This course focuses on the concept of horror in contemporary public culture in the United States, reflecting on the nature of evil and human responsibility in the face of it. Topics for discussion include the rhetorical use of horror, the narrative creation of monstrosities, the responses to fear of the Other, the relationship between horror and terror, and the aesthetics of disturbing performances. Several weeks will be devoted to popular icons of monstrosity in order to examine the ethical and political ramifications of these metaphors lurking in contemporary culture.

This Communication course draws on research and theory in communication, psychology, sociology, gender and cultural studies, education, and anthropology to examine how various forms of media shape our understandings of ourselves and others as gendered beings. We will discuss how media messages not only influence our behaviors, but also permeate our very senses of who we are from early childhood.

Lecture, discussion. An examination of the art, craft, and business of screenwriting from theoretical and practical perspectives. Topics include screenplay format and structure, story, plot and character development, dialog and scene description, visual storytelling, pace and rhythm, analysis of professional and student scripts and films, and more. Written work includes three screenwriting projects. The focus is on writing for narrative films and, to a limited extent, TV programs. Prerequisite: COMM film course.

Semiotics is the study of meaning within society. It deepens our understanding of culture, communication and philosophy, and provides us with a theoretical and practical framework for analyzing the world. The course will introduce and develop the semiotic approach, using literature, politics, film, TV, music, and our everyday surroundings and conversations.

Examination of films of a particular director or of films representing a particular genre, e.g. documentary films.

Examination of films of a particular director or of films representing a particular genre, e.g. documentary films.

Hands-on introduction to single-camera filmmaking using 16mm film cameras and/or digital video camcorders (electronic field production) and non-linear (computer-based) editing. Students learn concepts of pre-production, shot composition, lighting, visual story telling, continuity editing, and production and post-production audio as they plan, shoot, and edit exercises and complete projects.

Lecture, Studio. Intensive workshop course in advanced concepts and techniques of studio-based television production, with a focus on the direction of live programs. Under the supervision of the instructor, students will produce individual projects in a variety of genres which will be aired on local cable television outlets. Prerequisite: COMM 331 or consent of the instructor.

Lecture, discussion, optional service learning project. The concerns, controversies, theoretical perspectives, and body of knowledge on the issue of media violence are examined. All students will work in groups to conceptualize and carry out a research project on the topic.

The entertainment industries are inordinately focused on young people as they represent a tremendous market force. Yet how do the imperatives of this market-driven media culture correspond with principles of democracy? As an action research course, the mapping of key features of this terrain --- youth socialization, advertising and consumption; media oligopoly and cross-market-ing; cultural appropriation and hip hop; cable, the internet and government regulation -- will guide applied research around particular sites of power we?ve identified.