Autumn 2019

Body

Please check Buckeyelink and/or refer to a course's home department for any questions about course topics, instructors, or schedules. You can find instructor contact information on the department's homepage or using the people find search engine on my.osu.edu.

If you have questions about major or minor requirements please see the advising sheets linked on this page or contact an advisor to assist you.

Moving-Image Production courses / Film Studies Undergraduate Major and Minor courses / Screenwriting Focus courses / Production Focus courses / Graduate Courses 

Moving-Image Production Major

 

ACCAD 5001 - 0010 :  Motion Studies through Hand-Drawn Animation

The principles of animation as demonstrated through hand-drawn animation. The work produced serves as a tool for comprehending the underlying process of any animation technique.

Course Topic:  The course provides an overview of techniques ranging from 2D animation, to stop motion and pixilation as it introduces animation as a tool for filmmakers to employ. Students will learn the principles of animation through developing and creating various animation projects independently and collaboratively.

Prereq: Not open to students with credit for ArtsCol 683.

Lecture: (combined sections)

  • TuTh 2:00PM-4:00PM / Denney Hall 060 / Kyoung Swearingen (29778)
  • TuTh 2:00PM-4:00PM / Denney Hall 060 / Kyoung Swearingen (34625)

 

ACCAD 5002 - 0010 :  3D Computer Animation: Form, Light and Motion I

Overview of 3D computer animation components and stages of production.

Prereq: Not open to students with credit for ArtsCol 749. ACCAD 5001 may also be required.

Lecture: (combined sections)

  • TuTh 11:10AM-12:30PM / Sullivant Hall 349A / Kyoung Swearingen (24599)
  • TuTh 11:10AM-12:30PM / Sullivant Hall 349A / Kyoung Swearingen (24600)

 

ART 2000 - 0010 :  Encountering Contemporary Art

Readings, lectures, discussions and field trips will introduce students to a diverse range of ideas, processes and contexts shaping the experience of visual art today.

Prereq: Not open to students with credit for 162 or 200..

Lecture: (combined sections)

  • TuTh 3:55PM-5:15PM / University Hall 014 / Amanda Gluibizzi (15980)

 

ART 2555 - 0020   Photography I - Digital Camera

Introduces photographic theory, practice, and aesthetics with image production, commercial lab prints and critiques. Student provides digital camera, minimum 6 mp, with full manual controls and exposure compensation available.

GE VPA course.

Available Labs:

  • MoWeFr 8:05AM – 9:55AM / Hopkins 262 / Staff
  • TuTh 8:10AM – 10:55AM / Hopkins 262 / Staff
  • TuTh 11:10AM –  1:55AM / Hopkins 262 / Staff
  • MoWeFr 4:05PM – 5:55PM / Hopkins 262 / Staff
  • MoWeFr 10:05am – 11:55AM / Hopkins 262 / Staff
  • MoWeFr 2:05PM – 3:55PM / Hopkins 262 / Staff
  • TuTh 3:55PM – 6:40PM / Hopkins 262 / Staff
  • MoWe 6:05PM – 8:45PM / Hopkins 262 / Staff
  • TuTh 6:55PM – 9:40PM / Hopkins 262 / Staff

 

ART 4009 - 0010 :  Film/Video II: Experimental Strategies

This course is designed as an overview of a broad range of strategies and issues unique to the practice sometimes labeled "experimental film," avant-garde cinema," or "video art." Intermediate theory and practice of creating film/video artwork.  Emphasis on personal expression and experimental approaches.

Prereq: 3009, or permission of instructor. Not open to students with credit for 5551.

Lecture: (combined sections)

  • MoWe 11:10AM-1:55PM / Hopkins Hall 156 / Staff (31060)

 

ART 5009 - 0010 :  Film/Video III: Topics in Technologies and Strategies

Film/Video III is a variable-topics course that focuses in on one set of strategies or technologies touched upon in Film/Video II, offering a much deeper engagement with that particular set of strategies.

Prereq: 3009 and 4009. Repeatable to a maximum of 9 cr hrs.

  • MoWe 3:55PM – 6:40PM / Hopkins 246/ Roger Beebe (29125)

Course Topic: 16mm Filmmaking

This course is designed as an ambitious introduction to film (as opposed to video) production. We will explore all aspects of the process of image-making on celluloid from the most basic (e.g., how to load the camera) to relatively advanced approaches cinematography and editing. There will be no synchronous sound production in this course, so all films will be dialogue-free, although we will experiment with ways of adding sound during projection. Note that the focus of the course will be on experimental approaches to 16mm rather than on documentary or narrative strategies.

There will be considerable materials costs for this class - likely in the neighborhood of $300 for film and processing.
All costs are the responsibility of the student.
 

MVNGIMG 2201 - 0010 :  Filmmaking Foundation II

This entry-level course presents moving image production as an artistic, cultural, and multi-modal practice. It focuses on the building blocks of film grammar and offers an introduction to fundamental concepts and tools needed to work in the moving image, grounded in critical and historical context. Students use project-based learning to work independently and collaboratively.

Lecture:

  • We 1:50PM – 3:10PM / Stillman Hall 0100 / Roger Beebe

Available Labs:

  • Tu 12:05PM – 2:50PM / Mendenhall Lab 129 / Staff (28295)
  • Tu 3:05pm – 5:50PM / Mendenhall Lab 129 / Staff (28296)
  • Tu 6:05PM – 8:50PM / Mendenhall Lab 129 / Staff (29926)

 

THEATRE 3381 Introduction to Narrative Filmmaking

 

This course provides a foundation in the conceptual and technical building blocks of cinematic narrative. Students will investigate the nature of event, character, and place, developing their production and post-production skills in composition, camera movement, lighting, editing, and sound design to support and enhance storytelling.

Prereq: Admission to Moving-Image Production major, or permission of instructor.

  • WeFr 1:45PM – 3:45PM / TBA / Vera Brunner-Sung

 

THEATRE 5321 - 0010  : Film/Video Production I

Basics of film/video production through lectures, analysis, and projects. Camera, sound, lighting, and editing techniques are practiced in collaborative and individual settings.

Prereq: Permission of instructor. Not open to students with credit for 634.

Lecture: (combined sections)

  • TuTh 3:55PM - 5:15PM / Drake Center 2060 / David Fisher
  • TuTh 3:55PM - 5:15PM / Drake Center 2060 / David Fisher

 

THEATRE 5322 - 0010   Art of Editing

Exploration of post-production techniques from editorial concepts to outputting video. Students will expand their knowledge of the editorial process and their analytical skills.

Prereq: 5321 and permission of instructor. Not open to students with credit for 633.

Lecture: (combined sections)

  • TuTh 12:40PM -2:45PM / Drake Center 2060 / Staff

 

THEATRE 5341 - 0010   Studies in Documentary

Exploration of the conceptual, aesthetic, critical, social, ethical, and practical issues in the practice of documentary and reality production of cinema and video works.

Prereq: Permission of instructor. Not open to students with credit for 777.

Lecture: (combined sections)

  • TuTh 11:30AM – 1:30PM / TBA / Staff

 

Film Studies Undergrad MJ/MN

 

 

ACCAD 3350 - 10   The History of Animation

An overview of the history and theory of animation including origin of animation forms, Hollywood Studio animation, a sample of World Animation and contemporary animation. 

Prereq: Not open to students with credit for ArtsCol 350. Cred: 3 units

  • We Fr 9:35AM - 10:55AM / Wexner Center 001 / David Filipi

 

AFAMAST 4571 - 10 : Black Visual Culture and Popular Media

An examination of African Americans in visual culture and the theories of representation in popular media. Prereq: Not open to students with credit for 571. GE VPA and diversity soc div in the US course.

  • Class 26941 / Mo 10:20AM – 1:05PM / Hagerty Hall 062 / Simone Drake

 

COMPSTD 3607 : Film and Literature as Narrative Art

Relationships between film and literature; emergence of cinematic art as a form of representation with emphasis on diverse cultural traditions. Prereq: English 1110 (110) or equiv. Not open to students with credit for 3607H (358H, 358). GE VPA and diversity global studies course.

  • Class 6651 / Mo 12:10PM – 2:00PM AND WeFr 12:40PM - 1:35PM / Mendenhall Lab 131 / Susan Hanson
  • Class 14952 / MoWe 12:45PM – 2:05PM AND Fr 12:45PM – 2:55 PM / Frank W. Hale Jr Hall 110A / Maurice Stevens

 

ENGLISH 2263 : Introduction to Film

This course will explore the formal and technological means through which stories are told on film, and how those techniques interact with the film industry and the viewers on which it relies.  Among other things, we'll consider cinematography, editing, mise-en-scene, sound, genre, distribution, exhibition venues, and the star system.  Throughout, our emphasis will be on bringing out and building upon the skills as a viewer that you've already developed over two decades or more of watching.

Likely viewing will include Some Like It Hot, The Silence of the Lambs, The Palm Beach Story, Kick-Ass, Rope, Moonrise Kingdom, Singin' in the Rain, Dazed and Confused, Star Wars, Kiss Kiss Bang Bang, High Society, something quite recent and internationally successful, and a documentary (The Story of Film), along with a wide range of clips. Likely assignments will include weekly quizzes, an exhaustive description of a scene in one of our films, an essay, and a final exam.

LECTURE:

  • Tu Th 11:10AM – 12:30PM / Gateway Film Center House 1/ Fredrick Aldama

RECITATIONS:

  • Fr 1:50PM -2:45PM / McPherson Lab 1021 / Staff
  • Fr 1:50PM -2:45PM / Smith Lab 2150 / Staff
  • Fr 3:00PM – 3:55PM / Baker Systems 136 / Staff
  • Fr 12:40PM – 1:35PM / Hayes Hall 005 / Staff

 

MINOR ONLY

ENGLISH 3378  : Special Topics in Film and Literature 

This course can satisfy various requirements: an upper-level (4000-level) or lower-level (3000-level) course for the English Major and Minor; a course for the Film Studies Minor; a course for the Popular Culture minor; a film course for the Pre-Education Major; and a Cultures and Ideas course for GE credit.

  • TuTh 2:20PM – 3:40PM / Gateway Film Center House 2 / Staff

 

ENGLISH 4578 – 20 : Special Topics in Film

Examination of particular topics, themes, genres, or movements in cinema; topics may include particular directors (Orson Welles), periods (The Sixties), genres (horror). Prereq: 10 qtr cr hrs or 6 cr hrs of English at 2000-3000 level, or permission of instructor. 5 qtr cr hrs in 367 or 3 cr hrs in 2367 in any subject is acceptable towards the 6 cr hrs. Not open to students with 15 qtr cr hrs for 578 or 9 sem cr hrs for 4578 or 4578H. Repeatable to a maximum of 9 cr hrs.

  • TuTh 12:45PM – 2:05PM / Denney Hall 250 / Sandra MacPherson
  • Topic to be announced

 

ENGLISH 4578 - 30 : Special Topics in Film

Examination of particular topics, themes, genres, or movements in cinema; topics may include particular directors (Orson Welles), periods (The Sixties), genres (horror). Prereq: 10 qtr cr hrs or 6 cr hrs of English at 2000-3000 level, or permission of instructor. 5 qtr cr hrs in 367 or 3 cr hrs in 2367 in any subject is acceptable towards the 6 cr hrs. Not open to students with 15 qtr cr hrs for 578 or 9 sem cr hrs for 4578 or 4578H. Repeatable to a maximum of 9 cr hrs.

  • WeFr 12:45PM – 2:05PM / Denney Hall 206 / Ryan Friedman
  • Course Topic: This course examines the history of the American cinema in the years immediately following the Second World War, covering the period from 1945 to 1960. We will view and discuss significant Hollywood films from a variety of genres (e.g., comedy, musical, film noir, western, melodrama, social problem film), contextualizing them by reading articles and excerpts published in a variety of venues (e.g., popular magazines, film-trade publications, books of sociology and psychology) during the era in which these films were produced and exhibited.

 

FILMSTD 2271 : Introduction to Film Studies for Majors

An introduction to the field of Film Studies based on a survey of the major theories of film analysis, specifically geared for incoming majors. Prereq: English 2263 (263), or HistArt 2901 (260). Not open to students with credit for 2270 (270). GE VPA course.

  • TuTh 12:45PM - 2:05PM / Denney Hall 209 / Page Piper

 

FILMSTD 4895   : Advanced Seminar: Topics in Film Studies

Selected problems (themes, movements, theories, genres, styles, etc.) in film studies; topics vary per semester. Preq: Enrollment in Film Studies major, and Sr standing, or permission of instructor.

  • Friday 12:45 – 3:40PM / Denney 207/ Sean O’Sullivan

Course Topic: Re-Inventing Television -  Many recent critically-acclaimed U.S. television series have provoked discussions about their break from the small screen's traditional low-art status.  This course will focus on several 21st-century shows that, rather than starting from scratch, have re-invented established genres in the medium's history by shifting the forms and characters we get to see on television, and how we get to see them.  Our lineup of storytelling categories may include the crime drama, the family comedy, and the western.  Throughout, we will engage with questions of where serial television has come from, and where it might be going.  

 

HISTART 2901 - 0001 : Introduction to World Cinema

Chronological survey of the most influential and recognized film artists and film movements of the world.  Prereq: Not open to students with credit for 260. GE VPA and diversity global studies course.

  • Class 19352 / Tu Th 9:35AM - 10:55AM / Hagerty Hall 180/ Staff
  • Class 19353 / TuTh 5:30PM - 6:50PM / Hitchcock Hall 031 / Staff
  • Class 33376 / Online / Kris Paulsen

 

HISTART 3901 - 0010 : World Cinema Today

An introduction to the art of international cinema today, including its forms and varied content. Prereq: Sophomore standing, or permission of instructor. Not open to students with credit for 350. GE VPA and diversity global studies course.

  • Tu Th 3:55PM – 5:15PM /Scott Lab E001 / Erica Levin

 

HISTART 5643:  New Media Art and Theory

An investigation of the art and theory of contemporary new media.

  • Class 33837 / WeFr 12:45PM – 2:05PM/ Campbell Hall 251 / Kris Paulsen
  • Class 33836 / WeFr 12:45PM – 2:05PM/ Campbell Hall 251 / Kris Paulsen

 

HISTART 5910 :  History of Documentary Cinema

A Historical, chronological survey of significant ideas about and contributions to documentary cinema. Prereq: Jr standing.

  • Class 18043 / MoW 3:55PM – 5:15PM/ Hagerty Hall 046 / Erica Levin
  • Class 18042 / MoW 3:55PM – 5:15PM/ Hagerty Hall 046/ Erica Levin

The artist Hito Steyerl observes, “The documentary form as such is now more potent than ever, even though we believe less than ever in documentary truth claims.” This course explores the paradox she identifies by looking closely at the history of documentary cinema, from the first film named to the genre – Nanook of the North – to the present day, as it shapes a wide range of moving image practices. The class follows an historical trajectory, but will encourage you to think comparatively and analytically about documentary form, ethics, and aesthetics. We will examine the major modes of documentary filmmaking including cinema verité, direct cinema, investigative documentary, ethnographic film, agit-prop, activist media, autobiography and the personal essay. Through formal analysis, we will ask how these different documentary modes generate or exploit a variety of “reality effects.” Along the way, we will consider why the promise of documentary truth is always beset by uncertainty, or as Steyerl describes it, “a shadow” of insecurity. Rather than accept this phenomenon as a constraint or a limit, we will explore how artists like Steyerl help us to see the value and meaning of the “perpetual doubt” documentary inspires.

 

ITALIAN 2053  Introduction to Italian Cinema

OSU Italian Film - @OSUItalianFilm - #osuitaliancinema 

Survey of the Italian cinema from the beginnings to today, with special emphasis on neorealism. Taught in English. Prereq: Not open to students with credit for 221. GE VPA and diversity global studies course.

Italian 2053: Italian Cinema - Sex and Politics 

In Italian culture sex and politics are intimately entwined, as a daily look at Italian newspapers will reveal. Through examining the crossovers between ‘private’ arenas of home and family and ‘public’ realms of politics, the economy, and religion, this course aims to disclose how, in Italian culture, the personal and the political are inextricably linked. This course presents students with an overview of Italian cinema of the last seventy years and we will look in detail at films and serial television by several important Italian directors. We will touch upon major movements in Italian screen history, including Neorealism, commedia all’italiana, engaged or political cinema, the spaghetti western, mafia movies, the film noir, and quality television. Topics and historical periods to be addressed include: Italian fascism (including Italy’s problematic alliance with Nazi Germany and the Partisan Resistance,) the so-called ‘economic miracle,’ regionalism, Italy’s not-so ‘Dolce vita,’ gender relations, the mafias, political corruption, and terrorism. Taught in English. GE Visual Performing Arts and Diversity Global Studies.

  • MoWe 12:40PM – 1:35PM / Sullivant 220/ Luca Peretti
  •  Fr 12:40PM – 1:35PM / Arps Hall 388/ Staff
  • Th 12:40PM – 1:35PM / Bolz Hall 314/ Staff
  • Th12:40PM – 1:35PM /Hitchcock 030/ Staff
  • Th 12:40PM – 1:35PM / Arps Hall 388/ Staff
  • Fr 12:40PM – 1:35PM / Bolz Hall 314/ Staff
  • Fr12:40PM – 1:35PM /Hitchcock 030/ Staff

 

Japanese 4400 Japanese Film and Visual Media

An overview of Japanese cinema and visual media, with a focus on genre: canonical and popular works of anime, yakuza film, historical/samurai film, comedies, and documentaries. Taught in English, no Japanese required.

  • Class 24578 / TuTh 12:45-2:05PM / Smith Lab 2006 / Richard Torrance

 

RUSSIAN 3460: Modern Russian Experience through Film

Exploration of some of the most revealing hopes and disappointments of Russian people presented in internationally acclaimed Russian films. Taught in English. Prereq: Not open to students with credit for 360. GE VPA and diversity global studies course.

  • TuTh 11:10AM - 12:30PM / Mendenhall 115 / Helena Goscilo
  • TuTh 9:35AM – 10:55AM / Hayes Hall 005 / Staff
  • TuTh 3:55PM – 5:15PM / Mendenhall 125 / Staff

 

SLAVIC 3310: Science Fiction: East vs. West

Slavic, American, and British sci-fi on page and screen as reflection of major cultural concerns: progress, utopia, human perfectibility, limits of science and knowledge, gender, identity. Taught in English. Prereq: Not open to students with credit for 3320 or WGSSt 3310. GE VPA and diversity global studies course. Cross-listed in WGSSt.

  • TuTh 12:45PM – 2:05PM / Page Hall 010 /Helena Goscilo
  • WeFr 111:10AM –12:30PM / Derby Hall 080/ Staff

 

SPANISH 2380:  Introduction to Latin American Film

Introduction to Latin American film traditions; analysis of genres, filmmakers, and alternate aesthetics; focus on relation of film to social, political, and economic processes. Prereq: Not open to students with credit for 380. GE VPA and diversity global studies course.

  • WeFr 12:45PM – 2:05PM / Mendenhall Lab 115 / Laura Podalsky

 

SPANISH 4581:  Spanish Film

Study of Spanish film; special attention is paid to the relationship between film and the society in which it is produced. Prereq: A grade of C- or above in 3450 (450) or 3450H (450H). Not open to students with credit for 581. FL Admis Cond course.

  • Tu Th 11:10AM – 12:30PM / Hagerty Hall 046 / Ignasi Gozalo Salellas

 

WGSST 3317 - 0010   Hollywood, Women, and Film

A critical survey of the rep. of women in Hollywood cinema, examples drawn from the 1930's to present. Learn how film has functioned in its representation of women and how and why women film makers have created alternative visions of women in film. Prereq: Not open to students with credit for 317. GE VPA course.

  • WeFr / 12:45PMAM – 2:05PM / University Hall 056 / Maghan Jackson
  • TuTh / 2:20PM – 3:40PM / Mendenhall Lab 173 / Joy Ellison
  • WeFr / TBA / Online / Saidah Isoke

 

WGSST 4527:  Studies in Gender and Cinema

Analysis of different film types focused on women to help students understand historical scope, theoretical frameworks, and reading strategies for understanding these films; topics vary. Prereq: Not open to students with 10 qtr cr hrs of 527 or FilmStd 527.

This course is a survey of funny women in American cinema from the silent era through Melissa McCarthy and Kristen Wiig.  We will focus on the cinematic genres and cultural conventions that enabled women to be slapstick and campy comic stars through the 1930s, and we will examine the shift to romantic comedy that popularized a far more conservative comic story and heroine.  We will also study the comedians, comic teams, and ensembles that are the predecessors of today’s female comic stars, directors, and screenwriters.  A major emphasis of this course is the intersection of race, class, gender and sexuality in the themes and personas of women’s comedy.

  • TuTh 3:55PM – 5:15PM / University Hall 056 / Linda Mizejewski

 

Screenwriting

 

FILMSTD 4800 Story Development for Film and Television

In this course, students will harness their pre-existing critical thinking skills and historical knowledge to develop a personal statement-of-purpose that enables them to generate and refine their own original film and television concepts for subsequent production projects.

Prereq: Permission of instructor. Not available for students with credit for FilmStd 4194 AU 14 or English 4800.

  • Mo 3:30PM – 6:15PM / Denney Hall 202 / Angus Fletcher

 

FILMSTD 4880 - 10   Screenwriting and the Business of Cinema

This course examines screenwriting as both a literary art form and a challenging profession. Prereq: Theatre 5331 (636), or permission of instructor. Not open to credit to students with credit for 680.

  • WeFr 9:35AM - 10:55AM / Denney Hall 265 / Andrew Rose

 

FILMSTD 4881 - 10   Screenwriting and the Business of Television

This course examines television writing from both a creative and business perspective. Each student will individually pitch, and then write the show's bible, outline, and pilot. Students learn about teleplay structure, as well as ways to develop intriguing characters, realistic dialogue, and engaging episodes. In small groups students develop, write, and read others' work collectively. Prereq: Theatre 5331 or permission of instructor. Not available to students with credit for 5194 Sp15.

  • WeFr 11:10AM - 12:30PM / Denney Hall 265 / Andrew Rose

 

THEATRE 5331: Screenwriting

Exploration of creative script-writing for video/cinema; development of short or feature length scripts. Prereq: Permission of instructor. Not open to students with credit for 636.

  • WeFr 2:20PM – 3:40PM / Drake Center 2038 / Scott Spears (combined section class)
  • WeFr 3:55PM – 5:15PM / Drake Center 2038 / Scott Spears (combined section class)

 

Focus Area and Production Electives

Students pursuing a Film Studies Focus Area in "Production" or "Animaton" or a minor in Video Arts should consult with an advisor (Emily Carpenter or Matt Swift) about taking these courses as well as course listed above in the Moving-Image Production major to acquire enrollement information. 

ACCAD 5100 - 10   Concept Development for Time-Based Media

Methods for developing concepts for time-based media through the cultivation of ideas and problem-solving strategies. Storyboarding, composition, editing and sound principles will be explored. Prereq: Not open to students with credit for ArtsCol 730. Credit: 3 units

  • TuTh 9:35AM – 10:55AM / Sullivant Hall 349A / Stephen Conroy

 

ART 2500: Visual Studies: Digital Image Manipulation

Introduction to the creation, manipulation and critical interpretation of graphic and photographic artwork. Includes input and output of digital work as it applies to artists. Prereq: Not open to students with credit for 350.

  • Mo We Fr 10:05AM - 11:55AM / Hopkins Hall 356 / Staff
  • Mo We Fr 12:05PM - 1:55PM / Hopkins Hall 356 / Staff
  • TuTh 11:10AM - 1:55PM / Hopkins Hall 356 / Staff
  • TuTh 3:55PM - 6:40PM / Hopkins Hall 356 / Staff
  • MoWe 3:55PM - 6:40PM / Hopkins Hall 356 / Staff

 

ART 3009 - 0010 : Film/Video I: Technologies and Analysis

Introduction to the creation and analysis of video artwork; including techniques of video capture, post production, manipulation and critique within the context of art. Not open to students with credit for 5501.

  • MoWe 6:55PM – 9:40PM / Hopkins Hall 156 / Staff

 

ART 4101: Moving Image Art

Creation, manipulation and animation of digital imagery, including the integration of multiple media elements, such as video, drawings and audio into artistic projects.  Prereq: 2500 or 350, and 3101 (452) or 4001 or 553. Repeatable to a maximum of 6 cr hrs.

  • MoWe 3:55PM – 6:40PM / Hopkins Hall 180A / Staff

 

ART 4401: Computer Animation

Focus on the concepts, aesthetics, processes, and practice of designing and producing 3D computer animation. Theory and techniques of cinematography, video production and sound as related to 3D computer animation will be covered.

Repeatable to a maximum of 6 cr hrs.

  • TuTh 11:10AM – 1:55PM / Hopkins Hall 180A / Staff

 

THEATRE 5321: Film/Video Production I

Basics of film/video production through lectures, analysis, and projects. Camera, sound, lighting, and editing techniques are practiced in collaborative and individual settings. Prereq: Permission of instructor. Not open to students with credit for 634.

  • TuTh 3:55PM - 5:15PM / Drake Center 2060 / David Fisher

 

 

Graduate Courses

 

ENGLISH 6778.01 Introduction to Graduate Study in Film and Film Theory

An advanced survey of the methodologies, contexts, and development of film and film theory.

Prereq: Grad standing, or permission of instructor. Not open to students with credit for 6778.01 (778) or 6778.02.

  • We 9:10AM – 12:10AM / Sullivant 205 / Staff

 

FILMSTD 7000 - 10   Graduate Studies in Film History

Study of the social, industrial, technological, and intellectual history of cinema, including cinema's relationships to modernity and its transnational developments. 
Prereq: Grad standing, or permission of instructor.

  • Th 3:00PM – 5:55PM / Journalism Bldg 295 / Margaret Flinn

In Film History: Theory and Practice (1985), Robert Allen and Douglas Gomery define the film historian’s “domain” as the examination of “how film as art, technology, social force, or economic institution developed over time or functioned at a given moment in the past.” Thirty years after Allen and Gomery’s effort to distinguish “film history as a branch of film studies,” the line of inquiry that they describe continues to yield some of the most influential, formative scholarship in the field. Film Studies 7000 is a foundational course exploring problems and methods of film history and historiography. In it, we will undertake secondary readings in order to analyze the methods undertaken, but much more importantly, students will engage in a series of brief research and writing projects that utilize locally available resources in order to undertake the “doing” of film history. We will view films serve as a shared body of texts from which to base discussion about possible avenues of (historical) research around and about the such objects. Rather than being centered on a single historical period, theme and/or geographical area, the emphasis here is on methods and questions in large part derived from film historical research being carried out by current OSU faculty.

German 8400  Seminar in Film, Visual Culture and the Performing Arts 

Advanced graduate seminar allowing students to broaden their engagement with non-literary culture based in German-speaking texts and to conduct research into targeted areas of interest.
 
Prereq: 6200, or Grad standing, or permission of instructor. Repeatable to a maximum of 30 cr hrs. Admis Cond course.
 
  • Mo 8:30AM – 11:00AM / Hagerty 145 / John Davidson

Topic: In the last three decades, “surveillance” as both an activity and a concept has become increasingly central to cultural, social, political, and economic theories. Writers often use examples from visual culture as illustrations (and even templates) for new models. One detects a tendency to treat this topic as having first arisen in the postmodern or even the digital age; however, it has a much deeper history. “Surveillance” has been a consistent element in German film, from Weimar “street films” and Fritz Lang’s “Mabuse” series to the contemporary Berlin School. At times it has been an instrumental part of the rationale for production and distribution, accompanied by admonitions such as the Nazis’ “Beware, the Enemy is Listening,” which had Cold War counterparts in both the East and the West. In a very different way, the New German Cinema was fundamentally concerned this idea. This seminar will explore the role that surveillance has played in German cinema and set it against contemporary deployments of the term. What insights can be gained from viewing this tradition in light of contemporary theorizations and, perhaps more importantly, what can an engagement with this visual tradition contribute to a historicization of the concept? The aim will be to resist the historical forgetting that is the often hidden accompaniment to ubiquitous surveilling and archiving in the digital world.
The class will be constructed and taught to accommodate non-German speakers. Previous familiarity with German film, film history, and/or film analysis are useful but not required.

 

HISTART 8901 - 0010   Cinema Studies

Intensive studies of specific movements, artists, periods and theories of cinema. 
Prereq: Permission of instructor. Repeatable to a maximum of 12 cr hrs.
 
  • Class: 33956 / We 2:15PM - 5:00PM / TBA / Erica Levin

 

ITALIAN 8243 - 0010   Studies in Italian Cinema

Detailed exploration and analysis of selected topics in Italian cinema.
Prereq: Doctorial and MA Candidates or, qualified undergraduates with permission of instructor. Repeatable to a maximum of 9 cr hrs. FL Admis Cond course.
 
  • Class: 33956 / We 2:20PM - 5:00 /  Dana Renga and Alan O’Leary (University of Leeds)

Course Topic: Italian Cinema and Videographic Criticism - This course will use Italian film and television as a case study to investigate the utility and power of videographic criticism (the audiovisual analysis of film and cinema in video essays). As an approach to analytical work on film, videographic criticism is increasingly practiced within as well as beyond the academy and can be considered a growing part of digital humanities. The types of video essay range from the illustrated lecture to abstract or poetic meditations, and the number of video essays produced has multiplied exponentially over the last decade. But there is no agreement yet on the appropriate form that videographic criticism should take in order to qualify as scholarly practice. This course will consider the history and current state of videographic criticism and investigate the capacities of the practice by considering it in relation to themes and issues in Italian cinema studies as well as in relation to individual genres and films (we will also consider material on non-Italian cinema and TV). What forms of knowledge can videographic criticism provide about Italian films and cinema? Can it deal as effectively with questions or audience, ideology or industry as it does with formal aspects of individual films? What advantages does the practice of videographic criticism have over traditional academic forms of research and writing, and what are its disadvantages? Students may choose to make their own video essays as part of this course if they wish. Relatively few video essays have so far been made on Italian film and cinema, so this course is opportunity to take stock of, and to contribute to, a small but growing field.