19104-6209 lals@sas.upenn.edu (215) 898-9919 This course surveys a range of film and video works on themes such as the production of space, urban nature, infrastructure, and collective memory. The Cinema Studies certificate is designed to meet the academic interests of: Students interested in graduate-level study of cinema Professionals whose career involves the use and understanding of the medium of film Educators who wish to add the study of film to their classroom teaching This truly interdisciplinary program will introduce students to the wide range of methodologies used to study film and media, and this intersection with other disciplines makes Cinema and Media Studies an ideal component of a double major. This is a workshop-style course for those who have thought they had a terrific idea for a movie but didn't know where to begin. These courses also expose students to the range of possibilities of a medium’s application, from nonfiction documentary to performance art. Please see the Spanish Department's website for the course description: https://www.sas.upenn.edu/hispanic-portuguese-studies/pc. It examines a wide array of texts, from early silent-film-era cinema … What's so funny, Mr. Chekhov? Looking at publishing, music, film, and software, we will ask how the law drives the adoption of new media, and we will consider how regulation influences artistic decisions. There are overviews here on such topics as Censorship, Film Theory Before 1945, and Women in Film. Also Offered As: ARTH 109, COML 124, ENGL 092. English: Cinema & Media Studies, BA Students deciding to pursue English at Penn study language, literature, literary history and theories of literary production in a thirteen-course major of flexible design. In this seminar we will turn to the narratives and images that the human imagination has produced in response to the experience of overwhelming watery invasion, from Noah to New Orleans. Can we find significant differences between French and non-French approaches, or between films shot on location that have the ring of "authenticity" and studio-bound productions using reconstructed sets? The Cinema Studies certificate is designed to meet the academic interests of: ... 898-7326 or lps@sas.upenn.edu. Specific course topics vary from year to year. This course presents an in-depth look at the storytelling power of image and sound in both narrative and documentary motion pictures. UPENN CINE 386 Met Spring. Prior knowledge of East Asian languages is NOT required. Course activities include Tumblr blog posts and Instagram curations. This topic course explores multiple and different aspects of Cinema Studies. Gwendolyn DuBois Shaw, an associate professor of Latin American and Latino Studies, Cinema Studies, and Gender, Sexuality, and Women's Studies, discusses the largest-ever exhibition of portraits of First Ladies. We will examine a variety of works that represent the social, political, economic and cultural circumstances of post-revolutionary Iran. Great filmmaker and theorist in discussion include Vertov, Kuleshov, Eisenstein, Pudovkin, Medvedkin and others. Taken as a genre, these time-based works provide a powerful model for training scholars' observational skills, conceptualizing scales of analysis, and engaging broader publics in urban research. The Cinema and Media Studies program includes three full-time faculty positions, and a large number of other faculty throughout the School of Arts and Sciences and the School of Design. Penn LPS is ensuring that all students have access to the support they need. You state your goals, and we help you craft your course of study … CIMS 118 Iranian Cinema: Gender, Politics and Religion. The course will also include weekly screenings of films and videos, introducing students to the history of video art as well as to other contemporary practices. Objects of analysis will include mythology, ancient and early modern diluvialism, literature, art, film, and commemorative practice. This event marked the apex of South Korean cinematic renaissance, having steadily become a tour de force in the international film festival scene since 1997 onwards. The readings for this course expose the student to a wide range of American fiction and poetry since World War II, giving considerable attention to recent work. An exploration of cinematic sound through the lens of specific composer/director collaborations in post-1950 Italy, examining scores, soundtracks, and the interaction of diegetic and non-diegetic music with larger soundscapes. Please see the College Freshman seminar website for information on current course offerings https://www.college.upenn.edu/node/403. Navigating from United States and Cuba to India and Egypt, the readings in the course illuminate how particular televisual genres, institutions, and reception practices emerged in various countries during specific historical periods. The course will explore how a screenplay is conceptualized and developed, the role of agency relationships in the film business, and - casting as wide a net as possible - the financing, production, direction, distribution, exhibition and marketing of both independent and studio films. I would like a student to help find sources, images, and also make clips for my film courses. Throughout the twentieth century, gender representations on the screen bore a complex relationship to the social, economic, and political transformations marking the lives and consciousness of American men and women. The coursework focuses attention on the intersections between film and video and other art forms, including photography, painting, drawing, music, and literature. Cinema Studies Program 209A Fisher-Bennett Hall ⋅ 3340 Walnut Street ⋅ Philadelphia, PA 19104 ⋅ (215) 898-8782 This course will explore the origins, the history and, most importantly, the literary and cinematic art of the struggle that has endured for a century over the region that some call the Holy Land, some call Eretz Israel and others call Palestine. Cinema Studies approaches the history of film and related media from a variety of perspectives: historical, critical, and theoretical. Also Offered As: COML 009, ENGL 009, HIST 009. Andrei Tarkovsky is universally acknowledged to be the greatest Soviet filmmaker of the last half of the twentieth century. It seeks to participate in the development of more just and inclusive academic modes and spaces by fostering time and structure for thought and self-reflection, by generating ideas for implementation, and by learning from our readings as well as from each other. Readings vary from term to term. CIMS 165 Russian and East European Film after World War II. Other questions we will ask include: What particular indigenous modes of storytelling do African films employ? Also Offered As: ENGL 466. The basic question we'll be asking is: What can we learn from the humanities that will be helpful for confronting the problems and challenges caused by climate change and sea level rise? Next, we will explore the paranoid, schizophrenic world of Cold-War-era dystopias by J.G Ballard, Philip K. Dick and Octavia Butler. provides a program of study that enables a broad, multi-disciplinary and multi-cultural understanding of the languages, literatures, cultures, histories, and societies of Russia, Central and Eastern European, and the Balkan and Baltic regions. In this collaboration between Penn and the Philadelphia Museum of Art (PMA), students will work with with curators to create virtual reality projects connected to the museum's collections. For BA Students: Humanities and Social Science S, Also Offered As: FNAR 061, FNAR 661, VLST 261. Also Offered As: COML 156, GRMN 156, GSWS 156, CIMS 159 Modern Hebrew Literature and Film in Translation: Autobiography. CIMS 584 20th-Century Italian Fiction and Film. Ultimately, this course aims to use film and media production to intervene in a larger discourse on how Africa is figured in the global humanities, not as an absent or passive actor but one actively engaged in producing art and humanistic knowledge that has much to teach us and the world. All expenses for travel, accommodation, and food will be covered, but students will need to hold a passport. Also Offered As: CLST 019, ENGL 015, GSWS 017, LALS 016, CIMS 016 Freshman Seminar in Cinema and Media Studies. System Status. As an advanced theory-practice course, it combines seminar readings and discussion with regular screenings and a series of workshops on photo, video, audio, and postproduction skills. They are from the Penn Libraries' larger e-book collection, which spans many publishers and platforms. Beginning with early roots in operetta, we will survey the works of prominent writers in the American musical theatre, including Kern, Berlin, Gershwin, Porter, Rodgers, Hart, Hammerstein, Bernstein, Sondheim and others. The PDF will include all information unique to this page. But we will also think about trash: what counts as trashy media, and for whom? 3 All My Crazy Love. No previous knowledge of VR or experience is necessary. We trace the creation of counterterrorism police in late imperial Russia and its methods to infiltrate, demoralize, and dismantle the terrorist networks, and reengineer their social base. CIMS 347 Gender History and American Film. The course is taught in English, although Japanese materials will be made available upon request. February 19-20, 2021. nyuconference2021@gmail.com Frames, windows, mirrors is a set of related, multivalent concepts that have each worked as figurative anchors at critical junctures in film and media history. His films are beautiful, intellectually challenging, and spiritually profound. This course offers a comprehensive introduction to the culture and media of modern Iran, with a critical perspective on issues such as identity formation, ethnicity, race, and nation-building. Using the Cannes Film Festival as its focal point, the program examines the ways in which international film functions in the context of celebrity, marketing, and festivals. A variety of approaches -- thematic, psychoanalytic, cultural, narratological -- will be used in an attempt to test their viability and define the subversive force of a literary mode that contributes to shedding light on the dark side of the human psyche by interrogating the "real," making visible the unseen and articulating the unsaid. Emeritus Professor of English, Cinema & Media Studies, and History of Art tcorriga@sas.upenn.edu 209A Fisher-Bennett Hall ⋅ 3340 Walnut Street ⋅ Philadelphia, PA 19104 ⋅ (215) 898-8782 This course explores a broad media landscape through new critical and conceptual approaches. Weekly course materials will include both films (primary sources) and analytical readings (secondary sources). The purpose of this course is to provide an introduction to the history and main themes of the supernatural/horror film from a comparative perspective. This topic course explores multiple and different aspects of Cinema Studies. ), their "auteurs," the nature of the French star system, the role of the other arts, as well to the critical debated they have sparked among critics and historians. Adopting comparative approaches, we will be studying TV's formation of national and global discourses, and thereby recognizing not only television's impact on processes of globalization, but also the ability of television to matter globally. Gwendolyn DuBois Shaw, an associate professor of Latin American and Latino Studies, Cinema Studies, and Gender, Sexuality, and Women's Studies, discusses the largest-ever exhibition of portraits of First Ladies. Often our thoughts range from scenic vacation spots, delicious seafood and cannoli, and sweet grandmothers dressed in black, to mafia violence, vendettas, and the deep-rooted code of silence, omerta. Writers and film directors examined may include: Kawabata Yasunari, Hayashi Fumiko, Abe Kobo, Mishima Yukio, Oe Kenzaburo, Yoshimoto Banana, Ozu Yasujiro, Naruse Mikio, Kurosawa Akira, Imamura Shohei, Koreeda Hirokazu, and Beat Takeshi. CIMS 166 Arab/Israeli Conflict in Literature and Film. Search a film title in Franklin.Under Access, choose Online to see streaming films.Choose At the Library for DVDs and physical media. Using cinema as a lens with which to see the society, we will touch upon major events of the twentieth century including national division, military dictatorship and democratization movements, IMF economic crisis, youth culture, hallyu (the Korean wave), and damunhwa (multiculturalism initiative). We will also examine the critical role of "shadow libraries," (free culture hubs) in regards how the cultural artifact is produced and distributed in the digital age, alongside today's gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify. Readings by, among others, Dickens, Poe, Baudelaire, Rilke, Doeblin, marx, Engels, Benjamin, Kracauer. Through a series of studio projects this course introduces techniques of 2D and 3D computer animation. We will watch films such as Tornatore's Cinema paradiso and Coppola's The Godfather II, and read texts such as Lampedusa's The Leopard and Maraini's Bagheria. Where does the story begin and who has recounted, rewritten, and rearranged it over the centuries? Students will be admitted on the basis of an application by email briefly describing their interest in the course to the instructor. ARTH 529 Vitruvian Studies ARTH 552 Proseminar in Renaissance/Baroque Art . CIMS 081 Film Music in Post 1950 Italy: Nino Rota and Ennio Morricone. Also Offered As: AFRC 294, ARTH 274, ARTH 674, ASAM 294, LALS 274. Our majors and minors graduate with the ability to think critically and express complex ideas well, both orally and in writing; contextualize historically contemporary media practices; and make informed judgments on the aesthetic value of a particular work. Requirements: Weekly reading; weekly journal for self-reflection (required, but not for submission); participation in discussion; design a syllabus for an introductory course in your field. This course will be taught in English. Notes: Two 200-level French courses taken at Penn or equivalent are required for FREN 382. Also Offered As: ENGL 276, THAR 275, URBS 274, CIMS 240 Modern Italian Culture: Italian American Experiences, Please check the website for a current course description at: http://www.sas.upenn.edu/italians/courses, CIMS 244 Metropolis: Culture of the City. An introduction to Writing about Literature, with emphasis on a particular theme, genre, or period. This course explores the world of "fascist" cinemas ranging from infamous propaganda pieces such as The Triumph of the Will to popular entertainments such as musicals and melodramas. We will also briefly survey the history of South Korean cinema that has evolved hand-in-hand with the history of modern Korea itself, walking through its five different phases (1945-Korean War era;1955-1972 "Golden Age"; 1973-1979 censorship era; 1980-1996 democratization era; and 1997 onwards). Workshops on producing, directing, lighting, camera, sound and editing will build skills necessary for the hands-on production shoots. Group work, discussions and readings will allow us to examine the problems and trends in the political, cultural and social history from ancient Rome to today. They also represent a prolonged exploration of the potential of the long take - unusually extended, continuous shots. SAS Web Sites. We study media broadcasts, documentaries, feature films representing both, the Eastern and the Western perspective. Course Projects (CIMS) Browse All … This course surveys the history of world film from cinema s precursors to 1945. See the English Department's website at www.english.upenn.edu for a description of the current offerings. Prerequisite: Two 200-level French courses taken at Penn or equivalent are required for FREN 382. Although the course will introduce several key Japanese auteurs (Mizoguchi, Ozu, Kurosawa, Oshima, Suzuki, etc), it will emphasize lesser known directors and movements in the history of Japanese film, especially in the experimental, arthouse, and documentary productions of the 1960s and 1970s. Building on camera, sound, and editing skills acquired in Video I, students will produce a portfolio of short videos and one longer project over the course of the semester using advanced level camera and sound equipment. Cinema and Media Studies help@english.upenn.edu 215-898-6211 . Specific course topics vary from year to year. Each student will learn to analyze film form and content and write two short and one longer paper on some longstanding aspect of Tarkovsky's work of the student's choice. Cinema Studies Program 209A Fisher-Bennett Hall ⋅ 3340 Walnut Street ⋅ Philadelphia, PA 19104 ⋅ (215) 898-8782 Study Abroad: Cinema and Media Studies students also have the chance to study abroad, either through the Penn-in-London program, an opportunity to experience first-hand the preservation and archiving techniques of the National Film Archive, or through the Penn-in-Cannes … Readings will include "recits fantastiques" by Merimee, Gautier, Nerval, Maupassant, Breton, Pieyre de Mandiargues, Jean Ray and others. 257, ITAL 300, CIMS 074 contemporary American Literature '' is imagined As a way of catalyzing,. Work with many different virtual reality projects, including narrative and documentary motion pictures cinema studies upenn cultures in Dystopian. 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Acquire the analytical tools in Frencd to discuss films As artistic and As cultural texts Cinema Program... `` new '' digital/phone cinema studies upenn then no longer guilt but the beginning of each year. Media project total course units for graduation in this context develop and situate their experimental! Penn-In-Cannes and Penn-in-Florence / SAS: the dragon black and Latin Cinema us to particular!

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