Department of Film Studies,
Division of Humanities and Fine Arts,
Ellison Hall 1710;
Telephone (805) 893-2347
E-mail: fsoadmin@humanitas.ucsb.edu
Department Chair: Charles Wolfe
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Dana Driskel, M.F.A., University of Southern California, Lecturer (film production, animation)
Anna Everett, Ph.D., University of Southern California, Assistant Professor (film and media theory, African American film and culture)
Naomi Greene, Ph.D., New York University, Professor Emerita (French and Italian film)
Paul Lazarus, A.B., Cornell University, Lecturer (screenwriting)
Constance Penley, Ph.D., UC Berkeley, Professor (feminism, cultural studies, and film theory). Joint appointment with Women's Studies.
Alexander Sesonske, Ph.D., UC Los Angeles, Professor Emeritus (silent comedy, Russian cinema, Jean Renoir)
Janet Walker, Ph.D., UC Los Angeles, Assistant Professor (film history, documentary, feminist film criticism)
Charles Wolfe, Ph.D., Columbia University, Associate Professor (film history and criticism)
Harry Lawton, Ph.D. (French and Italian)
Suzanne Jill Levine, Ph.D. (Spanish and Portuguese)
Laurence A. Rickels, Ph.D. (Germanic, Slavic, and Semitic Studies)
Devoted to the study of film as a humanistic discipline, the Department of Film Studies at UCSB has as its primary emphasis film history, film theory, and film analysis. In addition to requirements for the major, a wide variety of electives is also offered, ranging from courses in national cinemas and important directors and genres to seminars on special topics. Production is not emphasized, but all majors become familiar with the basic tools of filmmaking. Interested students may also take courses in screenwriting and advanced film production.
Beyond the core requirements of the film studies major, the student may develop an individual program centered around special interests and goals. Students who wish to know more about the film studies major are invited to talk with an advisor in the film studies office.
The film studies major is designed to prepare students for careers in the film industry and film education, as well as library science, entertainment law, publishing, journalism, and new media.
Additional French language courses are recommended for students interested in spending their junior or senior year with Education Abroad's Paris Film Program.
Students with a bachelor's degree in film studies who are interested in pursuing a California Teaching Credential should contact the credential advisor in the Graduate School of Education as soon as possible.
Grants, Awards, Prizes. Several fellowships, awards, and prizes are available to the undergraduate film major: the President's Undergraduate Fellowship, the May Company Fellowship, UCSB Foundation Honors Awards, and Genesis Research Awards provide grants for students working on projects with anticipated expenses in excess of $300. The Sherrill C. Corwin Awards are given annually for best screenplay and best short film in awards up to $750. The Alexander Sesonske Prize is given annually for best scholarly essay on film history, criticism or theory with prizes of up to $750.
Majors who have completed two quarters of the junior year with a minimum grade-point average of 3.30 will be invited by the Department of Film Studies to apply for admission to the honors program. The application includes: (1) a 500-word prospectus, outlining the nature and scope of the project and the plan for carrying it out; (2) a statement of sponsorship from the faculty member who will supervise and evaluate the project. Applications are due no later than the tenth week of classes for admission to the program in the following quarter.
The project is to be a research or critical essay of not fewer than 40 pages or a completed, feature-length screenplay, accompanied by a critical self-assessment of the project. The program is comprised of two related courses (4 units each) to be taken in two quarters of the senior year. These must be taken consecutively. The first course is Independent Studies (Film Studies 199), which must be taken for a letter-grade and will not count as a film studies elective. During the quarter the student, guided by the sponsoring faculty member, completes the required research and submits for formal evaluation a draft of the essay or creative work. The second course is a senior honors seminar (Film Studies 196) during which the student completes the honors project; this course may be used as a film studies elective.
The film studies journal, Focus Magazine, an annual publication by and for undergraduate film students, publishes exceptional work including student writing on film, interviews with filmmakers, and book reviews.
Camera Obscura: Feminism, Culture, and Media Studies, the only English-language publication devoted to the study of women and representation in the visual media and arts, is considered to be a foremost journal of film and cultural theory and offers editorial internship opportunities. Based in the Department of Film Studies, the journal is edited by Constance Penley (UCSB), Elisabeth Lyon (Hobart and William Smith), Sasha Torres (Brown), and Sharon Willis (University of Rochester).
Career Opportunities. The motion picture industry is divided into three major segments: production, distribution, and exhibition. In addition to the major motion picture companies and television production companies, there are several related areas of employment to consider. Home entertainment (cable TV and interactive media) is a rapidly expanding industry. Also companies which produce TV commercials, industrial films, trailers, or mixed media presentations often accept trainees.
Upper-division major. Required: Fifty-two upper-division units including (1) Film Studies 101A-B-C; one production course chosen from Film Studies 102, 104, 107; Film Studies 146, 192A, and 192B; and (2) 24 additional upper-division units chosen from the following, with at least 4 units each from A, B, and C.
A. Seminars in Theory and Analysis: Film Studies 187AA-ZZ (may be repeated), 189AA-ZZ (may be repeated), 190AA-ZZ (may be repeated), 191, 193, 194 (may be repeated), 196.
B. National Cinemas: Black Studies 171; Film Studies 120, 121, 122AA-ZZ, 123, 132, 133, 136, 137, 178Z; French 178X-Y-Z; German 136, 180Z; Italian 180Z; Spanish 126, 127.
C. Film and Social Issues: Black Studies 161, 170, 172; Film Studies 125A-B, 161, 163, 165; French 191X.
D. Other Electives: Directors-Film Studies 154, 155AA-ZZ. Genre-Film Studies 107, 128, 130, 140, 142, 143, 144, 145, 147, 150AA-ZZ, 169, 170, 175. Screenwriting-Film Studies 188A-B. Other-Film Studies 110, 151A-B-C-D-E, 184.
Offerings in Film Studies Grouped by Subject Matter:
I. Lower Division
46. Introduction to Cinema
46MS. Major Seminar
54. Hollywood: Anatomy of an Industry
99. Independent Studies
II. Film Production
102. Acting and Directing Workshop
103. Project Development for the Short Film
104. Film Technology
105. Beginning Film Production
106A-B. 16mm Crew Production
107. Animation
109AA-ZZ. Special Topics in Film Production
188A. Basic Screenwriting
188B. Advanced Screenwriting
III. History
101A. History of Cinema: The Silent Film
101B. History of Cinema: The Advent of Sound Film
101C. History of Cinema: Neorealism and After
110. The Hollywood Studio
IV. Period Cinema
151A. American Film: The 1930s
151B. American Film: The 1940s
151C. American Film: The 1950s
151D. American Film: The 1960s
151E. American Film: The 1970s
V. National Cinemas
120. Japanese Cinema
121. Chinese Cinema
122AA-ZZ. Topics in National Cinemas
123. German Cinema
132. French New Wave Cinema
133. Soviet Cinema, 1917 to 1945
136. British Cinema
137. Eastern European Cinema
138. Women and Eastern European Film
178Z. French Film: Special Topics
VI. Directors
154. European Directors in Hollywood
155AA-ZZ. Directors
VII. Documentary/Social Reality
125A-B. Documentary Film
161. Third World Cinema
163. Women and Film: Feminist Perspectives
165. Film and Social Reality
VIII. Genre
107. Animation
128. Silent Film Comedy
130. Sound Film Comedy
140. The Western
142. The War Film
143. Science Fiction Film
144. The Horror Film
145. Melodrama
147. The Thriller
150AA-ZZ. Topics in Film Genre
169. Film Noir
170. The Musical Film
175. Experimental Film
IX. Analysis
146. Advanced Film Analysis
184. Film Music
187AA-ZZ. Special Topics in Film Analysis
190AA-ZZ. Studies in Film and the Other Arts
193. Film Narrative
X. Theory and Criticism
189AA-ZZ. Topics in Contemporary Film Theory
191. Film Criticism
192A. Classical Film Theory
192B. Contemporary Film and Media Theory
XI. Advanced Studies
194. Advanced Readings
195I. Internship in Film/Television
196. Senior Honors Seminar
199. Independent Studies
199RA. Independent Research Assistant in Film Studies
46MS. Major Seminar
(2) Staff
Prerequisites: concurrent enrollment in Film Studies
46 and consent of instructor.
Designed for film studies majors and students contemplating
a major or concentration in film. An intensive introduction to the study
of film and to various methods of critical analysis.
54. Hollywood: Anatomy of an Industry
(2) Staff
Course may be repeated to a maximum of 6 units.
In-depth analysis of the changing cinema world of the
1990s developed in intimate dialogues with major Hollywood players. Focus
may be on areas such as escalating production costs, diversification, colorization
of film, the foreign market, directing, screenwriting, acting, etc.
99. Independent Studies
(1-4) Staff
Prerequisites: (1) minimum 3.0 cumulative grade-point
average; (2) consent of instructor and department. May be repeated for
credit to a maximum of 8 units. Students are limited 5 units per quarter
and 30 units total in all 98/99/198/199/199RA courses combined. No unit
credit allowed toward the major.
Selected research under the direction of a faculty member.
101B. History of Cinema: The Advent of Sound Film
(4) Staff
Prerequisite: Film Studies 46; open to film studies
majors only.
International film history from the advent of talkies
to World War II. Historical accounts of film as an aesthetic form, a social
force, an economic institution, and a technology will be considered. (W)
101C. History of Cinema: Neorealism and After
(4) Staff
Prerequisite: Film Studies 46; open to film studies
majors only.
International film history since 1945. Historical accounts
of film as an aesthetic form, a social force, an economic institution,
and a technology will be considered. (S)
102. Acting and Directing Workshop
(4) Staff
Prerequisite: Film Studies 46 or consent of instructor
or upper-division standing.
Designed as an introduction to the fundamentals and interaction
of acting and directing in the creative process of producing a film or
video. Every student will write, perform in, direct, and record on video
a short work.
103. Project Development for the Short Film
(4) Staff
Prerequisites: Film Studies 46 and Film Studies 104,
105, or 106A and 106B and consent of instructor.
A workshop approach to the development of a short film
project. Course covers writing, budget, preparation, and preproduction,
with particular attention to final distribution needs.
104. Film Technology
(4) Driskel
Prerequisite: Film Studies 46.
An introduction to the technology, equipment, and materials
of filmmaking from Edison to computer graphics. Special attention to the
historical breakthroughs that have influenced cinematic trends and directions.
106A-B. 16mm Crew Production
(4-4) Driskel
Prerequisites: Film Studies 104 or 107. Each course
may be repeated to a maximum of 8 units.
Instruction in the basic techniques of 16mm filmmaking
via the production of crew projects over two consecutive quarters.
A. Preproduction through principal photography. (F)
B. Postproduction through composite print. (W)
107. Animation
(4) Driskel
Prerequisite: Film Studies 46 or upper-division standing.
A look at the techniques and history of animation with
emphasis on the major styles and methods of production, including cel,
direct, photo, three-dimensional, and computer. Close examination of significant
films combined with production of a 16mm class project.
108. 16mm Production
(4) Driskel
Prerequisites: Film Studies 46, and 104 or 107. Open
to film studies majors only. Consent of instructor. Not open for credit
to students who have completed Film Studies 105.
A workshop approach to the production of individual short
16mm film projects. Each student produces a double system, non-dialogue
project for public screening at the end of the term. Admission to this
course is determined by creative portfolio.
109AA-ZZ Special Topics in Film Production
(4) Staff
Prerequisites: Film Studies 46 and consent of department.
May be repeated for credit provided letter designations are different.
Focus on one or more aspects of film production, such
as music, writing, directing, design, acting, independent filmmaking, cinematography,
producing. Topics will vary.
110. The Hollywood Studio
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
The effects of studio domination on American cinema and
the ethos of the nation from the thirties to the sixties. Developing trends
in film form and content, studio production methods, star values, and censorship
are surveyed.
120. Japanese Cinema
(4) Staff
Prerequisite: upper-division standing or consent of
instructor. Same course as Japanese 159.
An introductory scrutiny of major Japanese directors:
Mizoguchi, Ozu, Oshima, and Kurosawa. Close attention to their film composition,
choices of subject and character, their ideas of the cinematic, and the
relationship of cinema to Japanese culture and society.
121. Chinese Cinema
(4) Staff
Prerequisite: Film Studies 46, consent of instructor
or upper-division standing.
An introduction to major Chinese directors from the People's
Republic of China, the Republic of China (Taiwan), and Hong Kong. Film
composition, choices of subject and character, ideas of the cinematic,
and relationship of cinema to Chinese culture and society.
122AA-ZZ. Topics in National Cinemas
(4) Staff
Prerequisites: Film Studies 46 or consent of instructor
or upper-division standing. May be repeated provided the letter designations
are different, but only 12 units may be applied toward the major.
This course will examine selected national cinemas (e.g.,
French, Italian, German, Chinese, Spanish, Japanese) in terms of major
periods, themes, and formal parameters, and in relation to both national
and international cultural histories.
123. German Cinema
(4) Staff
Prerequisite: Film Studies 46 or consent of instructor.
The rise and fall of German cinema from 1914 to 1934,
then its revival in the 1960s as the New German Cinema. Expressionism in
silent film. Analysis of films by Lang, Murnau, Pabst, Weine, Wenders,
Herzog, Fassbinder, etc.
125A-B. Documentary Film
(4-4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or six terms of college work.
A. The history of documentary film, as an aesthetic form
and a social force, from the early silent era to World War II.
B. The history of documentary film, as an aesthetic form
and a social force, from World War II to the present.
128. Silent Film Comedy
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
The study of silent film comedy encompassing the work
of Mack Sennett, Charlie Chaplin, Buster Keaton, Harold Lloyd, and some
of their contemporaries, within the context of American culture in the
teens and twenties.
130. Sound Film Comedy
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
An analysis of the comic tradition in American cinema
since the coming of sound emphasizing comic-dramatic patterns, theatrical
sources, historical/social contexts. Directors to be covered include: Lubitsch,
Hawks, Capra, and Cukor.
132. French New Wave Cinema
(4) Staff
Prerequisite: Film Studies 46. Not open to students
who have received credit for Film Studies 157 (French New Wave)
A study of the French New Wave as both an economic and
aesthetic phenomenon, examining characteristic films and critical texts
of the late fifties and sixties by Jean-Luc Godard, Jacques Rivette, Alain
Resnais, Francois Truffaut, and Claude Chabrol, among others.
133. Soviet Cinema, 1917 to 1945
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
A study of the development of cinema in Russia from the
revolution to the end of World War II, with some emphasis on the relation
of theory and practice and the influence of politics on art.
136. British Cinema
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
Course will consider a selection of films representing
the evolution of British cinema during the past half century.
137. Eastern European Cinema
(4) Staff
Prerequisite: Film Studies 46 or consent of instructor
or upper-division standing. Same course as History 126F.
Focuses on cinemas of Hungary, Czechoslovakia, and Poland
from their relatively modest pre-war beginnings through the post-war period
of economic and political "socialization" up to the peak production of
the sixties, in context of cultural and historical continuities.
138. Women and Eastern European Film: An Exploration
in Second World Cinema
(4) Staff
Prerequisite: Film Studies 46 or upper-division standing
or consent of instructor. Same course as Women's Studies 141.
Investigation of the role of women in Eastern European
cinema both in their involvement in the industry and their portrayal on
the screen in propaganda and beyond. Discussion of the cinemas of Czechoslovakia,
Hungary, Poland, and the former Soviet Union.
140. The Western
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
Establishes the forms and rituals of the Western genre,
and reflects on changes they have undergone. Attention will also be given
to the trend towards realism, and the new moral and political revisions
of the Western's view of society.
142. The War Film
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
A study of films depicting and/or discussing warfare
from World War I to Vietnam. Special emphasis on the relationship between
the periods in which the films were made and the manner in which the wars
were depicted.
143. Science Fiction Film
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
Examines the evolution and shifting limits of the genre
from the dawn of narrative cinema through the heyday of the fifties' science
fiction thriller through the recent high-tech revival in an age of media
transformation.
144. The Horror Film
(4) Staff
Prerequisite: Film Studies 46 or consent of instructor
or upper-division standing. Same course as German 183.
Study of the horror film genre and the reasons for its
popularity, including new interest in psychoanalysis and reaction to modern
mass society and consumerism. Covers issues of sacrifice, simulated catastrophic
loss, and other themes of catharsis.
145. Melodrama
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
A study of the themes, structures, style, and critical
reception of film melodrama, from morality tales of the silent era through
family dramas of the 1950s and 60s. Investigates issues including the representation
of motherhood, family anxiety, pressures toward conformity.
146. Advanced Film Analysis
(4) Staff
Prerequisite: Film Studies 46, upper-division standing,
and consent of instructor.
A study of the basic formal dimensions of cinema: narration,
causality, space, time, and sound.
147. The Thriller
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
Study of the genre from the gangster to the science-fiction
thriller, involving primarily American films but with a look at the parallel
international cinema. Course centers on detection and investigation, exploring
suspense and other intense forms of spectator involvement.
150AA-ZZ. Topics in Film Genre
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing. Course may be repeated an unlimited number
of times, provided the letter designations are different. However, only
12 units may count toward the major.
A study in depth of one or two film genres, including
historical, theoretical, and social issues. Topics will vary.
151A. American Film: The 1930s
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
A survey of major American film directors and genres,
in the 1930s, within the context of social concerns.
151B. American Film: The 1940s
(4) Staff
Prerequisite: Film studies 46, consent of instructor,
or upper-division standing.
A survey of major American film directors and genres,
in the 1940s, within the context of social concerns.
151C. American Film: The 1950s
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
A survey of major American film directors and genres,
in the 1950s, within the context of social concerns.
151D. American Film: The 1960s
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
A survey of major American film directors and genres,
in the 1960s, within the context of social concerns.
151E. American Film: The 1970s
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
A survey of major American film directors and genres,
in the 1970s, within the context of social concerns.
154. European Directors in Hollywood
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
How the styles and themes of German emigre directors
arriving in Hollywood during the twenties and thirties influenced and in
turn were affected by American culture and the Hollywood studio system.
Course focuses primarily on Lubitsch, Lang, and Wilder.
155AA-ZZ. Directors
(4) Staff
Prerequisite: Film Studies 46. Course may be repeated
an unlimited number of times, provided the letter designations are different;
8 units may be counted toward the film studies major.
A study in depth of the films of one or two filmmakers
of international stature and significance.
161. Third World Cinema
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing. Same course as Black Studies 161.
This course studies representative films from Africa,
Asia, and Latin America from the 1950s to the present. Explores the socio-cultural
and aesthetic dimensions of these cinemas (which have emerged as the "other"
of Hollywood and European cinema).
163. Women and Film: Feminist Perspectives
(4) Staff
Prerequisite: Film Studies 46, or consent of instructor,
or upper-division standing.
Survey of the major debates on questions of women and
representation in contemporary film criticism. Topics to be covered include
the representation of sexuality and the family in the Hollywood cinema;
feminism and the avant-garde.
165. Film and Social Reality
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
An inquiry into the interrelationships between film and
history and/or film and ideology. The course examines how cinema reflects
and/or influences the attitudes of a society.
169. Film Noir
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing. Not open for credit to students who have received
credit for Film Studies 180.
Study of the conventional themes, structures, and visual
motifs of the detective film. American films of the forties and fifties
and contemporary American and European works will be considered.
170. The Musical Film
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or six terms of college work.
Examination of musical films from the advent of talkies
to the present, with special attention given to formal issues: the relationship
of musical spectacle to narrative, conditions of musical film spectatorship,
musical utopias as constructed in film space and time.
175. Experimental Film
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or six terms of college work.
A survey of the experimental film tracing the major stylistic
and thematic trends in the diverse movements that have considered themselves
outside of the commercial narrative cinema. Bunuel, Dulac, Cocteau, Leger,
Deren, Brakhage, Baillie, Frampton, Snow, Rainer, and others.
178Z. French Film: Special Topics
(4) Greene
Prerequisites: Writing 2 and 50. Same course as French
178Z.
Special topics in French cinema such as recent film,
the representation of history, the counterpoint of text and image, the
relationship between film and the other arts, film iconography. Lectures
and readings in English.
184. Film Music
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
Examines the musical score as an integral structural
element of cinema. Topics include the model of "silent" cinema; the theoretical
basis of sound and image synchronicity; the narrative functions of film
music; and contemporary development of the film score.
187AA-ZZ. Topics in Film Analysis
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing. May be repeated for credit to a maximum of
12 units provided the letter designations are different, but only 8 units
may be applied toward the major.
This seminar for advanced students will examine in depth
a particular problem or issue in the analysis of film and its consequences
for a history, theory, or aesthetics of film.
188A. Basic Screenwriting
(4) Staff
Prerequisites: consent of instructor, writing sample,
upper-division standing.
A study of the creativity and the technique of screenwriting
for the conventional narrative film and for TV. Students will be required
to complete writing exercises, a treatment, and master scenes of a full-length
project.
188B. Advanced Screenwriting
(4) Staff
Prerequisite: Film Studies 188A. May be repeated for
credit to a maximum of 8 units.
A course intended for students who have successfully
completed Film Studies 188A and have a full-length screenplay in process
which they want to complete.
189AA-ZZ. Topics in Contemporary Film Theory
(4) Staff
Prerequisites: Film Studies 146 and 192, or consent
of instructor, or upper-division standing. May be repeated for credit to
a maximum of 12 units with 8 units allowed toward the major.
Topics vary each year and may include such problems as
the relation of film to structuralism, semiotics, metaphor/metonymy, point
of view, and the writings of Burch, Barthes, Metz, Heath, Bordwell, Willemen,
Wollen.
190AA-ZZ. Studies in Film and the Other Arts
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
An analysis of film in relation to literary and plastic
arts such as photography, architecture, and the novel. Topics will vary.
191. Film Criticism
(4) Staff
Prerequisite: Film Studies 46 or consent of instructor.
An intensive study in the reading and writing of film
criticism. A close examination of critical texts from different periods
is accompanied by the screening of relevant films; further emphasis is
given to analyzing critical papers written for the seminar.
192A. Classical Film Theory
(4) Branigan
Prerequisites: Film Studies 146 and upper-division
standing, or consent of instructor. Not open for credit to students who
have completed Film Studies 192.
An introduction to classical film theory through a close
analysis of selected writings of such theorists as Munsterberg, Arnhein,
Eisenstein, Bazin, Mitry, Metz, Burch, Baudry, and Heath.
192B. Contemporary Film and Media Theory
(4) Penley
Prerequisites: Film Studies 146 and upper-division
standing, or consent of instructor.
A survey of the contribution of contemporary critical
theory to the study of film and media. Special emphasis on cultural studies
approaches to understanding film as popular culture.
193. Film Narrative
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or upper-division standing.
An investigation of major aesthetic and theoretical problems
concerning film narrative. Covered will be the classic film, the breakdown
of classical conventions, and the modernistic film.
194. Advanced Readings
(4) Staff
Prerequisite: Film Studies 46, consent of instructor,
or six terms of college work. May be repeated for credit to a maximum of
12 units.
This seminar will cover advanced readings in specific
film genres, directors, or historical periods.
195I. Internship in Film/Television
(2) Staff
Prerequsites: upper-division standing, a minimum 3.0
grade point average for the preceding three quarters, and consent of department.
Open to film studies majors only.
An opportunity for training, career sampling, and contacts
in the film or television industry. Required are approximately 100 hours
of work a quarter, a final five-page report, and a supervisor's letter
of verification.
196. Senior Honors Seminar
(4) Staff
Prerequisite: admission to senior honors program (see
requirements under Film Studies Honors Program).
A one-quarter directed study, to be conducted as outlined
in the description of the Senior Honors Program. Honors candidates will
write a senior thesis on a topic approved by film studies faculty.
199. Independent Studies
(1-4) Staff
Prerequisites: students must (1) have attained upper-division
standing; (2) have a minimum 3.0 grade-point average for the preceding
three quarters; (3) have completed at least two upper-division courses
in film studies. Students are limited to 5 units per quarter and 30 units
total in all 98/99/198/199/199RA courses combined. Departmental and instructor
approval required.
Selected research under the direction of a faculty member.
199RA. Independent Research Assistance in Film Studies
(1-5) Staff
Prerequisites: students must (1) have attained upper-division
standing; (2) have a minimum 3.0 grade-point average for the preceding
three quarters; (3) have completed at least two upper-division courses
in film studies; (4) have consent of instructor and department. Students
are limited to 5 units per quarter and 30 total units in all 98/99/198/199/199RA
courses combined.
Coursework shall consist of faculty supervised research
assistance.