Current approaches to communication theory. Emphasis on a comparative approach to communication problems, and on a critical analysis of theoretical foundations. Theories considered include: systems theory, 20th-century rhetorics, reductionism, ethnographic studies, critical indicators, and critical cultural studies. Prerequisite: COMM 118.

Introduction to the structure, process, and logic of quantitative empirical research in communication. Topics include research design, measurement, descriptive and inferential statistics, and basic multivariate analysis. Students acquire an ability to critique various methodological approaches and techniques. Preparation for more advanced courses. Required of all Communication graduate students.

Building on the introductory course (COMM 445: Seminar-Screenwriting), 593D is an intensive workshop where students receive continuing, in-depth feedback on their work in progress, as they strive for professional competence in feature-length theatrical screenwriting or writing for episodic television. Included is an analysis of two professional screenplays and the films or shows produced from them, as students delve into the writer's art and craft.

This course examines the role of different kinds of nonverbal behaviors (i.e., body orientation and posture, gaze direction, gestures, space, etc.) in establishing a joint focus of attention, coordinating turn-taking, conveying meaning, sustaining institutional realities, telling stories, and navigating interpersonal relationships. We will investigate nonverbal behaviors both in ordinary face-to-face conversations and in a variety of professional settings, including courtrooms, doctors' offices, and the workplace. Satisfies the Integrative Experience requirement for BA-COMM majors.

Why do we put certain films into categories? What constitutes a film genre, how do we recognize it, and what do we do with it? This course examines these questions and more by considering a specific genre over the course of the semester. We will learn to think of genre as a way of comparing and contrasting different films. Genre will also be thought of as a way of creating expectations and measuring experience and meaning. The power of film genre is that it allows us to understand film as a text and film as a social practice at the very same time.

Interactions, either face-to-face or over the phone, are the basis of social life. The goal of this course is to learn how to study interactions. The course combines theoretical topics with data sessions of real interactions. We will discuss how to collect data, how to transcribe it, and how to analyze it based on the common structures of human interaction. Structures such as turn-taking, repairs, and story-telling will be covered.

This course offers an overview of recent filmmaking from Africa, the Middle East, Asia, Latin America, Europe, and elsewhere. While narrative fiction feature films are central, documentary, short-form work, and other digital/audiovisual media will also be included. Developing tools of film analysis and criticism, we will explore representational strategies and issues of context: current events, cultural, political, social, historical, and economic circumstances that impact the production, exhibition, marketing, distribution, and reception of films.

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