Film Studies Courses
Introduction to Film – ENG 282
Maymester Three Week Session: May 16 – June 5 | M-F 9:50A – 12:50P | Caldwell G107 – Andrew Johnston
Film & Literature: Immigration and Diaspora in Contemporary Literature and Film – ENG 382
Maymester Three Week Session: May 16 – June 5 | M-F 1:40P – 4:40P | Caldwell G107 – Ora Gelley
Film & Literature: Monsters and Other Creatures – ENG 382
Summer Session 2: June 25 – July 27 | M-F 9:50A – 11:20A | Caldwell G107 – Adam Hart
Introduction to Film – ENG 282
M&W 10:40A – 12:30P | Caldwell G107 – Andrew Johnston
T&TH 3:00P – 4:50P | Caldwell G107 – Adam Hart
T&TH 5:20P – 7:10P | Caldwell G107 – Adam Hart
M&W 5:20P – 7:10P | Tompkins G126 – Staff
Writing about Film – ENG 292
T&TH 12:50P – 2:40P | Caldwell G106 – Franklin Cason
Screenwriting – ENG 330
T 3:00P – 5:45P | Winston 12 – Susan Emshwiller
History of Film from 1940 – ENG 364/COM 364
M&W 3:00P – 4:50P | Caldwell G107 – Devin Orgeron
African American Cinema – ENG 375
T&TH 10:40A – 12:30P | Caldwell G107 – Franklin Cason
Film & Literature – ENG 382
M&W 5:20P – 7:10P | Caldwell G107 – Ora Gelley
Gangsters, Cowboys, and Superheroes – ENG 492/IDS 496/ENG 592
T&TH 12:50P – 2:40P | Caldwell G107 – Marsha Gordon
Media F/X: Digital Cinema, Animation, & Special Effects – ENG 492/IDS 496/ENG 592
M&W 12:50P – 2:40P | Caldwell G107 – Andrew Johnston
Regional Media/ Roots of the New South – ENG 585/CRD 791
W 6:00P – 9:40P | Tompkins 110 – Devin Orgeron
History and Theory of Media Technologies – CRD 701
W 1:30P – 4:15P | Caldwell G107 – Andrew Johnston
Digital Video Production – COM 357
T&TH 10:15A – 11:30A | Winston 201J – James Alchediak
Film Production – COM 444
M 10:15A – 1:00P | Winston 201H – Sarah Stein
Undergraduate & Graduate Course Descriptions
Introduction to Film (ENG 282)
This course introduces students to the fundamentals of film analysis, including narrative, visual, and sound techniques. Through screenings, discussions, exams, and papers, students develop skills in identifying techniques, using appropriate film terminology to describe cinematography, mise en scène, sound, and editing, and constructing sound analyses and interpretations of films.
Writing About Film (ENG 292)
Comprehensive study of various approaches to writing about film. Primary focus is on the critical and evaluative practice involved in writing film criticism for non-academic audiences. Film screenings, discussion of assigned readings, and in-class writing workshops aid students in preparing a portfolio of film writing that includes film reviews of various lengths.
Screenwriting (ENG 330)
Through lectures, film clips, screenplay examples, collaborative brainstorming, and original writing, we will explore the craft and art of screenwriting. Students will learn about structure, characterization, creating dynamic dialogue, subtext, subplots, theme, exposition, etc utilizing established screenplay formats. The course will involve studying great films and scripts, participating in critiques, and the writing and revising of original material. At the end of the semester the students should have a clear understanding of cinematic storytelling techniques and will have completed multiple scenes.
History of Film to 1940 (COM 364/ENG 364)
Technological developments and aesthetic movements that shaped international cinema production from the beginning of the industry to 1940. Formal evolution in camera movement, editing, sound, narrative form, and the documentary. The rise to prominence of Hollywood and international cinemas in historical, economic, and cultural contexts.
History of Film from 1940 (ENG 374/COM 374)
Technological developments and aesthetic movements that have shaped international cinema production from 1940 to the present. Evolution in camera movement, editing, sound, narrative form, and the documentary. Post-war Hollywood cinema and international film industries [both established and emerging] in historical, economic and cultural context.
African American Cinema (ENG 375)
Survey and analysis of African American film culture from 1900-present. Examination of pre-Hollywood, classical Hollywood, and Independent filmmaking. Particular focus on independent filmmakers' response to dominant industry representations and the work of filmmakers who seek to create a specifically African American cinematic style.
Film and Literature (ENG 382)
Ways of adapting literary works to film form. Similarities and differences between these two media. Emphasis on the practical art of transforming literature into film. Attention to the impact of film upon literature.
Special Topics in Film Styles and Genres (ENG 492/IDS 496/ENG 592)
Critical approaches to focused film topics involving film genres, directorial styles, or trends within a national cinema. Topics will vary from semester to semester. Courses offered recently include “Hitchcock and Wilder,” “The Horror Film,” “The Romantic Comedy,” and “The Crime Film.”
Studies in Film (ENG 585/CRD791)
Graduate level exploration of selected problems and issues in film. Variation in content semester to semester. Courses offered recently include “Women, Representation, and Violence in Contemporary Film and Media,” “Animating Media,” “Media Style and Authorship,” “Studio Era Hollywood,” and “The War Film.”
History and Theory of Media Technologies (CRD 701)
Foundational study of media and technology through examination of historical perspectives on technological change. Discussion of media theory, media archaeology, feminist theory, political economy, cultural studies, and functionalist perspectives on technology. Examination of media and power, social movements, alternative media, technology and development, participatory communication, technological diffusion. Research paper and seminar presentation.
Digital Video Production (COM 357)
Principles of producing, directing, and editing techniques for digital video. Students script, storyboard, shoot, and edit short video projects.
Film Production (COM 444)
This class is on the basics of film vs digital video. You take this course because you want the training in filmmaking that utilizes film cameras and 16mm film negative. The film stock is beautiful and tends to give you a more refined image than digital can. You also learn to be much more rigorous in your choices of story and shooting.