Film and Media Studies

The Five College Film Council works to coordinate the study of film and video at all five campuses.

The members of the Council include faculty members drawn from a number of disciplines ranging from foreign languages to literature, history and media studies. They meet regularly to exchange information about courses as well as faculty appointments, and plan a coordinated approach to meeting common needs for instruction.

The Council sponsors an undergraduate film and media studies conference and an annual student film and video festival, both held during the spring semester.

The Five College FC Film Studies Announcements email list is open to faculty, staff and students interested in Film Studies to share announcements and information. Visit the Five Colleges Film Studies Announcements page to subscribe or unsubscribe.

The email list for Five College Film Studies Council business is for faculty members only. Visit the FC-Film-Council page to request to subscribe or unsubscribe.  Please contact the Five College Academic Programs office for more information about joining these email lists.

On This Page

Faculty

Kara Lynch, Associate Professor Emeritx of Video Production 

Susana Loza, Associate Professor of Critical Race, Gender, and Media Studies

Abraham Ravett, Professor of Film and Photography

Lise Sanders, Professor of English Literature & Cultural Studies 

Hope Tucker, Assistant Professor of Video and Film

Robin Blaetz, Professor of Film Studies and Chair of Film Media Theater

Justin Crumbaugh, Associate Professor of Spanish, Latina/o, and Latin American Studies

Bernadine Mellis, Five College Senior Lecturer in FIlm Studies

Ajay J. Sinha, Professor of Art History

Paul Staiti, Professor of Fine Arts on the Alumnae Foundation

Thomas E. Wartenberg, Professor Emeritus of Philosophy

Elizabeth Young, Professor of English and Gender Studies

Alexandra Keller, Professor of Film Studies, Director of Film Studies Program

Anna Botta, Professor of Italian Studies and of World Literatures

Dawn Fulton, Professor of French Studies

Barbara Kellum, Professor of Art

Daniel Kramer, Professor of Theatre

Jennifer Malkowski, Associate Professor of Film and Media Studies

Richard Millington, Helen and Laura Shedd Professor of English Language and Literature

Fraser Stables, Professor of Art

Frazer Ward, Professor of Art

Joel Westerdale, Associate Professor of German Studies

Courses

Spring 2022 Film and Media Studies Courses

01
4.00

Heidi Gilpin

F 12:00 PM-03:00 PM

Amherst College
ARCH-368-01-2122S

CONV209

hgilpin@amherst.edu
GERM-368-01, ARCH-368-01, EUST-368-01, FAMS-380-01

(Offered as GERM 368, ARCH 368, EUST 368, and FAMS 380) This research seminar will explore conceptions of space as they have informed and influenced thought and creativity in the fields of cultural studies, literature, architecture, urban studies, performance, and the visual, electronic, and time-based arts. Students will select and pursue a major semester-long research project early in the semester in consultation with the professor, and present their research in its various stages of development throughout the semester, in a variety of media formats (writing, performance, video, electronic art/interactive media, installation, online and networked events, architectural/design drawings/renderings), along with oral presentations of readings and other materials. Readings and visual materials will be drawn from the fields of literature and philosophy; architectural, art, and film theory and history; performance studies and performance theory; and theories of technology and the natural and built environment. Emphasis on developing research, writing, and presentation skills is a core of this seminar.

Preference given to German majors and European Studies majors, as well as to students interested in architecture/design, performance, film/video, interactive installation, and/or the environment. Conducted in English. German majors will select a research project focused on a German Studies context, and will do a substantial portion of the readings in German. 

Limited to 18 students. Enrollment requires attendance at the first class meeting. Spring semester. Professor Gilpin.

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Patricia Montoya

TTH 01:30 PM-04:30 PM

Amherst College
ARHA-221-01-2122S

FAYE117

pmontoya@amherst.edu
ARHA-221-01, FAMS-221-01

(Offered as ARHA 221 and FAMS 221) This introductory course is designed for students with no prior experience in video production. The aim is both technical and creative. We will begin with the literal foundation of the moving image—the frame—before moving through shot and scene construction, lighting, sound-image concepts, and final edit. In addition to instruction in production equipment and facilities, the course will also explore cinematic form and structure through weekly readings, screenings and discussion. Each student will work on a series of production exercises and a final video assignment.

Limited to 12 students with instructor's permission. Fall semester: Professor Levine. Spring semester: Visiting Professor Mellis. 
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Adam R. Levine

MW 01:30 PM-04:30 PM

Amherst College
ARHA-335-01-2122S

FAYE215

alevine@amherst.edu
ARHA-335-01, FAMS-335-01

(Offered as ARHA 335 and FAMS 335) This intermediate production course surveys the outer limits of cinematic expression and provides an overview of creative 16mm film production. We will begin by making cameraless projects through drawing, painting and scratching directly onto the film strip before further exploring the fundamentals of 16mm technology, including cameras, editing and hand-processing. While remaining aware of our creative choices, we will invite chance into our process and risk failure, as every experiment inevitably must.

Through screenings of original film prints, assigned readings and discussion, the course will consider a number of experimental filmmakers and then conclude with a review of exhibition and distribution strategies for moving image art. All students will complete a number of short assignments on film and one final project on either film or video, each of which is to be presented for class critique. One three-hour class and one film screening per week.

Requisite: One 200-level production course or relevant experience (to be discussed with the instructor in advance of the first class). Limited to 12 students. Spring semester. Professor Levine.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Adam R. Levine

MW 09:00 AM-11:00 AM

Amherst College
ARHA-444-01-2122S

FAYE117

alevine@amherst.edu
ARHA-444-01, FAMS-412-01

(Offered as ARHA 444 and FAMS 412) Essay filmmaking is a dynamic form with many commonly cited attributes—the presence of an authorial voice, an emphasis on broad themes, an eclectic approach to genre, and the tendency to digress or draw unexpected connections. Yet, true to its nature, the precise definition of the essay film is in constant flux. It can be both personal and political, individual and collective, noble and mischievous. Essay filmmakers themselves are equally diverse, ranging from established film auteurs to Third Cinema activists and contemporary video artists.

If we entertain the notion that the processes of cinema closely resemble the mechanics of human thought, then the essay film may be the medium’s purest expression. To watch or make such a film, we must give ourselves over to a compulsive, restless energy that delights in chasing a subject down any number of rabbit holes and blind alleys, often stopping to admire the scenery on the way. As with thought, there is no end product, no clear boundaries, no goal but the activity itself.

The term "essay" finds its origins in the French essayer, meaning “to attempt” or to try.” In this advanced production workshop, we will read, screen and discuss examples of the essayistic mode in literature and cinema while making several such attempts of our own. Students will complete a series of writing assignments and video projects informed by class materials and group discussion.

Limited to 12 students. Spring semester. Professor Levine.

Requisite: One 200-level production course or relevant experience (to be discussed with the instructor in advance of the first class). 

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Sara J. Brenneis, Timothy J. Van Compernolle

TTH 01:00 PM-02:20 PM

Amherst College
ASLC-327-01-2122S

FAYE113

sbrenneis@amherst.edu tvancompernolle@amherst.edu
ASLC-327-01, FAMS-327-01, EUST-327-01

(Offered as ASLC 327, EUST 327, and FAMS 327) The relationships among media, the state, and civil society are complex.  This course aims to address these relationships by examining cinema—the art form of the twentieth century—in Japan and Spain during different but overlapping eras of tumult: the 1930s to the 1980s. Putting these two national cinemas in a comparative framework will allow us to address issues such as: the interest in film by authoritarian regimes; the way cinema is harnessed to wartime goals by the state; the nature of censorship and self-censorship in war and peace; the potential of image, sound, and narrative to give expression to propaganda and democratic ideals; the cathartic release following the end of an authoritarian regime or occupation. The course, taught in English, does not assume prior knowledge of either country, nor of film studies. All films have English subtitles.

Spring semester. Professors Brenneis and Van Compernolle.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Joshua M. Guilford

TTH 10:00 AM-11:20 AM; M 07:00 PM-10:00 PM

Amherst College
ENGL-280-01-2122S

; FAYE117

jguilford@amherst.edu
ENGL-280-01, FAMS-210-01

(Offered as ENGL 280 and FAMS 210) An introduction to cinema studies through consideration of key critical terms, together with a selection of various films (classic and contemporary, foreign and American, popular and avant-garde) for illustration and discussion. The terms for discussion may include, among others: modernity, montage, realism, visual pleasure, ethnography, choreography, streaming, and consumption. Two class meetings and one screening per week.

Limited to 35 students. Spring semester. Professor Guilford.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Pooja G. Rangan

MW 01:30 PM-02:50 PM

Amherst College
ENGL-284-01-2122S

JOCH202

prangan@amherst.edu
ENGL-284-01, FAMS-216-01

(Offered as ENGL 284 and FAMS 216) What do we mean when we talk about “the media”? Coming to Terms: Media will parse this question, approaching the media not as a shadowy monolith but as a complex and changing environment comprised of varied technologies, formats, practices, devices, and platforms (e.g.: photography, gramophone records, online dating, smartphones, Netflix). The course will introduce key terms and critical approaches for the study of modern media in their specificity in an era of digital mediation. We will ask questions such as: What are the formal and technical features of different media? How do they construct us as spectators or users, and shape our perception of the world we inhabit? How do our media practices produce experiences of space, time, and community? And crucially, what are the ideological impacts of these perceptions, constructions, and practices when it comes to race, sex, identity, and the circulation of power and capital?

Each week students will encounter important works of twentieth- and twenty-first-century media and cultural theory and will encounter concrete examples to flesh out the abstract concepts in the readings and engage in ample class participation. Assignments will encourage students to enter into a conversation with these texts as a way of exploring and constructing arguments about contemporary media. The course will provide a strong foundation for advanced work in film and media studies, and related disciplines.

This course has no prerequisites, but it is best suited to students who have completed a 100-level course dealing with the analysis of literature or film. Limited to 25 students. Spring semester. Professor Rangan.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Lise Shapiro Sanders

MW 12:00 PM-01:20 PM; SU 07:00 PM-10:00 PM

Amherst College
ENGL-374-01-2122S

; FAYE217

lsanders@amherst.edu
ENGL-374-01, FAMS-374-01

(Offered as ENGL 374 and FAMS 374) Gothic fictions are known for their ability to send shivers down the spine, evoking sensations of discomfort, fear, and horror. This interdisciplinary course will explore the genre of the Gothic from its roots in the late eighteenth century through the present, moving among literature, film, television, and digital media forms. Mary Shelley’s Frankenstein will be a key text; we will explore intermedial texts like Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde and Bram Stoker’s Dracula; and the course will end with twenty-first century incarnations of the Gothic (Get Out, Penny Dreadful). Throughout, we will discuss the tangled relationship between sexuality, race, and power that characterizes the genre. Students will  develop a creative project, whether a piece of short fiction or a visual/digital exploration of Gothic themes, keep a weekly reading/viewing journal of their responses to the assigned texts, and facilitate discussion on a given text. In addition, students will write a 3- to 5-page close textual analysis, with a mandatory peer review workshop and revision, and a final research paper (10-12 pages) or creative project. Students will gain a familiarity with key literary and film/media studies terms and approaches; an understanding of major works in the Gothic and horror genres; an ability to think and write critically about Gothic literature and related media, in terms of aesthetics, historical development, and cultural context; confidence in reading critical/theoretical essays in literary studies, cultural studies, and film and media studies; and proficiency in various aspects of project-based work, including identifying a research topic, building arguments, using evidence, and working with and appropriately citing a variety of sources.

Requisite: A 200-level foundations course in English or Film & Media Studies, or equivalent. Open to sophomores, juniors, and seniors. Limited to 25 students. Spring semester. Visiting Professor Sanders.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Pooja G. Rangan

MW 08:30 AM-09:50 AM; T 07:00 PM-10:00 PM

Amherst College
ENGL-378-01-2122S

; CHAP205

prangan@amherst.edu
ENGL-378-01, FAMS-382-01

(Offered as ENGL 378 and FAMS 382)

Calls to defund the police may have helped to cancel the notorious reality program COPS, but crime scenes, courtrooms, cops, lawyers, victims, and vigilantes dominate our media and our imaginations. This course asks what needs to be abolished—not just canceled—in our media environment in order for us to imagine a world without prisons. Abolition is, at its core, a transformative project that aims to change the very social relations, conditions, and logics that produce the harms for which police and prisons seem to serve as solutions. A project that once took on the seemingly impossible challenge of ending slavery, abolition has become a movement of interlinked struggles against systemic oppression. We will examine a range of media, historical and contemporary, cinematic and televisual, fictional and documentary, global and local, through the lens of abolition, deconstructing carceral scenarios and affects, and discovering and imagining transformative approaches to narrative, healing, and justice. Students enrolling in this course should be prepared to take on a range of activities including and beyond weekly readings, film/media viewing, and analytical writing, such as independent and collaborative research, site-based field work (if public health guidelines permit), and optional creative media assignments.

Open to sophomores, juniors, and seniors, and to first-year students with consent of the instructor. Spring semester. Professor Rangan.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Joshua M. Guilford

TTH 03:00 PM-04:20 PM; SU 04:00 PM-07:00 PM

Amherst College
ENGL-383-01-2122S

FAYE113

jguilford@amherst.edu
ENGL-383-01, FAMS-360-01

(Offered as ENGL 383 and FAMS 360] What’s intimate about cinema? And what, if anything, is cinematic about intimacy? Since its invention, cinema has been closely associated with intimate experience, though understandings of this association have shifted over time. For classical film theorists, cinema’s intimate devices (the close-up, the kiss, etc.) were often invested with revolutionary potential, though more recent cultural theorists have issued strong rejoinders to such claims. Isn’t intimacy crucial to the workings of modern power? Doesn’t cinema structure intimate relations in accordance with normative ideologies? Examining a range of intimate film cultures–from early cinema to surrealism, classical Hollywood, Black British film, and queer world cinema–this course will explore the intimate dimensions of filmic representation and reception, and the reasons cinema’s intimacy has been both celebrated and denounced. Assignments include in-class presentations, critical essays, and weekly entries in personal film journals.

Requisite: One 200-level ENGL or FAMS course, or consent of the instructor. Not open to first-year students. Limited to 25 students. Spring semester. Professor Guilford.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Lise Shapiro Sanders

MW 01:30 PM-02:50 PM

Amherst College
ENGL-475-01-2122S

FAYE117

lsanders@amherst.edu
ENGL-475-01, FAMS-431-01

(Offered as ENGL 475 and FAMS 431) Fashion has long been associated with frivolity, ephemerality, and triviality. Yet trends in clothing and design are irrevocably linked to politics, technology, society, and cultural change–from hats to hemlines to heels, fashion can reveal the transformations of an era. How has fashion evolved in the modern age, and what is its relationship to literature, film, and other media forms? What can fashion teach us about our past, present, and future? This advanced seminar will delve into the interdisciplinary field of fashion studies to examine the vicissitudes of fashion from the nineteenth century onward, focusing on Britain, Europe, and the United States, with an eye toward the role of imperialism, Orientalism, and cultural appropriation in shaping fashion’s tangled histories. Students will study literary texts; film and television; print, visual, and digital media; and material culture. Potential case studies include the dandy, the New Woman, and the flapper; wartime fashions; subcultural style; the wedding gown; the sneaker; among other topics. Students will do independent research, culminating in a written research project and/or curated digital exhibit; keep a weekly reading/viewing journal recording their critical responses to the assigned texts; and facilitate discussion on a given topic. Students can expect to gain: a familiarity with key terms and approaches in fashion studies, media studies, and cultural studies; an ability to think and write critically about fashion and fashion media, in terms of aesthetics, historical development, and cultural context; confidence in reading critical/theoretical essays; and proficiency in various aspects of project-based work, including identifying a research topic, building arguments, using evidence, and working with and appropriately citing a variety of sources.

Requisite: At least one 200-level foundations course in English, Film & Media Studies, Art & the History of Art, History, Theater and Dance, and/or Sexuality, Women’s & Gender Studies. Upper-level coursework in one or more of these fields is strongly recommended. Open to juniors and seniors. Limited to 18 students. Spring semester. Visiting Professor Sanders.

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Timothy J. Van Compernolle, Sara J. Brenneis

TTH 01:00 PM-02:20 PM

Amherst College
EUST-327-01-2122S

FAYE113

tvancompernolle@amherst.edu sbrenneis@amherst.edu
ASLC-327-01, FAMS-327-01, EUST-327-01

(Offered as ASLC 327, EUST 327, and FAMS 327) The relationships among media, the state, and civil society are complex.  This course aims to address these relationships by examining cinema—the art form of the twentieth century—in Japan and Spain during different but overlapping eras of tumult: the 1930s to the 1980s. Putting these two national cinemas in a comparative framework will allow us to address issues such as: the interest in film by authoritarian regimes; the way cinema is harnessed to wartime goals by the state; the nature of censorship and self-censorship in war and peace; the potential of image, sound, and narrative to give expression to propaganda and democratic ideals; the cathartic release following the end of an authoritarian regime or occupation. The course, taught in English, does not assume prior knowledge of either country, nor of film studies. All films have English subtitles.

Spring semester. Professors Brenneis and Van Compernolle.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Heidi Gilpin

F 12:00 PM-03:00 PM

Amherst College
EUST-368-01-2122S

CONV209

hgilpin@amherst.edu
GERM-368-01, ARCH-368-01, EUST-368-01, FAMS-380-01

(Offered as GERM 368, ARCH 368, EUST 368, and FAMS 380) This research seminar will explore conceptions of space as they have informed and influenced thought and creativity in the fields of cultural studies, literature, architecture, urban studies, performance, and the visual, electronic, and time-based arts. Students will select and pursue a major semester-long research project early in the semester in consultation with the professor, and present their research in its various stages of development throughout the semester, in a variety of media formats (writing, performance, video, electronic art/interactive media, installation, online and networked events, architectural/design drawings/renderings), along with oral presentations of readings and other materials. Readings and visual materials will be drawn from the fields of literature and philosophy; architectural, art, and film theory and history; performance studies and performance theory; and theories of technology and the natural and built environment. Emphasis on developing research, writing, and presentation skills is a core of this seminar.

Preference given to German majors and European Studies majors, as well as to students interested in architecture/design, performance, film/video, interactive installation, and/or the environment. Conducted in English. German majors will select a research project focused on a German Studies context, and will do a substantial portion of the readings in German. 

Limited to 18 students. Enrollment requires attendance at the first class meeting. Spring semester. Professor Gilpin.

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Joshua M. Guilford

TTH 10:00 AM-11:20 AM; M 07:00 PM-10:00 PM

Amherst College
FAMS-210-01-2122S

FAYE117

jguilford@amherst.edu
ENGL-280-01, FAMS-210-01

(Offered as ENGL 280 and FAMS 210) An introduction to cinema studies through consideration of key critical terms, together with a selection of various films (classic and contemporary, foreign and American, popular and avant-garde) for illustration and discussion. The terms for discussion may include, among others: modernity, montage, realism, visual pleasure, ethnography, choreography, streaming, and consumption. Two class meetings and one screening per week.

Limited to 35 students. Spring semester. Professor Guilford.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Pooja G. Rangan

MW 01:30 PM-02:50 PM

Amherst College
FAMS-216-01-2122S

JOCH202

prangan@amherst.edu
ENGL-284-01, FAMS-216-01

(Offered as ENGL 284 and FAMS 216) What do we mean when we talk about “the media”? Coming to Terms: Media will parse this question, approaching the media not as a shadowy monolith but as a complex and changing environment comprised of varied technologies, formats, practices, devices, and platforms (e.g.: photography, gramophone records, online dating, smartphones, Netflix). The course will introduce key terms and critical approaches for the study of modern media in their specificity in an era of digital mediation. We will ask questions such as: What are the formal and technical features of different media? How do they construct us as spectators or users, and shape our perception of the world we inhabit? How do our media practices produce experiences of space, time, and community? And crucially, what are the ideological impacts of these perceptions, constructions, and practices when it comes to race, sex, identity, and the circulation of power and capital?

Each week students will encounter important works of twentieth- and twenty-first-century media and cultural theory and will encounter concrete examples to flesh out the abstract concepts in the readings and engage in ample class participation. Assignments will encourage students to enter into a conversation with these texts as a way of exploring and constructing arguments about contemporary media. The course will provide a strong foundation for advanced work in film and media studies, and related disciplines.

This course has no prerequisites, but it is best suited to students who have completed a 100-level course dealing with the analysis of literature or film. Limited to 25 students. Spring semester. Professor Rangan.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Patricia Montoya

TTH 01:30 PM-04:30 PM

Amherst College
FAMS-221-01-2122S

FAYE117

pmontoya@amherst.edu
ARHA-221-01, FAMS-221-01

(Offered as ARHA 221 and FAMS 221) This introductory course is designed for students with no prior experience in video production. The aim is both technical and creative. We will begin with the literal foundation of the moving image—the frame—before moving through shot and scene construction, lighting, sound-image concepts, and final edit. In addition to instruction in production equipment and facilities, the course will also explore cinematic form and structure through weekly readings, screenings and discussion. Each student will work on a series of production exercises and a final video assignment.

Limited to 12 students with instructor's permission. Fall semester: Professor Levine. Spring semester: Visiting Professor Mellis. 
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Timothy J. Van Compernolle, Sara J. Brenneis

TTH 01:00 PM-02:20 PM

Amherst College
FAMS-327-01-2122S

FAYE113

tvancompernolle@amherst.edu sbrenneis@amherst.edu
ASLC-327-01, FAMS-327-01, EUST-327-01

(Offered as ASLC 327, EUST 327, and FAMS 327) The relationships among media, the state, and civil society are complex.  This course aims to address these relationships by examining cinema—the art form of the twentieth century—in Japan and Spain during different but overlapping eras of tumult: the 1930s to the 1980s. Putting these two national cinemas in a comparative framework will allow us to address issues such as: the interest in film by authoritarian regimes; the way cinema is harnessed to wartime goals by the state; the nature of censorship and self-censorship in war and peace; the potential of image, sound, and narrative to give expression to propaganda and democratic ideals; the cathartic release following the end of an authoritarian regime or occupation. The course, taught in English, does not assume prior knowledge of either country, nor of film studies. All films have English subtitles.

Spring semester. Professors Brenneis and Van Compernolle.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Adam R. Levine

MW 01:30 PM-04:30 PM

Amherst College
FAMS-335-01-2122S

FAYE215

alevine@amherst.edu
ARHA-335-01, FAMS-335-01

(Offered as ARHA 335 and FAMS 335) This intermediate production course surveys the outer limits of cinematic expression and provides an overview of creative 16mm film production. We will begin by making cameraless projects through drawing, painting and scratching directly onto the film strip before further exploring the fundamentals of 16mm technology, including cameras, editing and hand-processing. While remaining aware of our creative choices, we will invite chance into our process and risk failure, as every experiment inevitably must.

Through screenings of original film prints, assigned readings and discussion, the course will consider a number of experimental filmmakers and then conclude with a review of exhibition and distribution strategies for moving image art. All students will complete a number of short assignments on film and one final project on either film or video, each of which is to be presented for class critique. One three-hour class and one film screening per week.

Requisite: One 200-level production course or relevant experience (to be discussed with the instructor in advance of the first class). Limited to 12 students. Spring semester. Professor Levine.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Joshua M. Guilford

TTH 03:00 PM-04:20 PM; SU 04:00 PM-07:00 PM

Amherst College
FAMS-360-01-2122S

FAYE113

jguilford@amherst.edu
ENGL-383-01, FAMS-360-01

(Offered as ENGL 383 and FAMS 360] What’s intimate about cinema? And what, if anything, is cinematic about intimacy? Since its invention, cinema has been closely associated with intimate experience, though understandings of this association have shifted over time. For classical film theorists, cinema’s intimate devices (the close-up, the kiss, etc.) were often invested with revolutionary potential, though more recent cultural theorists have issued strong rejoinders to such claims. Isn’t intimacy crucial to the workings of modern power? Doesn’t cinema structure intimate relations in accordance with normative ideologies? Examining a range of intimate film cultures–from early cinema to surrealism, classical Hollywood, Black British film, and queer world cinema–this course will explore the intimate dimensions of filmic representation and reception, and the reasons cinema’s intimacy has been both celebrated and denounced. Assignments include in-class presentations, critical essays, and weekly entries in personal film journals.

Requisite: One 200-level ENGL or FAMS course, or consent of the instructor. Not open to first-year students. Limited to 25 students. Spring semester. Professor Guilford.

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Lise Shapiro Sanders

MW 12:00 PM-01:20 PM; SU 07:00 PM-10:00 PM

Amherst College
FAMS-374-01-2122S

FAYE217

lsanders@amherst.edu
ENGL-374-01, FAMS-374-01

(Offered as ENGL 374 and FAMS 374) Gothic fictions are known for their ability to send shivers down the spine, evoking sensations of discomfort, fear, and horror. This interdisciplinary course will explore the genre of the Gothic from its roots in the late eighteenth century through the present, moving among literature, film, television, and digital media forms. Mary Shelley’s Frankenstein will be a key text; we will explore intermedial texts like Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde and Bram Stoker’s Dracula; and the course will end with twenty-first century incarnations of the Gothic (Get Out, Penny Dreadful). Throughout, we will discuss the tangled relationship between sexuality, race, and power that characterizes the genre. Students will  develop a creative project, whether a piece of short fiction or a visual/digital exploration of Gothic themes, keep a weekly reading/viewing journal of their responses to the assigned texts, and facilitate discussion on a given text. In addition, students will write a 3- to 5-page close textual analysis, with a mandatory peer review workshop and revision, and a final research paper (10-12 pages) or creative project. Students will gain a familiarity with key literary and film/media studies terms and approaches; an understanding of major works in the Gothic and horror genres; an ability to think and write critically about Gothic literature and related media, in terms of aesthetics, historical development, and cultural context; confidence in reading critical/theoretical essays in literary studies, cultural studies, and film and media studies; and proficiency in various aspects of project-based work, including identifying a research topic, building arguments, using evidence, and working with and appropriately citing a variety of sources.

Requisite: A 200-level foundations course in English or Film & Media Studies, or equivalent. Open to sophomores, juniors, and seniors. Limited to 25 students. Spring semester. Visiting Professor Sanders.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Heidi Gilpin

F 12:00 PM-03:00 PM

Amherst College
FAMS-380-01-2122S

CONV209

hgilpin@amherst.edu
GERM-368-01, ARCH-368-01, EUST-368-01, FAMS-380-01

(Offered as GERM 368, ARCH 368, EUST 368, and FAMS 380) This research seminar will explore conceptions of space as they have informed and influenced thought and creativity in the fields of cultural studies, literature, architecture, urban studies, performance, and the visual, electronic, and time-based arts. Students will select and pursue a major semester-long research project early in the semester in consultation with the professor, and present their research in its various stages of development throughout the semester, in a variety of media formats (writing, performance, video, electronic art/interactive media, installation, online and networked events, architectural/design drawings/renderings), along with oral presentations of readings and other materials. Readings and visual materials will be drawn from the fields of literature and philosophy; architectural, art, and film theory and history; performance studies and performance theory; and theories of technology and the natural and built environment. Emphasis on developing research, writing, and presentation skills is a core of this seminar.

Preference given to German majors and European Studies majors, as well as to students interested in architecture/design, performance, film/video, interactive installation, and/or the environment. Conducted in English. German majors will select a research project focused on a German Studies context, and will do a substantial portion of the readings in German. 

Limited to 18 students. Enrollment requires attendance at the first class meeting. Spring semester. Professor Gilpin.

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Pooja G. Rangan

MW 08:30 AM-09:50 AM; T 07:00 PM-10:00 PM

Amherst College
FAMS-382-01-2122S

CHAP205

prangan@amherst.edu
ENGL-378-01, FAMS-382-01

(Offered as ENGL 378 and FAMS 382)

Calls to defund the police may have helped to cancel the notorious reality program COPS, but crime scenes, courtrooms, cops, lawyers, victims, and vigilantes dominate our media and our imaginations. This course asks what needs to be abolished—not just canceled—in our media environment in order for us to imagine a world without prisons. Abolition is, at its core, a transformative project that aims to change the very social relations, conditions, and logics that produce the harms for which police and prisons seem to serve as solutions. A project that once took on the seemingly impossible challenge of ending slavery, abolition has become a movement of interlinked struggles against systemic oppression. We will examine a range of media, historical and contemporary, cinematic and televisual, fictional and documentary, global and local, through the lens of abolition, deconstructing carceral scenarios and affects, and discovering and imagining transformative approaches to narrative, healing, and justice. Students enrolling in this course should be prepared to take on a range of activities including and beyond weekly readings, film/media viewing, and analytical writing, such as independent and collaborative research, site-based field work (if public health guidelines permit), and optional creative media assignments.

Open to sophomores, juniors, and seniors, and to first-year students with consent of the instructor. Spring semester. Professor Rangan.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Adam R. Levine

MW 09:00 AM-11:00 AM

Amherst College
FAMS-412-01-2122S

FAYE117

alevine@amherst.edu
ARHA-444-01, FAMS-412-01

(Offered as ARHA 444 and FAMS 412) Essay filmmaking is a dynamic form with many commonly cited attributes—the presence of an authorial voice, an emphasis on broad themes, an eclectic approach to genre, and the tendency to digress or draw unexpected connections. Yet, true to its nature, the precise definition of the essay film is in constant flux. It can be both personal and political, individual and collective, noble and mischievous. Essay filmmakers themselves are equally diverse, ranging from established film auteurs to Third Cinema activists and contemporary video artists.

If we entertain the notion that the processes of cinema closely resemble the mechanics of human thought, then the essay film may be the medium’s purest expression. To watch or make such a film, we must give ourselves over to a compulsive, restless energy that delights in chasing a subject down any number of rabbit holes and blind alleys, often stopping to admire the scenery on the way. As with thought, there is no end product, no clear boundaries, no goal but the activity itself.

The term "essay" finds its origins in the French essayer, meaning “to attempt” or to try.” In this advanced production workshop, we will read, screen and discuss examples of the essayistic mode in literature and cinema while making several such attempts of our own. Students will complete a series of writing assignments and video projects informed by class materials and group discussion.

Limited to 12 students. Spring semester. Professor Levine.

Requisite: One 200-level production course or relevant experience (to be discussed with the instructor in advance of the first class). 

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Lise Shapiro Sanders

MW 01:30 PM-02:50 PM

Amherst College
FAMS-431-01-2122S

FAYE117

lsanders@amherst.edu
ENGL-475-01, FAMS-431-01

(Offered as ENGL 475 and FAMS 431) Fashion has long been associated with frivolity, ephemerality, and triviality. Yet trends in clothing and design are irrevocably linked to politics, technology, society, and cultural change–from hats to hemlines to heels, fashion can reveal the transformations of an era. How has fashion evolved in the modern age, and what is its relationship to literature, film, and other media forms? What can fashion teach us about our past, present, and future? This advanced seminar will delve into the interdisciplinary field of fashion studies to examine the vicissitudes of fashion from the nineteenth century onward, focusing on Britain, Europe, and the United States, with an eye toward the role of imperialism, Orientalism, and cultural appropriation in shaping fashion’s tangled histories. Students will study literary texts; film and television; print, visual, and digital media; and material culture. Potential case studies include the dandy, the New Woman, and the flapper; wartime fashions; subcultural style; the wedding gown; the sneaker; among other topics. Students will do independent research, culminating in a written research project and/or curated digital exhibit; keep a weekly reading/viewing journal recording their critical responses to the assigned texts; and facilitate discussion on a given topic. Students can expect to gain: a familiarity with key terms and approaches in fashion studies, media studies, and cultural studies; an ability to think and write critically about fashion and fashion media, in terms of aesthetics, historical development, and cultural context; confidence in reading critical/theoretical essays; and proficiency in various aspects of project-based work, including identifying a research topic, building arguments, using evidence, and working with and appropriately citing a variety of sources.

Requisite: At least one 200-level foundations course in English, Film & Media Studies, Art & the History of Art, History, Theater and Dance, and/or Sexuality, Women’s & Gender Studies. Upper-level coursework in one or more of these fields is strongly recommended. Open to juniors and seniors. Limited to 18 students. Spring semester. Visiting Professor Sanders.

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Heidi Gilpin

F 12:00 PM-03:00 PM

Amherst College
GERM-368-01-2122S

CONV209

hgilpin@amherst.edu
GERM-368-01, ARCH-368-01, EUST-368-01, FAMS-380-01

(Offered as GERM 368, ARCH 368, EUST 368, and FAMS 380) This research seminar will explore conceptions of space as they have informed and influenced thought and creativity in the fields of cultural studies, literature, architecture, urban studies, performance, and the visual, electronic, and time-based arts. Students will select and pursue a major semester-long research project early in the semester in consultation with the professor, and present their research in its various stages of development throughout the semester, in a variety of media formats (writing, performance, video, electronic art/interactive media, installation, online and networked events, architectural/design drawings/renderings), along with oral presentations of readings and other materials. Readings and visual materials will be drawn from the fields of literature and philosophy; architectural, art, and film theory and history; performance studies and performance theory; and theories of technology and the natural and built environment. Emphasis on developing research, writing, and presentation skills is a core of this seminar.

Preference given to German majors and European Studies majors, as well as to students interested in architecture/design, performance, film/video, interactive installation, and/or the environment. Conducted in English. German majors will select a research project focused on a German Studies context, and will do a substantial portion of the readings in German. 

Limited to 18 students. Enrollment requires attendance at the first class meeting. Spring semester. Professor Gilpin.

Instructor Permission: Permission is required for interchange registration during all registration periods.

1
4.00

Abraham Ravett

01:00PM-03:50PM M;07:00PM-09:00PM W

Hampshire College
334560

Jerome Liebling Center 131;Jerome Liebling Center 131

arPF@hampshire.edu
"Certain people start with a documentary and arrive at fiction...others start with fiction and arrive at the documentary."-Jean Luc Godard This is an introductory course for students who would like to develop their interest in documentary practice. Through a combination of screenings, lectures, readings, and technical workshops, we will explore a critical/historical overview of this genre and incorporate our knowledge and experience to produce individual or collaborative projects in a variety of "modes of representation." Projects need not be restricted to a particular medium; in fact, students will be encouraged to explore the ways in which film, video, and/or animation can be utilized together. Wednesday evening screening films will be viewed via Hampflix. Keywords: documentary, filmmaking, digital, video
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

1
4.00

Patricia Montoya

09:00AM-11:50AM W;06:00PM-08:00PM TU;06:00PM-08:00PM TU

Hampshire College
334563

Jerome Liebling Center 120;Jerome Liebling Center 120;Harold Johnson Library B2

pmHA@hampshire.edu
Video, still images, and sound are used in this course to explore the fundamental character of storytelling, filmmaking, and time-based art practices. Students perform all aspects of production with particular attention to developing ideas and building analytical and critical skills. Through exercises that include in-class and weekly projects, students will produce sketches aimed at exploring video as an experimentation tool and review the history of video art to give students the basic theoretical tools to critique their own productions and develop an understanding of the possibilities that the medium offers. There will be special emphasis paid to sound design that includes original music and ambient sound gathered with a separate sound recorder.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

1
4.00

Eva Rueschmann

10:30AM-11:50AM TU;10:30AM-11:50AM TH

Hampshire College
334568

Franklin Patterson Hall 103;Franklin Patterson Hall 103

erHA@hampshire.edu
From the Australian Film Revival in the 1970s represented by directors such as Peter Weir, Fred Schepisi and Gillian Armstrong to "The Lord of the Rings" trilogy, "Rabbit-Proof Fence," "The Piano," "Mystery Road" and "Mad Max: Fury Road," Australian and New Zealand have made unique contributions to international cinema. In this course, we will examine the ways in which selected films from both countries engage with genre film, national identity, race and gender, history, myth, landscape, and the ability of two small film cultures to thrive despite the economic and cultural dominance of Hollywood. Our weekly film screenings will be supplemented by a discussion of short stories and a novel in order to situate Australian and New Zealand cinema within a broader cultural and historical framework. This course is part of the Time and Narrative Learning Collaborative (LC). Some of the questions we will explore are: How does film narrate national history, heritage, and myth? How do Australian and New Zealand films address the colonial legacy of these two settler nations, and shape postcolonial responses to that legacy? Keywords: Australian film, New Zealand film, national identity, history, cultural studies
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

1
4.00

Eva Rueschmann

02:30PM-03:50PM TU;02:30PM-03:50PM TH;07:00PM-10:00PM M

Hampshire College
334577

Franklin Patterson Hall 103;Franklin Patterson Hall 103;Franklin Patterson Hall WLH

erHA@hampshire.edu
Cinema travels through time much as the human memory can, reliving moments in various times with "limitless possibilities," wrote Marxist philosopher and literary historian Gyorgy Lukacs. In this seminar, we will explore the ways in which global films engage with and can manipulate time and memory, both thematically and in terms of its aesthetic devices and different genre forms. We will examine how cinema as a time-based medium addresses nostalgia, trauma, dreams, and amnesia on both an individual and collective level. Drawing on historically and autobiographically inspired feature films, science fiction, coming-of-age stories, and other genres, we will discuss cinema's ability to mythologize, memorialize and critically reflect on the past as a space of socio-historical change, addressing class, race and gender roles, family dynamics, war, politics, and other themes. Possible films include Hiroshima, Mon Amour; La Jetee; A Very Long Engagement; Atonement; The Lives of Others; Volver; Au Revoir Les Enfants; Eternal Sunshine of the Spotless Mind; Moonlight; Cinema Paradiso; Atlantics; and others. Keywords: Film studies, time, memory studies, history, trauma
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Ajay Sinha

TTH 01:45PM-03:00PM;M 07:15PM-10:05PM

Mount Holyoke College
116340

Art 220;Art 220

asinha@mtholyoke.edu
116340,117106
"Indian popular cinema, known commonly as Bollywood, is usually understood to have weak storylines, interrupted by overblown spectacles and distracting dance numbers. The course explores the narrative structure of Bollywood as what scholar Lalitha Gopalan calls a "constellation of interruptions". We will learn to see Bollywood historically, as a cultural form that brings India's visual and performative traditions into a unique cinematic configuration. We will analyze a selection of feature films, read scholarly articles, participate in debates, write guided assignments, and pursue independent research papers in order to understand Bollywood's uniqueness in relation to world cinema."
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Bernadine Mellis

T 10:00AM-12:50PM

Mount Holyoke College
117183

Art 222

bmellis@mtholyoke.edu
117184,117182,117183
This is a space where students can explore their own creative impulses, develop ideas, and generate material. Here, we will stretch beyond the boundaries of any particular creative practice as it may be defined within disciplinary limits. We will engage in contemplative practices while using writing, movement, theater games, and time-based media in order to germinate seeds for projects -- projects we might explore further and possibly complete either within or beyond the bounds of the class itself. More importantly, we will begin to identify our own inner rhythms as makers, create patterns that support our creative process, and develop the capacity to listen deeply to what speaks to us. We will turn to makers and writers of all kinds for inspiration and guidance as we develop a vocabulary for process, including but not limited to: Judi Bari, Lynda Barry, CA Conrad, Louise Erdrich, Jozen Tamori Gibson, Alexis Pauline Gumbs, Bernadette Mayer, Dori Midnight, Pauline Oliveros, Yoko Ono & Rainer Maria Rilke.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Bernadine Mellis

T 10:00AM-12:50PM

Mount Holyoke College
117182

Art 222

bmellis@mtholyoke.edu
117184,117182,117183
This is a space where students can explore their own creative impulses, develop ideas, and generate material. Here, we will stretch beyond the boundaries of any particular creative practice as it may be defined within disciplinary limits. We will engage in contemplative practices while using writing, movement, theater games, and time-based media in order to germinate seeds for projects -- projects we might explore further and possibly complete either within or beyond the bounds of the class itself. More importantly, we will begin to identify our own inner rhythms as makers, create patterns that support our creative process, and develop the capacity to listen deeply to what speaks to us. We will turn to makers and writers of all kinds for inspiration and guidance as we develop a vocabulary for process, including but not limited to: Judi Bari, Lynda Barry, CA Conrad, Louise Erdrich, Jozen Tamori Gibson, Alexis Pauline Gumbs, Bernadette Mayer, Dori Midnight, Pauline Oliveros, Yoko Ono & Rainer Maria Rilke.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Amy Rodgers

W 01:30PM-04:20PM;M 07:15PM-10:05PM

Mount Holyoke College
116650

Shattuck Hall 107;Shattuck Hall 203

arodgers@mtholyoke.edu
116575,116650
Film critics Manohla Dargis and A.O. Scott contend that "movies may bemale dominated, but images of men are surprisingly narrow." This course both explores various constructs of postmodern American masculinity as they are portrayed and disseminated through contemporary film, and seeks to understand some of what is at stake (culturally, ideologically, economically) in perpetuating certain cinematic archetypes. Of particular relevance to our investigation are the ways in which film yokes masculinity to race, gender, and class. Films include Full Metal Jacket, No Country for Old Men, The Big Lebowski, Boyz in the Hood, Paris is Burning, Fight Club, and Moonlight.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Elizabeth Young

W 01:30PM-04:20PM

Mount Holyoke College
116652

Shattuck Hall 203

eyoung@mtholyoke.edu
116652,116574
This course will examine the films of Alfred Hitchcock and the afterlife of Hitchcock in contemporary U.S. culture. We will interpret Hitchcock films in a variety of theoretical frames, including feminist and queer theories, and in shifting historical contexts, including the Cold War. We will also devote substantial attention to the legacy of Hitchcock in remakes, imitations, and parodies. Hitchcock films may include Spellbound, Strangers on a Train, Rear Window, Vertigo, North by Northwest, Psycho, The Man Who Knew Too Much, Marnie, and The Birds; additional works by Brooks, Craven, and De Palma. Readings in film and cultural theory; screenings at least weekly.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Bianka Ballina

MW 11:30AM-12:45PM

Mount Holyoke College
116553

Art 106A

bballina@mtholyoke.edu
This course introduces students to the critical study of media, focusing on electronic media, digital technologies, and network cultures. We will analyze the aesthetics, politics, protocols, history, and theory of media, paying attention to the ways they create and erase borders; affect how we form and articulate identities; invade privacy while providing a platform for exploration; foster hate speech and progressive movements alike; and participate in capitalist economies and the acceleration of climate change. While tracing the global flows of media creation, distribution, and consumption, we will also consider the different issues that arise in diverse national and local contexts.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

02
4.00

J.D. Swerzenski

TTH 03:15PM-04:30PM

Mount Holyoke College
117750

Art 106A

jswerzenski@mtholyoke.edu
This course introduces students to the critical study of media, focusing on electronic media, digital technologies, and network cultures. We will analyze the aesthetics, politics, protocols, history, and theory of media, paying attention to the ways they create and erase borders; affect how we form and articulate identities; invade privacy while providing a platform for exploration; foster hate speech and progressive movements alike; and participate in capitalist economies and the acceleration of climate change. While tracing the global flows of media creation, distribution, and consumption, we will also consider the different issues that arise in diverse national and local contexts.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Ajay Sinha

TTH 01:45PM-03:00PM;M 07:15PM-10:05PM

Mount Holyoke College
117106

Art 220;Art 220

asinha@mtholyoke.edu
116340,117106
"Indian popular cinema, known commonly as Bollywood, is usually understood to have weak storylines, interrupted by overblown spectacles and distracting dance numbers. The course explores the narrative structure of Bollywood as what scholar Lalitha Gopalan calls a "constellation of interruptions". We will learn to see Bollywood historically, as a cultural form that brings India's visual and performative traditions into a unique cinematic configuration. We will analyze a selection of feature films, read scholarly articles, participate in debates, write guided assignments, and pursue independent research papers in order to understand Bollywood's uniqueness in relation to world cinema."
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Bernadine Mellis

T 10:00AM-12:50PM

Mount Holyoke College
117184

Art 222

bmellis@mtholyoke.edu
117184,117182,117183
This is a space where students can explore their own creative impulses, develop ideas, and generate material. Here, we will stretch beyond the boundaries of any particular creative practice as it may be defined within disciplinary limits. We will engage in contemplative practices while using writing, movement, theater games, and time-based media in order to germinate seeds for projects -- projects we might explore further and possibly complete either within or beyond the bounds of the class itself. More importantly, we will begin to identify our own inner rhythms as makers, create patterns that support our creative process, and develop the capacity to listen deeply to what speaks to us. We will turn to makers and writers of all kinds for inspiration and guidance as we develop a vocabulary for process, including but not limited to: Judi Bari, Lynda Barry, CA Conrad, Louise Erdrich, Jozen Tamori Gibson, Alexis Pauline Gumbs, Bernadette Mayer, Dori Midnight, Pauline Oliveros, Yoko Ono and Rainer Maria Rilke.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Amy Rodgers

W 01:30PM-04:20PM;M 07:15PM-10:05PM

Mount Holyoke College
116575

Shattuck Hall 107;Shattuck Hall 203

arodgers@mtholyoke.edu
116575,116650
Film critics Manohla Dargis and A.O. Scott contend that "movies may bemale dominated, but images of men are surprisingly narrow." This course both explores various constructs of postmodern American masculinity as they are portrayed and disseminated through contemporary film, and seeks to understand some of what is at stake (culturally, ideologically, economically) in perpetuating certain cinematic archetypes. Of particular relevance to our investigation are the ways in which film yokes masculinity to race, gender, and class. Films include Full Metal Jacket, No Country for Old Men, The Big Lebowski, Boyz in the Hood, Paris is Burning, Fight Club, and Moonlight.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Elizabeth Young

W 01:30PM-04:20PM

Mount Holyoke College
116574

Shattuck Hall 203

eyoung@mtholyoke.edu
116652,116574
This course will examine the films of Alfred Hitchcock and the afterlife of Hitchcock in contemporary U.S. culture. We will interpret Hitchcock films in a variety of theoretical frames, including feminist and queer theories, and in shifting historical contexts, including the Cold War. We will also devote substantial attention to the legacy of Hitchcock in remakes, imitations, and parodies. Hitchcock films may include Spellbound, Strangers on a Train, Rear Window, Vertigo, North by Northwest, Psycho, The Man Who Knew Too Much, Marnie, and The Birds; additional works by Brooks, Craven, and De Palma. Readings in film and cultural theory; screenings at least weekly.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Elliot Montague

T 01:30PM-04:20PM

Mount Holyoke College
116561

Art 222

emontagu@mtholyoke.edu
Intended for advanced film/video production students, this course will focus on the cinematic directorial skills needed for a successful collaboration with actors. Through discussions, exercises, film director workshops and audition/casting sessions, students will cast, rehearse and shoot short scenes (both original and adapted) from an array of cinematic genres. We will build upon our skills of script and character analysis and creating dramatic conflict. Though we will be collaborating with theater student actors, all students in the class will be expected to direct as well as act.
Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Elliot Montague

TH 01:30PM-04:20PM

Mount Holyoke College
116559

Art 222

emontagu@mtholyoke.edu
Intended for advanced Film, Media, Theater students, this course will explore fictional narrative filmmaking through a rigorous script-to-screen process. Students will write, shoot and edit a short fictional narrative film in small groups. In addition to weekly screenings of short and feature narrative films, the class will consist of lectures on advanced narrative filmmaking techniques, working with actors, film discussions, script readings and critiques of footage and various cuts.
Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

JENNIFER CHANG CRANDALL

W 1:20 PM - 4:00 PM

Smith College
ENG-291us-01-202203

Sabin-Reed 224

jcrandall@smith.edu
This workshop will focus on how creators can connect more profoundly with an audience by thinking of themselves as conduits for stories that need to be told. We’ll spend time and energy noticing and observing the world around us. You’ll be challenged to earn high levels of trust and partnership from the
people in your stories. And we’ll examine how your subjects, and your audience, can be co-authors in your creative process. You’ll be welcome to choose text, visuals, audio or multimedia to complete your assignments. Throughout the workshop you’ll also learn to use serendipity, risk, meditation, and mystery as powerful tools for building narrative experiences. Admission by permission of the instructor, based on a brief application.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Sebnem Baran

TU TH 9:25 AM - 10:40 AM

Smith College
FMS-232-01-202203

Seelye 201

sbaran@smith.edu
While the #TimesUp and #MeToo movements have recently brought the problems of sexism, misogyny and the lack of representation to the forefront, the U.S. television industry has long struggled with providing space to women on and behind the screen. Despite the attempts to confine them in the roles ascribed by patriarchal society, women have challenged norms and changed television at the same time. This course explores the history of American television to understand how “unruly women” transformed television by challenging hierarchies of power. Not open to students who have take FYS 135.(E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

F01
0.00

Sebnem Baran

W 7:00 PM - 9:30 PM

Smith College
FMS-232-F01-202203

Seelye 201

sbaran@smith.edu
While the #TimesUp and #MeToo movements have recently brought the problems of sexism, misogyny and the lack of representation to the forefront, the U.S. television industry has long struggled with providing space to women on and behind the screen. Despite the attempts to confine them in the roles ascribed by patriarchal society, women have challenged norms and changed television at the same time. This course explores the history of American television to understand how “unruly women” transformed television by challenging hierarchies of power. Not open to students who have taken FYS 135. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Jennifer C. Malkowski

M W 8:00 AM - 9:15 AM

Smith College
FMS-242-01-202203

Stoddard G2

jmalkows@smith.edu
Pop Docs examines how documentary techniques that originated in art house and experimental film have migrated into mainstream entertainment media. We’ll study popular forms of non-fiction media: true crime streaming series and podcasts, reality TV, YouTube vlogs, and other social media content. In doing so, we’ll ask: what core tenets of documentary work do these forms discard and retain? How do these evolutions impact the ethics of recording real people and their lives? Why are audiences drawn to “reality” content, and how savvy are they about the distance between what appears on screen and the lived experience of those recorded? Prerequisites: FMS 150 or 237.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Sebnem Baran

M W 10:50 AM - 12:05 PM

Smith College
FMS-251-01-202203

Seelye 109

sbaran@smith.edu
Television has long been associated with domestic--both in terms of home and the nation--consumption. However, digital technologies have challenged this confinement. Following the lead of satellite technologies and the global wave of economic liberalization, television content has become more mobile, and spread of digital technologies has further contributed to this mobility. This course examines the global journey of television starting from its conception and ending in the current digital era. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

F01
0.00

Sebnem Baran

M 7:00 PM - 9:30 PM

Smith College
FMS-251-F01-202203

Seelye 201

sbaran@smith.edu
Television has long been associated with domestic--both in terms of home and the nation--consumption. However, digital technologies have challenged this confinement. Following the lead of satellite technologies and the global wave of economic liberalization, television content has become more mobile, and spread of digital technologies has further contributed to this mobility. This course examines the global journey of television starting from its conception and ending in the current digital era. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

PATRICIA MONTOYA

F 9:25 AM - 12:05 PM

Smith College
FMS-280-01-202203

Hillyer 320

pmontoya@smith.edu
This course will provide a foundation in the principles, techniques, and equipment involved in making short videos, including: development of a viable story idea or concept, aesthetics and mechanics of shooting video, the role of sound and successful audio recording, and the conceptual and technical underpinnings of digital editing. You will make several short pieces through the semester, working towards a longer final piece. Along with projects and screenings, there will be reading assignments and writing exercises. Prerequisite: FMS 150 or its equivalent (can be taken concurrently). Application and permission of instructor required. Enrollment limited to 12.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

F01
0.00

PATRICIA MONTOYA

M 7:00 PM - 9:30 PM

Smith College
FMS-280-F01-202203
pmontoya@smith.edu
This course will provide a foundation in the principles, techniques, and equipment involved in making short videos, including: development of a viable story idea or concept, aesthetics and mechanics of shooting video, the role of sound and successful audio recording, and the conceptual and technical underpinnings of digital editing. You will make several short pieces through the semester, working towards a longer final piece. Along with projects and screenings, there will be reading assignments and writing exercises. Prerequisite: FMS 150 or its equivalent (can be taken concurrently). Application and permission of instructor required. Enrollment limited to 12.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

PATRICIA MONTOYA

F 1:20 PM - 4:00 PM

Smith College
FMS-282ap-01-202203

Hillyer 320

pmontoya@smith.edu
Through conventional filmmaking aesthetics and techniques, this advanced course includes hands-on trainings and workshops geared toward creating a feature-length project. Developing a long-form narrative, experimental, documentary, or episodic project, students write thirty pages of a full-length screenplay, while also producing, directing, and editing a ten-minute sample clip. This course features DSLR digital video production, lighting and sound exercises, editing techniques, and various distribution strategies. Prerequisites: FMS 150 & 280 or ARS 162. Instructor permission and special application required.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

F01
0.00

PATRICIA MONTOYA

TH 7:00 PM - 8:30 PM

Smith College
FMS-282ap-F01-202203

Seelye 201

pmontoya@smith.edu
Through conventional filmmaking aesthetics and techniques, this advanced course includes hands-on trainings and workshops geared toward creating a feature-length project. Developing a long-form narrative, experimental, documentary, or episodic project, students write thirty pages of a full-length screenplay, while also producing, directing, and editing a ten-minute sample clip. This course features DSLR digital video production, lighting and sound exercises, editing techniques, and various distribution strategies. Prerequisites: FMS 150 & 280 or ARS 162. Instructor permission and special application required
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Alexandra Linden Miller Keller

TU TH 10:50 AM - 12:05 PM

Smith College
FMS-290-01-202203
akeller@smith.edu
This course is designed to give FMS majors and minors a solid grounding in the primary methods of our field. In other words, what are the broad approaches scholars have taken to the study of media, and what specific methodological strategies have proved most effective? We begin with theory as one such method--one that zooms out to ask broad questions about the essential nature of a medium. Our history unit shifts the focus to how media are impacted by and implicated in the progression of time and culture. Finally, our criticism unit features strategies for analyzing individual media objects. Prerequisite: FMS 150. Enrollment limited to 15. Instructor permission only. Priority given to FMS majors and minors.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Jennifer C. Malkowski

W 1:20 PM - 4:00 PM

Smith College
FMS-345-01-202203

Hatfield 107

jmalkows@smith.edu
If cinema is, as André Bazin writes, "change mummified," violence and death are among the most dramatic physical changes it can "mummify." This course studies the long, complex relationship between cinema and these bodily spectacles. How has censorship impacted the way violence has been screened? How can cameras make the internal processes of death externally visible? What are the ethics of filming "real" violence and death in a documentary mode? How are cultural attitudes toward violence and death reflected in and shaped by films? As a cautionary note, this course necessarily includes graphic representations of violence and death. Prerequisites: FMS 150. Enrollment limited to 12. Instructor permission required.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

F01
0.00

Jennifer C. Malkowski

TU 7:00 PM - 9:30 PM

Smith College
FMS-345-F01-202203

Seelye 201

jmalkows@smith.edu
If cinema is, as André Bazin writes, "change mummified," violence and death are among the most dramatic physical changes it can "mummify." This course studies the long, complex relationship between cinema and these bodily spectacles. How has censorship impacted the way violence has been screened? How can cameras make the internal processes of death externally visible? What are the ethics of filming "real" violence and death in a documentary mode? How are cultural attitudes toward violence and death reflected in and shaped by films? As a cautionary note, this course necessarily includes graphic representations of violence and death. Prerequisites: FMS 150. Enrollment limited to 12. Instructor permission required.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Kevin Anderson

M 11:15AM 2:15PM

UMass Amherst
38325

Integ. Learning Center S350

kta@umass.edu
38289
This course explores the relationship between music and the moving image across multiple forms of media, including Film and Television, Documentaries, Music Videos, Video Games, Commercials, Broadcasts (e.g. news, sports), and Social Media (e.g. TikTok). The scope of the material studied includes examples from multiple cultures and points in the history of the moving image, paying particular attention to hybrid and cross-cultural blends of image and music, and the ways in which this marriage of image and sound service cultural and emotional meanings. Students will be exposed to a wide variety of international, cultural, and historic pairings of music with moving images, and will emerge from the course with a thorough foundation in the following: how and why music pairs with the moving image; how and why the relationship between music and images has varied across time and culture; and the ways in which psychological states, cultural-historical markers, and emotional appeal are targeted through the pairing of sonic and visual stimuli. (Gen. Ed. SB, DU)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Patrick Mensah

TU TH 10:00AM 11:15AM

UMass Amherst
29488

Integ. Learning Center S240

pmensah@frital.umass.edu
29973
This course will explore themes of the Southern Gothic in works of Cinema and popular Televisual narratives. We will study the development of the lurid motifs of the Gothic that works affiliated with this genre often deploy to invoke a sense of horror and dread, moral corruption, and psychological abjection, all seemingly meant to assimilate the South and its citizens to the category of a degenerate and menacing otherness. The imagery of dismal landscapes, dark swamps, decaying architecture, fanatical and occult religious practices, and the often grotesque or monstrous figures and cultural tropes that aspire to associate the South with an imaginary medieval past, will be examined mostly as marks of an ambivalent ideological struggle surrounding the self-identity of America. Thanks to this regime of gothic tropes and insignia, America, on the one hand, heralds its own self-identity as culturally rich and historically continuous, and yet, it is, at least partly thanks to this same regimen of gothic tropes (understood as figures of otherness), on the other hand, that America also typically (or stereotypically) deals with anxieties arising from its attempts to define its own modern identity, and its identity as modern and exceptional. Such anxieties give rise to instances of negative stereotyping, and practices of cultural exclusion that the course critically interrogates. We also study several important ways in which the Gothic serves as an important voice for the marginalized, while enabling critical reflections on the social and cultural practices of exclusion we have alluded to. The history of slavery, the civil war, and its aftermath, as well as literature produced by certain Southern writers (such as William Faulkner, Thomas Wolfe, Carson McCullers, Flannery O'Connor, Eudora Welty, Truman Capote, Tennessee Williams, Katherine Anne Porter, and others) since the late 19th century, will be identified as important defining contexts of emergence for the Southern gothic, and as the indispensable conditions that have made its deployment into 20th century film and television possible. Due attention will also be paid to the influence of French colonial adventures and interventions in shaping cultures and "gothic" mythologies of the American South, and the Caribbean, as well as the role played by America's own efforts to secure and maintain hegemonic influences on the region. The course is conducted in English, and requires no prior knowledge of the field. All films are streamed to your computer from the UMass library on demand. Required readings are provided online, and no book purchases are necessary. (Gen. Ed. AT, DU)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
1.00

Laura McGough

W 7:30PM 10:30PM; W 8:00PM 10:30PM; W 7:30PM 10:30PM

UMass Amherst
29495

School of Management 137

lmcgough@umass.edu
Join the audience of students, faculty, and area community at the annual Massachusetts Multicultural Film Festival with films and directors from around the world introduced by leading scholars and filmmakers. This season's theme, "Indigeneities," is a survey of the diverse range of cinematic investigations undertaken by Indigenous filmmakers globally. first and longest-running University-based film festival of its kind, the MMFF brings the best of new fiction, documentary and experimental filmmaking by international filmmakers and seeks to cultivate an appreciation of film and moving image media, to inspire audiences to a deeper understanding of the world's cultures through film, and to celebrate past, present and future achievements of international filmmaking in a university setting. You will attend festival screenings and participate in online discussions with other students about what most interested, inspired, surprised you about the filmmakers, filmmaking, and the subject matter of works programed in this season's festival.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Patrick Mensah

TU 4:00PM 6:45PM

UMass Amherst
29489

Integ. Learning Center S231

pmensah@frital.umass.edu
29963
This course offers an introduction to African film as an aesthetic and cultural practice. Students should expect to be familiarized with the key ideas and objectives that have inspired and driven that practice since the early 1960s, and be furnished with the technical tools and methodological skills that would permit them to understand, analyze, and think critically about the artistic and thematic aspects of the films that are screened. They should also expect the course to provide them with a critical peek into several cardinal issues of social and cultural relevance in contemporary Africa and its history. Issues of interest typically include, the nationstate and its declining status, imperatives of decolonization, economic dependency and structural adjustment programs, orality and changing traditional cultures, diasporic migrations, urbanization and its problems, gender relations, civil wars, child soldiers, gangs, and related themes. Filmmakers studied include, but are not limited to, Abderrahmane Sissako, Gillo Pontecorvo, Ousmane Sembene, Raoul Peck, Jean-Marie Teno, Dani Kouyate, Mweze Ngangura, Gavin Hood, Neill Blomkamp, Moufida Tlatli, Djibril Diop Mambety (please note that this list is subject to change, and shall be updated as future changes are made). The course is conducted in English, and requires no prior knowledge of the field. All films are streamed to your computer from the UMass library on demand. Required readings are provided online, and no book purchases are necessary. (Gen.Ed. AT, DG)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01AA

TH 2:30PM 3:45PM

UMass Amherst
29498

Herter Hall room 209

29964
This course offers an introduction to African film as an aesthetic and cultural practice. Students should expect to be familiarized with the key ideas and objectives that have inspired and driven that practice since the early 1960s, and be furnished with the technical tools and methodological skills that would permit them to understand, analyze, and think critically about the artistic and thematic aspects of the films that are screened. They should also expect the course to provide them with a critical peek into several cardinal issues of social and cultural relevance in contemporary Africa and its history. Issues of interest typically include, the nationstate and its declining status, imperatives of decolonization, economic dependency and structural adjustment programs, orality and changing traditional cultures, diasporic migrations, urbanization and its problems, gender relations, civil wars, child soldiers, gangs, and related themes. Filmmakers studied include, but are not limited to, Abderrahmane Sissako, Gillo Pontecorvo, Ousmane Sembene, Raoul Peck, Jean-Marie Teno, Dani Kouyate, Mweze Ngangura, Gavin Hood, Neill Blomkamp, Moufida Tlatli, Djibril Diop Mambety (please note that this list is subject to change, and shall be updated as future changes are made). The course is conducted in English, and requires no prior knowledge of the field. All films are streamed to your computer from the UMass library on demand. Required readings are provided online, and no book purchases are necessary. (Gen.Ed. AT, DG)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01AB

TH 4:00PM 5:15PM

UMass Amherst
29499

Herter Hall room 209

29965
This course offers an introduction to African film as an aesthetic and cultural practice. Students should expect to be familiarized with the key ideas and objectives that have inspired and driven that practice since the early 1960s, and be furnished with the technical tools and methodological skills that would permit them to understand, analyze, and think critically about the artistic and thematic aspects of the films that are screened. They should also expect the course to provide them with a critical peek into several cardinal issues of social and cultural relevance in contemporary Africa and its history. Issues of interest typically include, the nationstate and its declining status, imperatives of decolonization, economic dependency and structural adjustment programs, orality and changing traditional cultures, diasporic migrations, urbanization and its problems, gender relations, civil wars, child soldiers, gangs, and related themes. Filmmakers studied include, but are not limited to, Abderrahmane Sissako, Gillo Pontecorvo, Ousmane Sembene, Raoul Peck, Jean-Marie Teno, Dani Kouyate, Mweze Ngangura, Gavin Hood, Neill Blomkamp, Moufida Tlatli, Djibril Diop Mambety (please note that this list is subject to change, and shall be updated as future changes are made). The course is conducted in English, and requires no prior knowledge of the field. All films are streamed to your computer from the UMass library on demand. Required readings are provided online, and no book purchases are necessary. (Gen.Ed. AT, DG)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Kevin Anderson

M 11:15AM 2:15PM

UMass Amherst
38289

Integ. Learning Center S350

kta@umass.edu
38325
This course explores the relationship between music and the moving image across multiple forms of media, including Film and Television, Documentaries, Music Videos, Video Games, Commercials, Broadcasts (e.g. news, sports), and Social Media (e.g. TikTok). The scope of the material studied includes examples from multiple cultures and points in the history of the moving image, paying particular attention to hybrid and cross-cultural blends of image and music, and the ways in which this marriage of image and sound service cultural and emotional meanings. Students will be exposed to a wide variety of international, cultural, and historic pairings of music with moving images, and will emerge from the course with a thorough foundation in the following: how and why music pairs with the moving image; how and why the relationship between music and images has varied across time and culture; and the ways in which psychological states, cultural-historical markers, and emotional appeal are targeted through the pairing of sonic and visual stimuli. (Gen. Ed. SB, DU)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01AA

TU 2:30PM 3:45PM

UMass Amherst
29482

Herter Hall room 110

27774
Explores modern origin of film experimentation in avant-garde modes such as Expressionism, Surrealism and contemporary results of this heritage. Trying to determine if film is the most resolutely modern of the media, we'll look at cinema as the result of two obsessive concerns: 1) the poetic, dreamlike and fantastic, 2) the factual, realistic and socially critical or anarchistic. Thus, we'll attempt to discover how modern culture deals with avant-garde imperatives to always "make it new." Films and filmmakers such as Breathless (Godard), My Own Private Idaho (Van Sant), The American Soldier ( Fassbinder), others. Requirements: one 5-page paper for midterm, ten-page final paper or project; attendance. (Gen.Ed. AT)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01AB

TU 4:00PM 5:15PM

UMass Amherst
29483

Herter Hall room 110

27775
Explores modern origin of film experimentation in avant-garde modes such as Expressionism, Surrealism and contemporary results of this heritage. Trying to determine if film is the most resolutely modern of the media, we'll look at cinema as the result of two obsessive concerns: 1) the poetic, dreamlike and fantastic, 2) the factual, realistic and socially critical or anarchistic. Thus, we'll attempt to discover how modern culture deals with avant-garde imperatives to always "make it new." Films and filmmakers such as Breathless (Godard), My Own Private Idaho (Van Sant), The American Soldier ( Fassbinder), others. Requirements: one 5-page paper for midterm, ten-page final paper or project; attendance. (Gen.Ed. AT)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Daniel Pope

M 4:00PM 7:00PM

UMass Amherst
36710

Integ. Lrng Center S404

daniel@umass.edu
What insights do films with end-of-the-world scenarios, dystopian futures, and post-apocalyptic themes offer into the cultural moment that produces them? From alien invasions and planetary collisions to cataclysmic war and totalitarian dystopias, from the zombie apocalypse and the rise of machines, to human extinction and the end of civilization, what do these films tell us about contemporary realities? How do they speak to our anxieties and fears about the future as well as our hopes and aspirations? In what ways do these films pose and explore questions of the "human"? End-of-the-world films often intersect with other genres (thriller, action film, neo-noir, comedy, art-house, romance, drama, experimental, etc.) In this course we will study the cinema of eschatology, of ultimate endings, and analyze a range of filmic approaches to the philosophical, psychological, and aesthetic questions raised in end-of-the-world narratives.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Barbara Zecchi

TH 4:00PM 6:30PM

UMass Amherst
37697

Integ. Lrng Center S404

bzecchi@umass.edu
This class belongs to the Visiting Professor of the 21st c. Series. Award-winning international filmmakers and film scholars offer classes in screenwriting, directing, cinematography, and other key areas of filmmaking. Students have a unique opportunity to gain hands-on experience and enrich their portfolios. Class can be taken more than once, because content and faculty vary.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

02
3.00

Barry Spence

W 4:00PM 7:30PM

UMass Amherst
37779

Integ. Lrng Center S404

bspence@umass.edu
This course will examine the cultural phenomenon of the "art film" during the first three decades of the postwar period (1950s, 60s, 70s). The nature and characteristics of, as well as the relationships connecting and distinguishing, modernist cinema, art cinema, and avant-garde film during this vital period in film history will be the course's primary concern. We will examine the notion of the auteur and consider its usefulness for thinking about this multiform, innovative cinema. What is the relationship between cinematic modernism and the core principles and representational strategies of modern art? Does modern cinema, as Gilles Deleuze suggests, function as a mental substitute for the lost connection between the individual and the world? Can it restore our belief in the world? The course will pay particular attention to distinctive stylistic attributes, but will also look at dominant thematic concerns. There will be weekly in-class screenings as well as regular streaming of films outside of class. The filmmakers we will consider include, but are not limited to: Chantal Ackerman, Michelangelo Antonioni, Theo Angelopoulos, Ingmar Bergman, Stan Brakhage, Robert Bresson, Luis Bu?uel, Rainer Werner Fassbinder, Federico Fellini, Jean-Luc Godard, Peter Greenaway, Werner Herzog, Miklos Jansco, Akira Kurosawa, Kenji Mizoguchi, Yasujiro Ozu, Sergei Paradzhanov, Pier Paolo Pasolini, Alain Resnais, Jean-Marie Straub, Andrei Tarkovsky, Francois Truffaut, Agnes Varda, Wim Wenders.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Andrea Malaguti

W 4:00PM 6:30PM

UMass Amherst
38010

Herter Hall room 207

malaguti@frital.umass.edu
38012,38013,38016
Course taught in English. This course examines the films of Pier Paolo Pasolini, alongside with some of his poems and essays on film, to understand the contemporary relevance, 100 years after his birth, of his critique of capitalist society and cultural homologation, pivoting on the radicalization of his sexual and ideological diversity and of an idea of cinema as recovering the experience of "poetry."
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

Fall 2022 Film and Media Studies Courses

01
4.00

Francis G. Couvares

TTH 08:30 AM-09:50 AM

Amherst College
AMST-337-01-2223F
fgcouvares@amherst.edu
AMST-337-01, FAMS-337-01, HIST-337-01

(Offered as AMST-337, FAMS-337, and HIST-337)  Almost from their very first days, even as they provoked a sense of wonderment, movies also provoked alarm and became targets of censorship. This course traces that set of reactions from the campaign to shut down the 1915 racist epic, “Birth of a Nation;” through the campaigns against sexual display and ethnic insult in the 1920s; to the Production Code era in the 1930s, with its “fallen women,” gangsters, and “screwballs"; through the end of the studio system and the rise of political censorship in the Cold War era. Frequent film viewing and intensive reading will be required, as also will be several smaller and at least one larger writing assignment.

Limited to 20 students.  Fall semester.  Professor Couvares

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Emily Drummer

MW 01:00 PM-04:00 PM

Amherst College
ARHA-221-01-2223F
edrummer@amherst.edu
ARHA-221-01, FAMS-221-01

(Offered as ARHA 221 and FAMS 221) This introductory course is designed for students with no prior experience in video production. The aim is both technical and creative. We will begin with the literal foundation of the moving image—the frame—before moving through shot and scene construction, lighting, sound-image concepts, and final edit. In addition to instruction in production equipment and facilities, the course will also explore cinematic form and structure through weekly readings, screenings and discussion. Each student will work on a series of production exercises and a final video assignment.

Limited to 12 students with instructor's permission. Fall semester. Visiting Professor Emily Drummer.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Emily Drummer

MW 10:00 AM-12:00 PM; M 07:00 PM-08:20 PM

Amherst College
ARHA-413-01-2223F
edrummer@amherst.edu
ARHA-413-01, FAMS-432-01

(Offered as ARHA 413 and FAMS 432)

Students in this fieldwork-intensive course will produce socially-engaged artworks that emerge out of collaborations with a local community. We will think expansively about the practice of using non-actors to interrogate the idea of representation and the illusion of “the real” in audiovisual art making, as well as the hazy space between fiction and documentary. The artists we will consider include Peggy Ahwesh, Basma Alsharif, Jonathanas de Andrade, Yael Bartana, Lizzie Borden, Pedro Costa, Kazuo Hara, Adam Khalil, Alison Kobayashi, Laida Lertxundi,Sharon Lockhart, Djibril Diop Mambéty, Otolith Group, Jean Rouche, and Leslie Thornton.

Two 80 minute class meetings per week and a screening.

 Fall 2022 semester: Visiting Professor Emily J Drummer 

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Timothy J. Van Compernolle

TTH 02:30 PM-03:50 PM

Amherst College
ASLC-234-01-2223F
tvancompernolle@amherst.edu
ASLC-234-01, FAMS-320-01

(Offered as ASLC 234 and FAMS 320)

This course places equal emphasis on the two key terms of its title, “Japan” and “screen.”  Is the concept of national cinema useful in the age of globalization?  What is the place of cinema in a history of screen culture in Japan?  This course aspires to rethink the idea of Japanese cinema while surveying the history of cinema in Japan, from early efforts to disentangle it from fairground spectacles and the theater at the turn of the last century, through the golden age of studio cinema in the 1950s, to the place of film in the contemporary media ecology. This course will investigate the Japanese film as a narrative art, as a formal construct, and as a participant in larger aesthetic, social, and even political contexts.  This course includes the major genres of Japanese film, influential schools and movements, and major directors.  Additionally, students will learn and get extensive practice using the vocabulary of the discipline of film studies.

Fall semester. Professor Van Compernolle.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Amelie E. Hastie

TTH 10:00 AM-11:20 AM; SU 07:00 PM-09:30 PM

Amherst College
ENGL-180-01-2223F
ahastie@amherst.edu
ENGL-180-01, FAMS-110-01

(Offered as ENGL 180 and FAMS 110) A first course in reading films and writing about them. A varied selection of films for study and criticism, partly to illustrate the main elements of film language and partly to pose challenging texts for reading and writing. Frequent short papers. Two class meetings and one screening per week.

Limited to 25 students. Twelve seats reserved for first-year students. Open to first-year and sophomore students. Fall semester: Professor Hastie. Spring semester: Professor L. Sanders.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Christopher A. Grobe

MW 02:00 PM-03:20 PM

Amherst College
ENGL-260-01-2223F
cgrobe@amherst.edu
ENGL-260-01, FAMS-334-01

The word “podcast” was coined in 2004 as a portmanteau of “broadcast” and “iPod.” As the name implies, podcasts were born when an old mode of audio transmission (radio broadcast) met a new technology (portable mp3 players like Apple’s iPod, or rather RSS feeds adapted to handle audio files). But even back then, “podcasts” were more than just time-delayed radio programs you could carry around in your pocket. They also included a wide range of born-podcast formats: free-flowing talk shows, scripted audio-essays, anthologies of audio-journalism, etc.

In this course, we will study the historical origins and contemporary range of podcasts as a medium for writing and performance. We will consider how this medium has absorbed genres from other media (memoir, essay, drama, documentary, fiction, etc.) and combined them in innovative ways. We will also explore genres made possible for the first time by podcasts—whether by their ability for on-demand playback, by their low cost of distribution, or by their openness to audio-experimentation.

The primary skills taught by this course are careful listening and analytic writing. This is not a course in podcast production. It will, however, require you to analyze podcasts by “quoting” them in audio-essays of your own devising. As such, this course will teach you some basic script-writing and audio-editing skills.

No limit. Fall semester. Professor Grobe.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Amelie E. Hastie

MW 03:00 PM-04:20 PM

Amherst College
ENGL-283-01-2223F
ahastie@amherst.edu
ENGL-283-01, FAMS-234-01

(Offered as ENGL 283 and FAMS 234) What stories does television tell? And how does it tell them? This course will approach television’s narratives through a focus on both form and content. We will take into account issues of production, distribution, and exhibition, with attention both to historical developments and contemporary transformations to the medium. In this way, we will explore how shifts in programming, platforms, and viewing habits alter both televisual narration and consumption. By considering television’s specific form–whether commercial networks, cable TV, or subscription platforms like Netflix and Hulu–we will query how this specific media format enables or limits the ways it tells stories and what stories it tells. Each iteration of this course will focus on particular forms of narrative programming, through an emphasis on genre, format, historical eras, or cultural facets. Readings will include key critical works in Television Studies, essays on particular television series, and other works that situate television texts in a broader cultural framework and history. The goal of the course is to think through narrative form, representational systems, authorship, exhibition, and reception habits in order to define not just what television narrative is but also what it can be.

The focus of the course for Fall 2022 will be on “seriality.” We will begin by grounding our study in examples from the broadcast era. We will then shift to an exploration of contemporary serials, particularly in the context of digital platforms and the experience of streaming. 

Limited to 45 students. Fall semester. Professor Hastie.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Pooja G. Rangan

MW 08:30 AM-09:50 AM; SU 07:00 PM-10:00 PM

Amherst College
ENGL-477-01-2223F
prangan@amherst.edu
ENGL-477-01, FAMS-455-01

(Offered as ENGL 477 and FAMS 455)

Confession is arguably central to expressions of postmodern selfhood in TV talk shows, YouTube videos, tweets, and Facebook updates. It also informs the evidentiary logic of our civil apparatuses (legal, medical, humanitarian) and infuses the fabric of our diplomatic, familial, and intimate relations. Indeed, we might say that the confession is the preeminent practice through which we understand the “truth” of our selves.This course investigates the many meanings and itineraries of the confession. We will focus on the various institutional sites that have shaped confessional regimes of truth (such as the church, the school, the clinic, the prison, the courtroom), as well as the role of media forms (from autobiographical video to cinematic melodrama and reality television) in consolidating and challenging these regimes. Readings and assignments emphasize a twinned engagement with media and cultural theory. Topics include: narratives on coming-out, truth and reconciliation, hysteria, torture, the female orgasm, insanity defenses, and racial passing. One two hour-and-forty-minute class meeting and one screening per week.

Requisite: At least one foundational course in FAMS or equivalent introductory film course, plus any one course in cultural studies/literary theory/gender studies/race and ethnicity studies. Open to juniors and seniors. Limited to 18 students. Fall semester. Professor Rangan.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Lise Shapiro Sanders

TTH 01:00 PM-02:20 PM; TH 07:00 PM-10:00 PM

Amherst College
ENGL-489-01-2223F
lsanders@amherst.edu
ENGL-489-01, FAMS-470-01

This course examines classical Hollywood cinema of the 1930s-1950s, focusing on the parallel genres of melodrama and film noir. These genres shared a production context (the Hollywood studio system at its height), an emphasis on gender (for melodrama in the form of the “weepie” or woman’s film, and for film noir in its depiction of hard-boiled masculinity and the femme fatale), and an engagement with the pressing social and political issues of the era. In this course we will ask why these genres flourished during this period, how they resonated with contemporary audiences, and whether they transformed over time. Films to be screened will include All About Eve, Imitation of Life, Letter from an Unknown Woman, Kiss Me Deadly, The Maltese Falcon, Mildred Pierce, and Sunset Boulevard, alongside contemporary examples of modern melodrama and neo-noir and accompanied by readings in film history, theory, and criticism. Several short essays and a longer research project will be required.

Limited to 25 students. Fall semester. Visiting Professor L. Sanders.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Amelie E. Hastie

TTH 10:00 AM-11:20 AM; SU 07:00 PM-09:30 PM

Amherst College
FAMS-110-01-2223F
ahastie@amherst.edu
ENGL-180-01, FAMS-110-01

(Offered as ENGL 180 and FAMS 110) A first course in reading films and writing about them. A varied selection of films for study and criticism, partly to illustrate the main elements of film language and partly to pose challenging texts for reading and writing. Frequent short papers. Two class meetings and one screening per week.

Limited to 25 students. Twelve seats reserved for first-year students. Open to first-year and sophomore students. Fall semester: Professor Hastie. Spring semester: Professor L. Sanders.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Emily Drummer

MW 01:00 PM-04:00 PM

Amherst College
FAMS-221-01-2223F
edrummer@amherst.edu
ARHA-221-01, FAMS-221-01

(Offered as ARHA 221 and FAMS 221) This introductory course is designed for students with no prior experience in video production. The aim is both technical and creative. We will begin with the literal foundation of the moving image—the frame—before moving through shot and scene construction, lighting, sound-image concepts, and final edit. In addition to instruction in production equipment and facilities, the course will also explore cinematic form and structure through weekly readings, screenings and discussion. Each student will work on a series of production exercises and a final video assignment.

Limited to 12 students with instructor's permission. Fall semester. Visiting Professor Emily Drummer.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Amelie E. Hastie

MW 03:00 PM-04:20 PM

Amherst College
FAMS-234-01-2223F
ahastie@amherst.edu
ENGL-283-01, FAMS-234-01

(Offered as ENGL 283 and FAMS 234) What stories does television tell? And how does it tell them? This course will approach television’s narratives through a focus on both form and content. We will take into account issues of production, distribution, and exhibition, with attention both to historical developments and contemporary transformations to the medium. In this way, we will explore how shifts in programming, platforms, and viewing habits alter both televisual narration and consumption. By considering television’s specific form–whether commercial networks, cable TV, or subscription platforms like Netflix and Hulu–we will query how this specific media format enables or limits the ways it tells stories and what stories it tells. Each iteration of this course will focus on particular forms of narrative programming, through an emphasis on genre, format, historical eras, or cultural facets. Readings will include key critical works in Television Studies, essays on particular television series, and other works that situate television texts in a broader cultural framework and history. The goal of the course is to think through narrative form, representational systems, authorship, exhibition, and reception habits in order to define not just what television narrative is but also what it can be.

The focus of the course for Fall 2022 will be on “seriality.” We will begin by grounding our study in examples from the broadcast era. We will then shift to an exploration of contemporary serials, particularly in the context of digital platforms and the experience of streaming. 

Limited to 45 students. Fall semester. Professor Hastie.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Timothy J. Van Compernolle

TTH 02:30 PM-03:50 PM

Amherst College
FAMS-320-01-2223F
tvancompernolle@amherst.edu
ASLC-234-01, FAMS-320-01

(Offered as ASLC 234 and FAMS 320)

This course places equal emphasis on the two key terms of its title, “Japan” and “screen.”  Is the concept of national cinema useful in the age of globalization?  What is the place of cinema in a history of screen culture in Japan?  This course aspires to rethink the idea of Japanese cinema while surveying the history of cinema in Japan, from early efforts to disentangle it from fairground spectacles and the theater at the turn of the last century, through the golden age of studio cinema in the 1950s, to the place of film in the contemporary media ecology. This course will investigate the Japanese film as a narrative art, as a formal construct, and as a participant in larger aesthetic, social, and even political contexts.  This course includes the major genres of Japanese film, influential schools and movements, and major directors.  Additionally, students will learn and get extensive practice using the vocabulary of the discipline of film studies.

Fall semester. Professor Van Compernolle.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Sara J. Brenneis

TTH 01:00 PM-02:20 PM

Amherst College
FAMS-328-01-2223F
sbrenneis@amherst.edu
SPAN-315-01, EUST-232-01, FAMS-328-01, SWAG-315-01

(Offered as SPAN 315, EUST 232, FAMS 328, and SWAG 315) From Pedro Almodóvar to Penélope Cruz, Spanish directors and actors are now international stars. But the origins of Spain’s cinema are rooted in censorship and patriarchy. This course offers an overview of Spanish film from 1950 to the present along with an introduction to film studies. Through weekly streaming films and discussions, students will follow how Spain’s culture, history and society have been imagined onscreen, as well as how Spanish filmmakers interact with the rest of Europe and Latin America. We will pay particular attention to issues surrounding gender and sexuality as well as contemporary social justice movements. No prior experience with film analysis is needed. Conducted in Spanish.

Requisite: SPAN 301 or consent of the instructor. Limited to 18 students. Fall Semester. Professor Brenneis

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Christopher A. Grobe

MW 02:00 PM-03:20 PM

Amherst College
FAMS-334-01-2223F
cgrobe@amherst.edu
ENGL-260-01, FAMS-334-01

The word “podcast” was coined in 2004 as a portmanteau of “broadcast” and “iPod.” As the name implies, podcasts were born when an old mode of audio transmission (radio broadcast) met a new technology (portable mp3 players like Apple’s iPod, or rather RSS feeds adapted to handle audio files). But even back then, “podcasts” were more than just time-delayed radio programs you could carry around in your pocket. They also included a wide range of born-podcast formats: free-flowing talk shows, scripted audio-essays, anthologies of audio-journalism, etc.

In this course, we will study the historical origins and contemporary range of podcasts as a medium for writing and performance. We will consider how this medium has absorbed genres from other media (memoir, essay, drama, documentary, fiction, etc.) and combined them in innovative ways. We will also explore genres made possible for the first time by podcasts—whether by their ability for on-demand playback, by their low cost of distribution, or by their openness to audio-experimentation.

The primary skills taught by this course are careful listening and analytic writing. This is not a course in podcast production. It will, however, require you to analyze podcasts by “quoting” them in audio-essays of your own devising. As such, this course will teach you some basic script-writing and audio-editing skills.

No limit. Fall semester. Professor Grobe.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Francis G. Couvares

TTH 08:30 AM-09:50 AM

Amherst College
FAMS-337-01-2223F
fgcouvares@amherst.edu
AMST-337-01, FAMS-337-01, HIST-337-01

(Offered as AMST-337, FAMS-337, and HIST-337)  Almost from their very first days, even as they provoked a sense of wonderment, movies also provoked alarm and became targets of censorship. This course traces that set of reactions from the campaign to shut down the 1915 racist epic, “Birth of a Nation;” through the campaigns against sexual display and ethnic insult in the 1920s; to the Production Code era in the 1930s, with its “fallen women,” gangsters, and “screwballs"; through the end of the studio system and the rise of political censorship in the Cold War era. Frequent film viewing and intensive reading will be required, as also will be several smaller and at least one larger writing assignment.

Limited to 20 students.  Fall semester.  Professor Couvares

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Emily Drummer

MW 10:00 AM-12:00 PM; M 07:00 PM-08:20 PM

Amherst College
FAMS-432-01-2223F
edrummer@amherst.edu
ARHA-413-01, FAMS-432-01

(Offered as ARHA 413 and FAMS 432)

Students in this fieldwork-intensive course will produce socially-engaged artworks that emerge out of collaborations with a local community. We will think expansively about the practice of using non-actors to interrogate the idea of representation and the illusion of “the real” in audiovisual art making, as well as the hazy space between fiction and documentary. The artists we will consider include Peggy Ahwesh, Basma Alsharif, Jonathanas de Andrade, Yael Bartana, Lizzie Borden, Pedro Costa, Kazuo Hara, Adam Khalil, Alison Kobayashi, Laida Lertxundi,Sharon Lockhart, Djibril Diop Mambéty, Otolith Group, Jean Rouche, and Leslie Thornton.

Two 80 minute class meetings per week and a screening.

 Fall 2022 semester: Visiting Professor Emily J Drummer 

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Pooja G. Rangan

MW 08:30 AM-09:50 AM; SU 07:00 PM-10:00 PM

Amherst College
FAMS-455-01-2223F
prangan@amherst.edu
ENGL-477-01, FAMS-455-01

(Offered as ENGL 477 and FAMS 455)

Confession is arguably central to expressions of postmodern selfhood in TV talk shows, YouTube videos, tweets, and Facebook updates. It also informs the evidentiary logic of our civil apparatuses (legal, medical, humanitarian) and infuses the fabric of our diplomatic, familial, and intimate relations. Indeed, we might say that the confession is the preeminent practice through which we understand the “truth” of our selves.This course investigates the many meanings and itineraries of the confession. We will focus on the various institutional sites that have shaped confessional regimes of truth (such as the church, the school, the clinic, the prison, the courtroom), as well as the role of media forms (from autobiographical video to cinematic melodrama and reality television) in consolidating and challenging these regimes. Readings and assignments emphasize a twinned engagement with media and cultural theory. Topics include: narratives on coming-out, truth and reconciliation, hysteria, torture, the female orgasm, insanity defenses, and racial passing. One two hour-and-forty-minute class meeting and one screening per week.

Requisite: At least one foundational course in FAMS or equivalent introductory film course, plus any one course in cultural studies/literary theory/gender studies/race and ethnicity studies. Open to juniors and seniors. Limited to 18 students. Fall semester. Professor Rangan.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Lise Shapiro Sanders

TTH 01:00 PM-02:20 PM; TH 07:00 PM-10:00 PM

Amherst College
FAMS-470-01-2223F
lsanders@amherst.edu
ENGL-489-01, FAMS-470-01

This course examines classical Hollywood cinema of the 1930s-1950s, focusing on the parallel genres of melodrama and film noir. These genres shared a production context (the Hollywood studio system at its height), an emphasis on gender (for melodrama in the form of the “weepie” or woman’s film, and for film noir in its depiction of hard-boiled masculinity and the femme fatale), and an engagement with the pressing social and political issues of the era. In this course we will ask why these genres flourished during this period, how they resonated with contemporary audiences, and whether they transformed over time. Films to be screened will include All About Eve, Imitation of Life, Letter from an Unknown Woman, Kiss Me Deadly, The Maltese Falcon, Mildred Pierce, and Sunset Boulevard, alongside contemporary examples of modern melodrama and neo-noir and accompanied by readings in film history, theory, and criticism. Several short essays and a longer research project will be required.

Limited to 25 students. Fall semester. Visiting Professor L. Sanders.

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Francis G. Couvares

TTH 08:30 AM-09:50 AM

Amherst College
HIST-337-01-2223F
fgcouvares@amherst.edu
AMST-337-01, FAMS-337-01, HIST-337-01

(Offered as AMST-337, FAMS-337, and HIST-337)  Almost from their very first days, even as they provoked a sense of wonderment, movies also provoked alarm and became targets of censorship. This course traces that set of reactions from the campaign to shut down the 1915 racist epic, “Birth of a Nation;” through the campaigns against sexual display and ethnic insult in the 1920s; to the Production Code era in the 1930s, with its “fallen women,” gangsters, and “screwballs"; through the end of the studio system and the rise of political censorship in the Cold War era. Frequent film viewing and intensive reading will be required, as also will be several smaller and at least one larger writing assignment.

Limited to 20 students.  Fall semester.  Professor Couvares

Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Sara J. Brenneis

TTH 01:00 PM-02:20 PM

Amherst College
SPAN-315-01-2223F
sbrenneis@amherst.edu
SPAN-315-01, EUST-232-01, FAMS-328-01, SWAG-315-01

(Offered as SPAN 315, EUST 232, FAMS 328, and SWAG 315) From Pedro Almodóvar to Penélope Cruz, Spanish directors and actors are now international stars. But the origins of Spain’s cinema are rooted in censorship and patriarchy. This course offers an overview of Spanish film from 1950 to the present along with an introduction to film studies. Through weekly streaming films and discussions, students will follow how Spain’s culture, history and society have been imagined onscreen, as well as how Spanish filmmakers interact with the rest of Europe and Latin America. We will pay particular attention to issues surrounding gender and sexuality as well as contemporary social justice movements. No prior experience with film analysis is needed. Conducted in Spanish.

Requisite: SPAN 301 or consent of the instructor. Limited to 18 students. Fall Semester. Professor Brenneis

Instructor Permission: Permission is required for interchange registration during the add/drop period only.

1
4.00

Abraham Ravett

01:00PM-03:30PM M;07:00PM-09:00PM M

Hampshire College
335116

Jerome Liebling Center 120;Jerome Liebling Center 120

arPF@hampshire.edu
This course teaches the basic skills of 16mm film production, including camera work, editing, animation, optical printing, and preparation for a finished work in film and video. We will explore multiple ways this spatial-temporal medium can shape our perceptions of the world and help narrate stories waiting to be told. Students will submit weekly written responses to theoretical and historical readings and to screenings of films and DVDs that represent a variety of aesthetic approaches to the moving image. There will be a series of filmmaking assignments culminating in a final project. The bulk of the work will be produced in 16mm format including animation, optical printing, plus a variety of ways to self-process film or create cameraless moving images. Digital image processing and non-linear editing will also be supported. Keywords: filmmaking, analog, 16mm, film
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

1
4.00

Viveca Greene

01:00PM-02:20PM TU;01:00PM-02:20PM TH

Hampshire College
335118

Adele Simmons Hall 222;Adele Simmons Hall 222

vsgIA@hampshire.edu
335118,335124
As one recent US President noted, the new media ecosystem "means everything is true and nothing is true." Banned from all top social media platforms, including Twitter, the President's predecessor launched Truth Social as the flagship application of his social media platform, which Vanity Fair characterizes as "a cringeworthy joke." Working within the interdisciplinary field of media studies, in this course we will take a case-study approach to exploring contemporary issues related to the post-truth world order: disinformation, fake news, deepfakes, crisis actor claims, conspiracy theories, and the like. In so doing, we will be attentive to creative and satirical responses to such challenges, as well as consider the need for public institutions to intervene. Students will write weekly responses to assigned texts, conduct independent research, produce a final paper on a topic of their own choosing, and participate in an end-of-semester mini-conference. Keywords: disinformation, misinformation, meme magic, 4chan, activism.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

1
4.00

Kane Stewart

10:30AM-11:50AM TU;10:30AM-11:50AM TH

Hampshire College
335120

Jerome Liebling Center 131;Jerome Liebling Center 131

kasFP@hampshire.edu
This offering of Photography Workshop I will introduce students to current practices in monochrome photography. We will cover all the basics of camera skills, framing and composition, working with ambient and artificial lighting, editing, printing, and sequencing photographic series. Students will choose to work with 35mm analog cameras or their digital counterparts to complete their assignments and projects. Labs will cover analog and digital workflows limited to monochrome applications. In tandem with these technical approaches, we will examine historic and contemporary photographic practices and photographers. Through readings, discussions, and critiques, students will learn how to critically read and interpret photographs while developing meaningful photographic work. We will also explore themes revolving around concepts of time and motion.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

1
4.00

Eva Rueschmann

02:30PM-03:50PM M;02:30PM-03:50PM W;06:30PM-09:00PM M

Hampshire College
335122

Franklin Patterson Hall 103;Franklin Patterson Hall 103;Franklin Patterson Hall WLH

erHA@hampshire.edu
The course explores the thriller as a popular literary and film genre. An amalgam of intrigue, suspense, and mystery, the thriller evolved from Gothic romance novels and both Victorian adventure tales and 'sensation' (crime) fiction in response to shifting social anxieties. We focus on two influential forms of the genre: Gothic-influenced romantic thrillers dramatizing threats to women and the constraints of the domestic sphere; and espionage stories and related crime thrillers reflecting fears of deception, conspiracy, war, and the pursuit of power and wealth. Thrillers evoke a world of psychological and existential uncertainty, where everyday life is infused by suspicion and paranoia and where haunting and psychological doubles express the complexity of identity. Classic thriller novels and films as well as contemporary reformulations and queering of the genre will be discussed. Readings (besides the novels) include articles in film and genre criticism. Keywords: Literature, Film, Genre, Gothic, Thriller
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

1
4.00

Viveca Greene

01:00PM-02:20PM TU;01:00PM-02:20PM TH

Hampshire College
335124

Adele Simmons Hall 222;Adele Simmons Hall 222

vsgIA@hampshire.edu
335118,335124
As one recent US President noted, the new media ecosystem "means everything is true and nothing is true." Banned from all top social media platforms, including Twitter, the President's predecessor launched Truth Social as the flagship application of his social media platform, which Vanity Fair characterizes as "a cringeworthy joke." Working within the interdisciplinary field of media studies, in this course we will take a case-study approach to exploring contemporary issues related to the post-truth world order: disinformation, fake news, deepfakes, crisis actor claims, conspiracy theories, and the like. In so doing, we will be attentive to creative and satirical responses to such challenges, as well as consider the need for public institutions to intervene. Students will write weekly responses to assigned texts, conduct independent research, produce a final paper on a topic of their own choosing, and participate in an end-of-semester mini-conference. Keywords: disinformation, misinformation, meme magic, 4chan, activism.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Elliot Montague

TH 01:30PM-04:20PM

Mount Holyoke College
118217
emontagu@mtholyoke.edu
118155,118217
The screenplay is a unique and ephemeral form that exists as a blueprint for something else: a finished film. How do you convey on the page a story that will take shape within an audio-visual medium? The screenwriter must have an understanding of both the language of narrative film as well as the general shape and mechanics of film stories. This advanced course will cover dialogue, characterization, plot, story arc, genre, and cinematic structure. We will analyze scenes from fictional narrative films -- both short and feature length -- and read the scripts that accompany these films. By the end of this course, each student will have written two original short films. In workshop style, the class will serve as practice audience for table readings of drafts and writing exercises.
Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Amy Rodgers

TTH 01:45PM-03:00PM;W 07:15PM-10:05PM

Mount Holyoke College
118218
arodgers@mtholyoke.edu
This course teaches the basic concepts, vocabulary, and critical skills involved in interpreting film. Through readings and lectures, students will become more informed and sophisticated observers of the cinema, key examples of which will be screened weekly. While the focus will be on the form and style of narrative film, documentary and avant-garde practices will be introduced. The class will also touch upon some of the major theoretical approaches in the field.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Instructor To Be Announced,Karen Remmler

MW 10:00AM-11:15AM

Mount Holyoke College
118130
kremmler@mtholyoke.edu
This course introduces students to the critical study of media, focusing on electronic media, digital technologies, and network cultures. We will analyze the aesthetics, politics, protocols, history, and theory of media, paying attention to the ways they create and erase borders; affect how we form and articulate identities; invade privacy while providing a platform for exploration; foster hate speech and progressive movements alike; and participate in capitalist economies and the acceleration of climate change. While tracing the global flows of media creation, distribution, and consumption, we will also consider the different issues that arise in diverse national and local contexts.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

02
4.00

Bianka Ballina

TTH 03:15PM-04:30PM

Mount Holyoke College
118131
bballina@mtholyoke.edu
This course introduces students to the critical study of media, focusing on electronic media, digital technologies, and network cultures. We will analyze the aesthetics, politics, protocols, history, and theory of media, paying attention to the ways they create and erase borders; affect how we form and articulate identities; invade privacy while providing a platform for exploration; foster hate speech and progressive movements alike; and participate in capitalist economies and the acceleration of climate change. While tracing the global flows of media creation, distribution, and consumption, we will also consider the different issues that arise in diverse national and local contexts.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Instructor To Be Announced,Karen Remmler

W 01:30PM-04:20PM;W 01:30PM-04:20PM

Mount Holyoke College
118145

Art 211;Art 222

kremmler@mtholyoke.edu
This course provides a foundation in the principles, techniques, and equipment involved in video production. Students will make several short videos over the course of the term as well as one final piece. We will develop our own voices while learning the vocabulary of moving images and gaining production and post-production skills. In addition to technical training, classes will include critiques, screenings, readings, and discussion.
Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Elliot Montague

TH 01:30PM-04:20PM

Mount Holyoke College
118155
emontagu@mtholyoke.edu
118155,118217
Description: The screenplay is a unique and ephemeral form that exists as a blueprint for something else: a finished film. How do you convey on the page a story that will take shape within an audio-visual medium? The screenwriter must have an understanding of both the language of narrative film as well as the general shape and mechanics of film stories. This advanced course will cover dialogue, characterization, plot, story arc, genre, and cinematic structure. We will analyze scenes from fictional narrative films -- both short and feature length -- and read the scripts that accompany these films. By the end of this course, each student will have written two original short films. In workshop style, the class will serve as practice audience for table readings of drafts and writing exercises.
Instructor Permission: Permission is required for interchange registration during all registration periods.

01
4.00

Jennifer C. Malkowski,Sebnem Baran

M 3:05 PM - 4:20 PM; W 2:45 PM - 4:00 PM

Smith College
FMS-150-01-202301
jmalkows@smith.edu,sbaran@smith.edu
This course introduces students to FMS through units that pair four scholarly approaches with four influential media forms: the Aesthetics of Film, the History of Television, the Ideologies of Video Games, and the Technologies of Internet Media. Through these units, we will ask: what human desires animate our relationship with media? For what purposes have people invented and evolved these technologies? How do makers use them, and what are audiences seeking in them? These questions will help us see the fundamental forces that unite film, television, video games, and Internet media alongside the elements that distinguish them from each other. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

02
4.00

Jennifer C. Malkowski

M 3:05 PM - 4:20 PM; W 2:45 PM - 4:00 PM

Smith College
FMS-150-02-202301
jmalkows@smith.edu
This course introduces students to FMS through units that pair four scholarly approaches with four influential media forms: the Aesthetics of Film, the History of Television, the Ideologies of Video Games, and the Technologies of Internet Media. Through these units, we will ask: what human desires animate our relationship with media? For what purposes have people invented and evolved these technologies? How do makers use them, and what are audiences seeking in them? These questions will help us see the fundamental forces that unite film, television, video games, and Internet media alongside the elements that distinguish them from each other. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

03
4.00

Jennifer C. Malkowski,Sebnem Baran

M 3:05 PM - 4:20 PM; TH 2:45 PM - 4:00 PM

Smith College
FMS-150-03-202301
jmalkows@smith.edu,sbaran@smith.edu
This course introduces students to FMS through units that pair four scholarly approaches with four influential media forms: the Aesthetics of Film, the History of Television, the Ideologies of Video Games, and the Technologies of Internet Media. Through these units, we will ask: what human desires animate our relationship with media? For what purposes have people invented and evolved these technologies? How do makers use them, and what are audiences seeking in them? These questions will help us see the fundamental forces that unite film, television, video games, and Internet media alongside the elements that distinguish them from each other. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

F01
0.00

Jennifer C. Malkowski,Sebnem Baran

M 7:30 PM - 9:30 PM

Smith College
FMS-150-F01-202301

Seelye 201

jmalkows@smith.edu,sbaran@smith.edu
This course introduces students to FMS through units that pair four scholarly approaches with four influential media forms: the Aesthetics of Film, the History of Television, the Ideologies of Video Games, and the Technologies of Internet Media. Through these units, we will ask: what human desires animate our relationship with media? For what purposes have people invented and evolved these technologies? How do makers use them, and what are audiences seeking in them? These questions will help us see the fundamental forces that unite film, television, video games, and Internet media alongside the elements that distinguish them from each other. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Jennifer C. Malkowski

M W 9:25 AM - 10:40 AM

Smith College
FMS-261-01-202301
jmalkows@smith.edu
An estimated 63% of U.S. households have members who play video games regularly, and game sales routinely exceed film box office figures. As this medium grows in cultural power, it is increasingly important to think about how games make meaning. This course serves as an introduction to Game Studies, equipping students with the vocabulary to analyze video games, surveying the medium’s genres, and sampling this scholarly discipline’s most influential theoretical writing. The particular focus, though, is on the ideology operating beneath the surface of these popular entertainment objects and on the ways in which video games enter political discourse. Enrollment limited to 25.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Sebnem Baran

TU TH 10:50 AM - 12:05 PM

Smith College
FMS-262-01-202301
sbaran@smith.edu
Desperate Housewives in Argentina? The O.C. in Turkey? Sherlock in the United States? Television defies national borders more than ever. Although TV has travelled around the world for a long time, the rules have changed since the early 2000s. The increasing popularity of format adaptations, new centers of production, new technologies of circulation--such as online streaming platforms--open up new waves of television flows. As television globalizes, content creators try new ways to export and adapt content. By providing exposure to a diverse television content "flowing" around the world, FMS 262 helps students gain insight into the globalization of popular culture. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

F01
0.00

Sebnem Baran

W 7:30 PM - 9:30 PM

Smith College
FMS-262-F01-202301

Seelye 201

sbaran@smith.edu
Desperate Housewives in Argentina? The O.C. in Turkey? Sherlock in the United States? Television defies national borders more than ever. Although TV has travelled around the world for a long time, the rules have changed since the early 2000s. The increasing popularity of format adaptations, new centers of production, new technologies of circulation--such as online streaming platforms--open up new waves of television flows. As television globalizes, content creators try new ways to export and adapt content. By providing exposure to a diverse television content "flowing" around the world, FMS 262 helps students gain insight into the globalization of popular culture. (E)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Anaiis Cisco

W 1:20 PM - 4:00 PM

Smith College
FMS-280-01-202301
acisco@smith.edu
This course will provide a foundation in the principles, techniques, and equipment involved in making short videos, including: development of a viable story idea or concept, aesthetics and mechanics of shooting video, the role of sound and successful audio recording, and the conceptual and technical underpinnings of digital editing. You will make several short pieces through the semester, working towards a longer final piece. Along with projects and screenings, there will be reading assignments and writing exercises. Prerequisite: FMS 150 (may be concurrent) or its equivalent. Application and permission of instructor required. Enrollment limited to 12.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Anaiis Cisco

F 1:20 PM - 4:00 PM

Smith College
FMS-281-01-202301

Hillyer 320

acisco@smith.edu
This course provides an overview of the fundamentals of screenwriting. Combining lectures and script analyses, students focus on character development, story structure, conflict, and dialogue featured in academy award-winning screenplays. Students begin with three creative story ideas, developing one concept into a full-length screenplay of their own. Through in-class read-throughs and rewrites, students are required to complete ~30 pages of a full-length screenplay with a detailed outline of the entire story. Graded only. Prerequisites: FMS 150 or ARS 162 with FMS 150 strongly encouraged. Enrollment limited to 12. Instructor permission and application required.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Alexandra Linden Miller Keller

TU 1:20 PM - 4:50 PM

Smith College
FMS-350sd-01-202301
akeller@smith.edu
This class investigates the moving image and its relationship to the rest of 20th and 21st century art, especially visual culture. Working with the premise that film has been arguably the most influential, powerful and central creative medium of the age, the course examines how film has been influenced by, and how it has influenced, interacted with, critiqued, defined, and been defined by other media. Historically we examine how film has moved from a marginal to a mainstream art form, while still often maintaining a very active avant-garde practice. We’ll look at how cinema and other moving images have consistently and trans-historically grappled with certain fundamental issues and themes, comparing the nature of cinematic investigations with those of other media. Over the course of the semester, we shall also attend to the idea of “film” in relation to the larger category of “moving image.” Does not fulfill ARH research seminar requirement. Enrollment limited to 12. Juniors and seniors only. Instructor permission required.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Kevin Anderson

TU TH 11:30AM 12:45PM

UMass Amherst
54958

Integ. Learning Center S240

kta@umass.edu
44377
This class provides an overview of film and television production principles and processes from script to screen and also prepares students for later hands-on production courses. We will explore both the art and craft of film and digital motion picture production, including the roles and functions of the major creative and technical personnel in the scripting, pre-production, production, and post-production phases. Technical aspects such as digital vs. analog media, lighting and color, cinematography, production design, editing concepts, sound recording, and storytelling and script-writing will be covered. In addition, students are given three options for producing a creative project for the course.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Olga Gershenson

TU TH 2:30PM 3:45PM

UMass Amherst
46997

Herter Hall room 211

gershenson@umass.edu
48930
This course approaches adaptation in two different senses: media to media and culture to culture. In both cases, we will ask questions about the nature of transformation. What is gained and what is lost in the transition? As a case study, we will focus on cinematic adaptations of Jewish literature and the ways these films reflect and shape modern Jewish experience, including issues of identity, gender, religion, persecution, immigration, and culture. The texts and films are in original English or translated from Yiddish, Hebrew, Russian, and other languages. (Gen. Ed. AT, DG)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Olga Gershenson

W 4:00PM 6:30PM

UMass Amherst
55060

Herter Hall room 211

gershenson@umass.edu
55069,56022
In this course, we will approach Israeli television as a window into Israel?s multicultural society, testifying to the profound social, political, and cultural transformations of the 1990s-2000s. Israeli series are streaming on platforms such as Netflix, introducing the quintessential Israeli experiences to transnational audiences. Studying Israeli television will offer us a chance to get to know the major conversations in Israeli society, while advancing our understanding of the medium itself. Along with the analysis of the representations, we will also address questions of production, distribution, and reception, including budgets, co-productions, and international remakes. All content is with English subtitles. (Gen. Ed. AT, DG)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Daniel Pope

M W 1:00PM 2:15PM

UMass Amherst
46995

Integ. Lrng Center S404

daniel@umass.edu
Film and screen media touch nearly every corner of popular, professional and intellectual culture, and new varieties of film writing are flourishing along with it. In addition to the force of the research essay and the art of the film review, there is now the dynamism of new media?videographic essays, podcasts, blogs, and other engagements with film. This is a course for students majoring in Film Studies. It is designed to teach advanced film and media analysis and writing skills for academic, professional, and public audiences. We dedicate our time to workshops of student writing and to analytical engagements with films, film criticism, and film theory. We study films from an array of genres, periods in film history, international cinemas, and underrepresented voices, and we challenge familiar modes of engaging film. The core work of this course is in discovering original, compelling insights into film and media and expressing those discoveries effectively in written text and in various forms of new media. Film Studies Major Through BDIC Category: T, E UMass Amherst Undergraduate Certificate Categories: II, IV, V
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
4.00

Don Levine

M 4:00PM 7:30PM

UMass Amherst
46978

Herter Hall room 205

delevine@llc.umass.edu
44822
Focus on narrative problems of love, desire, sexual identity, daily life, and death. These films' investigations of how we might gain distance on our life fictions by questioning and undermining viewer identification with narrative. (Gen.Ed. AT)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01AA

TU 2:30PM 3:45PM

UMass Amherst
46979

Herter Hall room 202

44823
Focus on narrative problems of love, desire, sexual identity, daily life, and death. These films' investigations of how we might gain distance on our life fictions by questioning and undermining viewer identification with narrative. (Gen.Ed. AT)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01AB

TU 4:00PM 5:15PM

UMass Amherst
46980

Herter Hall room 202

44824
Focus on narrative problems of love, desire, sexual identity, daily life, and death. These films' investigations of how we might gain distance on our life fictions by questioning and undermining viewer identification with narrative. (Gen.Ed. AT)
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

N Couch

TU 7:00PM 10:00PM

UMass Amherst
55028

Integ. Learning Center S240

nccouch@complit.umass.edu
55055,55056
This course provides an introduction to science fiction cinema from the end of the nineteenth century to today. Beginning with the experiments of the Melies Brothers and the importance of German Expressionist films like Fritz Lang's Metropolis, the course considers technological prognostication from Destination Moon to 2001: A Space Odyssey, adventure and science fiction in films like Forbidden Planet and Star Wars, and the dystopian imagination from Invasion of the Body Snatchers to District 9. The course will also highlight the roles of women writers and directors from Thea von Harbou to Kathryn Bigelow, and technological cinematic advances from matte painting and process shots to CGI.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Don Levine

W 4:00PM 6:30PM

UMass Amherst
54965

Herter Hall room 205

delevine@llc.umass.edu
44821,46985,54923

01
3.00

Daniel Pope

TH 4:00PM 7:00PM

UMass Amherst
55061

Integ. Lrng Center S404

daniel@umass.edu
Thrillers compel audiences even as they repel with their narratives of dark secrets and cryptic menace. How can we understand the appeal of thriller movies? Is it their suspense, which lures us with its promise of mysteries that might be revealed? Is it their tales of transgression and violence, which horrify, tantalize, or spur catharsis? This class explores the psychological thriller in international cinema, the roots and characteristics of the genre as well as the ways these films offer critical portraits of hidden truths of the mind, of history, and of the inner workings of the social worlds around us. We will examine intersections between the psychological thriller and other thriller subgenres (political, erotic, action, supernatural, social, legal) as well as with such genres as horror and film noir. Films by Alfred Hitchcock, Mary Harron, Michael Haneke, David Lynch, Sally Potter, Christian Petzold, Asghar Farhadi, Lynne Ramsay, Akira Kurosawa, Henri-Georges Clouzot, Jordon Peele, Alejandro Amenabar, Michelangelo Antonioni, and others.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Daniel Pope

M 2:30PM 5:00PM

UMass Amherst
56144

Integ. Lrng Center S404

daniel@umass.edu
How do dreams become incorporated into films? How are dreams like movies, or the film experience like dreaming? While Hollywood has long been called a "Dream Factory," the cinema of dreams extends around the world and from the earliest history of film. We will examine the ways that dreams have signified in cinema, and especially how films can serve purposes in our lives similar to the role of dreams. Ultimately, we will explore the oneiric as a way of understanding film and as an aesthetic and stylistic approach to filmmaking. Works by Andrei Tarkovsky, Akira Kurosawa, Kim Cho-hee, Michel Gondry, Agnes Varda, David Cronenberg, Maya Deren, Michael Haneke, Jane Campion, Richard Linklater, David Lynch, Federico Fellini, Buster Keaton, Satoshi Kon, Hayao Miyazaki, Charlie Kaufman, Alejandro Amenabar, Ran Slavin, Georges Melies, Alice Guy-Blache, Chloe Zhao, and others. Film Studies Major Through BDIC Category: D&G, E Undergraduate Film Studies Certificate categories: III, V
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01AA

W 11:00AM 11:50AM

UMass Amherst
56245

Integ. Lrng Center S404

How do dreams become incorporated into films? How are dreams like movies, or the film experience like dreaming? While Hollywood has long been called a "Dream Factory," the cinema of dreams extends around the world and from the earliest history of film. We will examine the ways that dreams have signified in cinema, and especially how films can serve purposes in our lives similar to the role of dreams. Ultimately, we will explore the oneiric as a way of understanding film and as an aesthetic and stylistic approach to filmmaking. Works by Andrei Tarkovsky, Akira Kurosawa, Kim Cho-hee, Michel Gondry, Agnes Varda, David Cronenberg, Maya Deren, Michael Haneke, Jane Campion, Richard Linklater, David Lynch, Federico Fellini, Buster Keaton, Satoshi Kon, Hayao Miyazaki, Charlie Kaufman, Alejandro Amenabar, Ran Slavin, Georges Melies, Alice Guy-Blache, Chloe Zhao, and others. Film Studies Major Through BDIC Category: D&G, E Undergraduate Film Studies Certificate categories: III, V
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Barbara Zecchi,Chloe Galibert-Laine

; TU 8:30AM 11:15AM

UMass Amherst
47000

Integ. Lrng Center S404

bzecchi@umass.educgalibertlai@umass.edu
This class belongs to the Visiting Professor of the 21st c. Series. Award-winning international filmmakers and film scholars offer classes in screenwriting, directing, cinematography, and other key areas of filmmaking. Students have a unique opportunity to gain hands-on experience and enrich their portfolios. Class can be taken more than once, because content and faculty vary.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Barry Spence

F 1:25PM 2:15PM; TH 1:00PM 3:45PM

UMass Amherst
46986

Integ. Lrng Center S404

bspence@umass.edu
This is a history of film course focusing on what is sometimes referred to as the "Golden Age" of Hollywood. An examination of classical Hollywood cinema, this course will concentrate on the period from the 1920s to the 1960s. We will look at the production and distribution practices of the Hollywood studio system, and pay special attention to the way this preeminent form of cinema established many of the norms of the immersive film experience. Among other subjects, we will consider the construction of classical continuity by studying the narrative structures and devices, stylistic techniques, and approaches to editing of a wide range of exemplary films. Weekly in-class screenings, with separate discussion. This course fulfills the Film History I (H1) requirement of the film studies major through BDIC. Undergraduate film studies certificate category: II, V
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Bruce Geisler

TU 2:30PM 4:30PM

UMass Amherst
46988

Integ. Learning Center S350

geisler@comm.umass.edu
44293
We will view, analyze, and discuss films by modern documentary masters such as Michael Moore ("Sicko"), Chris Paine, ("Revenge of the Electric Car"), Seth Gordon ("The King of Kong - A Fistful of Quarters"), Pamela Yates ("Granito") and many others to further the understanding of the documentary craft and art from a filmmaker's perspective. Students will also do preproduction (research and treatment) for their own short documentary, along with shorter hands-on exercises in writing narration, interview techniques, etc.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01AA

TU 4:45PM 5:35PM

UMass Amherst
46991

Integ. Learning Center N345

44488
We will view, analyze, and discuss films by modern documentary masters such as Michael Moore ("Sicko"), Chris Paine, ("Revenge of the Electric Car"), Seth Gordon ("The King of Kong - A Fistful of Quarters"), Pamela Yates ("Granito") and many others to further the understanding of the documentary craft and art from a filmmaker's perspective. Students will also do preproduction (research and treatment) for their own short documentary, along with shorter hands-on exercises in writing narration, interview techniques, etc.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
3.00

Kevin Anderson

TH 2:30PM 5:30PM

UMass Amherst
46984

Integ. Learning Center S350

kta@umass.edu
44439
This course explores the genre of Experimental Film and Video with a critical eye toward the history and current articulations of this form of production in both feature film and short form movies; videos. The course begins with an introduction to the genre, then explores Experimental Film; Video according to three different categories: Experimentation with Narrative, Experimentation with Structure; Form, and Experimentation with the line between Fact and Fiction. Students will emerge from this course with a solid foundation in the history and theory of experimental film; video as evidenced by writing projects, research papers, and student-produced experimental media projects.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
1.00

TU W TH 6:30PM 9:00PM

UMass Amherst
56043

Integ. Learning Center S405

Picking up on the concept of a "minor use of a major language" as developed by Gilles Deleuze and Felix Guattari, this class wants to explore how to rework and reframe film history by making minor use of its major film texts (e.g. focusing on supposedly minor detail in a famous film in order to deconstruct, and/or decolonize it etc.) There are absolutely no prerequisites for participants.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
2.00

TU W TH 6:30PM 9:00PM

UMass Amherst
56045

Integ. Learning Center S405

Instead of the traditional use of found footage in video essays this class will explore bodily engagement with film and media that is at the same time performative but also reflexive. Together we will examine the many critical potentials of such an embodied research. There are absolutely no prerequisites for participants.
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

01
1.00

Patricia Isabel Martinho Ferreira

TH 6:00PM 9:00PM; W 6:00PM 9:00PM; TU 6:00PM 9:00PM; M 6:00PM 9:00PM

UMass Amherst
55063

Herter Hall room 217

pmartinhofer@umass.edu
55073

01
3.00

Don Levine

W 4:00PM 6:30PM

UMass Amherst
46985

Herter Hall room 205

delevine@llc.umass.edu
44821,54923,54965
This course will raise theoretical issues of spectatorship, tone (irony, distanciation, citation) gender, genre, while being firmly grounded in the formal analysis of filmic text; the construction of the filmic text and its "meaning," and the destruction of subject by means of abyssal structures (mises-en-abyme, structural or metaphoric infinite regresses); Fassbinder's ideological fatigue and complex sexual politics, Godard's political innocence (which is not the same as naivete), his cinematic energy amidst his films' increasing cultural despair. Pre-requisites: familiarity with film theory and discourse, preferably by at least two courses in film analysis. Course meets as intensive seminar, once a week for 4 hours. "Films include: Sirk -' All that Heaven Allows', Godard - 'Vivre sa vie' ;Fassbinder - 'Ali', 'Petra von Kant',' 13 Moons', 'Veronica Voss'; Haynes -' Far from Heaven'."
Instructor Permission: Permission is required for interchange registration during the add/drop period only.

The Five College Student Film Festival

An image of a retro television with information on the event.

The festival will be held virtually via Twitch this upcoming weekend. Come watch the amazing films and support the Five College community at this year’s festival! If you have any questions If you have any questions please feel free to email us or contact our Student Director Amparo Saubidet. You can keep up to date with the festival via our Facebook and Instagram.

Mission Statement

This year, as in many years past, the Five College Film Festival’s mission is to share the stories of students from across the Five Colleges through the medium of film. In line with last year’s theme and mission, we will be encouraging the submission of films that look critically at structural inequalities within any of the intersecting frameworks and identities of race, ethnicity, class, gender, sexuality, disability and or nationalism. We hope that all students, regardless of background or experience with filmmaking, share their stories.

Resources

Please find resources for the program below:

Amherst College
Film and Media Studies

Hampshire College
Film, Photography, and Video

Mount Holyoke College
Film Studies

Smith College
Film and Media Studies

UMass Amherst
Interdepartmental Program in Film Studies

Five College Consortium
The Lorna M. Peterson Prize

Contact Us

Five College Film and Media Studies Major Steering Committee

Amherst College
Joshua Guilford, English and Film and Media Studies

Hampshire College
Eva Rueschmann, Cultural Studies
Lise Sanders, English Literature and Cultural Studies

Mount Holyoke College
Robin Blaetz, English

Smith College
Anaiis Cisco, Film and Media Studies
Jen Malkowski, Film and Media Studies

University of Massachusetts Amherst
Shawn Shimpach, Communication, Interdepartmental Program in Film Studies

Five College Staff Liaison
Ray Rennard, Director of Academic Programs

Connect

View the Five College Student Film Festival Vimeo Channel!
Join the Five College Film Program Google Group!