Film Studies

Links literature to painting, photography and film, as well as texts in psychology (Freudian trauma theory and recovered memory). We will explore the role of personal and cultural memory in the creative process through key examples from the medieval "memory rooms" to the work of Alain Resnais. Weekly screenings. Also listed as ENGL 3145.

This workshop introduces the student to all the cinematic tools necessary to produce their own short narrative work.  Using what the student has learned in film studies, we'll break down shot syntax, mise-en-scene and editing strategies and master them in weekly video exercises.  We'll include casting, working with actors and expressive camera work in our process as we build toward a final video project.  By the end of the course, the student will have created a DVD containing a collection of their video pieces and their final project.  Priority given to junior and senior film majors.

Introductory survey of the history, aesthetics and theories of film. Topics in American and International cinema are explored through weekly screenings, readings, discussion, and lecture. A complete introduction to cinema studies, this course is also the prerequisite for further film courses at Columbia and Barnard.

Enrollment in one of the following sections is required when registering for FILM BC 3201: Introduction to Film and Film Theory.

Close examinatin of the oeuvre of a single filmmaker within a larger cinematic, aesthetic and historical context.

Examines the changing role of film in dramatizing, promoting and critiquing American participation in the military conflicts over the past 70 years. From the gung-ho patriotism of Howard Hawks's SGT. YORK and the front-line reportage of Lewis Milestone's A WALK IN THE SUN to the ambivalence of John Frankenheimer's THE MANCHURIAN CANDIDATE and the calculated cynicism of Barry Levinson's WAG THE DOG, we explore shifting political perspectives and aesthetic strategies.

Advanced Film Production will teach students how to create a short narrative film; emphasizing the steps taken in pre-production, production and post-production. Through hands-on workshops and theory, students will learn narrative editing, shot progression, camera lenses, lighting and audio equipment. Students will work in teams of four, learning the roles and responsibilities of the different crew members.

A seminar for senior film majors planning to write a research paper in film history/theory/culture. Course content changes yearly.

This course rethinks the “birth of cinema” from the vantage of “when old media was new.” Following standard approaches, it moves from actualities to fiction, from the “cinema of attractions” to narrative, from the cinématographe to cinema, from cottage industry to studio system. Units in silent film music, early genres, film piracy and copyright, word and moving image, and restoration—the film archivist’s dilemma in the digital era. FILM W2011

This course examines major developments and debates in the history of cinema between 1930 and 1960, from the consolidation of the classic Hollywood studio system in the early sound era to the articulation of emergent “new waves” and new critical discourses in the late 1950s. Our approach will be interdisciplinary in scope, albeit with an emphasis on social and cultural history – concerned not only with how movies have developed as a form of art and medium of entertainment, but also with cinema’s changing function as a social institution. FILM W2021

By closely watching representative classics from countries including Italy, Poland, Russia and Argentina, we will study the distinctive trends and masters of this vibrant era. Special attention will be paid to the French New Wave (60s); the New German Cinema (70s); the reformulation of Hollywood studio filmmaking in the 70s (Altman, Cassavetes, Coppola), and the rise of the independent American cinema (80s). FILM W2031

This course brings our survey of the development of the art, technology, and industry of motion images up to the present. During this era, most people no longer watched movies (perhaps the most neutral term) in theaters, and digital technology came to dominate every aspect of production, distribution, and exhibition. Highlighted filmmakers include Michael Haneke, Lars von Trier, Wong Kar-wei, and Steve McQueen. Topics range from contemporary horror to animation. Requirements: short (2-3 pages) papers on each film shown for the class and a final, take-home exam. FILM W2041

Exercises in the writing of film scripts.

Exercises in the use of video for fiction shorts.

A seminar for senior film majors. Students will complete a step outline and minimum of 30 pages of their project, including revisions. Through reading/viewing and analyzing selected scripts/films, as well as lectures, exercises and weekly critiques, students will expand their understanding of dramatic writing and narrative-making for film and TV, including adaptations. They will learn appropriate structure for each specific screen-writing form, and endeavor to apply their understanding of drama, character, theme, and structure to their chosen narrative project.

This workshop is primarily a continuation of Senior Seminar in Screenwriting. Students will either continue developing the scripts they began in Senior Seminar in Screenwriting, or create new ones including a step outline and a minimum of 30 pages. Emphasis will be placed on character work, structure, theme, and employing dramatic devices. Weekly outlining and script writing, concurrent with script/story presentation and class critiques, will ensure that each student will be guided toward the completion of his or her narrative script project.

FILM W2291

The dramatic and cinematic principles of screen storytelling, including dramaturgy, character and plot development, use of camera, staging, casting, sound, editing, and music. Diverse narrative techniques, story patterns, dramatic structures, and artistic and genre forms are discussed, and students do screenwriting exercises. FILM W2401

This course will focus on writing fresh, original, lively criticism, and on creating strong arguments for your ideas. We will screen films from classics to some currently in theaters. We will read, analyze and evaluate critical responses to them considering some crucial questions: How do you approach a new film? How do you approach one that has been written about for decades? Students will write short reviews and longer essays, including first-day reviews of new films and a final paper taking a longer look at a director’s career. Screenings in and outside class will be followed by discussion of critical approaches to the films, and by in-class writing exercises. This course assumes there is no right or wrong in criticism, no single best approach, just stronger or weaker arguments.

An advanced directing workshop for senior film majors who have already completed FILM W2420 or FILM W2510.