Directed by ECU Film Studies intructor, Randall Martoccia
FILM2900.001: Introduction to Film Studies (FC: HU)
MW, 2-3:15 pm
Film Screening: T, 6:30-9:00 pm
Course Description: The goal of this course is to introduce students to the broad field of film studies from a variety of perspectives. Students will have the opportunity to explore film history, cinematic composition and editing, the development of film genres, film and censorship, and the political and social impact of film. Students will be expected to attend class and film showings, take part in discussions, and experience four tests.
Screenings: Casablanca (1942, Michael Curtiz), The Immigrant (1917, Charlie Chaplin), Nosferatu (1921, F.W .Murnau), Pulp Fiction (1994, Quentin Tarantino), No Country for Old Men (Joel and Ethan Coen), Chinatown (1974, Roman Polanski), Hugo (2012, Martin Scorsese), Goodfellas (1990,Martin Scorsese)and Spirited Away (2001, Hayao Miyazaki).
FILM2900 counts towards the Film Studies minor core.
FILM 2900.002: Introduction to Film Studies: (FC: HU)
MWF, 11-11:50 am
Film screenings: M, 6:30 pm
Course description: FILM2900 is an introduction to the broad field of film studies including formal analysis, genre studies, film history, and theory. Also, students will learn how filmmakers use various techniques to make meaning and manipulate emotion. A former 2900 student said that FILM 2900 taught him how to see movies as a director would. While not all students will have a similar experience, after taking the class, students will find watching movies a more meaningful experience. If watching films becomes more pleasurable too, consider it a bonus.
Screenings: City Lights (Charlie Chaplin, 1931), Citizen Kane (Orson Welles, 1941), Singing in the Rain (Gene Kelly and Stanley Donen, 1952), Vertigo (Alfred Hitchcock, 1958), Dr. Strangelove (Stanley Kubrick, 1964), The Graduate (Mike Nichols, 1967), Chinatown (Roman Polanski, 1974), One Flew Over the Cuckoo’s Next (Milosz Forman, 1975), Do the Right Thing (Spike Lee, 1989), Pan’s Labyrinth (Guillermo Del Toro, 2006), The Hurt Locker (Kathryn Bigelow, 2008)
FILM2900 counts towards the Film Studies minor core.
RUSI 2001: Intro to Russian Studies: Humanities (FC:HU)
Elena K. Murenina
M, 2:00-5:00 pm
Film screenings: in-class & W, 6:30 pm (once a month)
Course description: In this course you’ll be able to “travel visually” through Old, Imperial, Soviet and modern Russia, visiting Moscow, St. Petersburg, Volga, Urals and Siberia. Defining the basic patterns of Russian culture and civilization compared to American experience, we will focus on Russian cultural identity, evolution of ideological/artistic norms and moral values, explored through film, animation, documentaries, and arts. This course is taught in English, and may count toward either Humanities requirement, or Film Studies/Russian Studies major or minor. No knowledge of Russian is required. All Russian* films will be shown with English subtitles.
Screenings: Moscow Does Not Believe in Tears* (1979, V. Menshov), Ivan the Terrible* (1944, S. Eisenstein), Doctor Zhivago (1965, D. Lean), Anna Karenina (2012, J. Wright), Onegin (1999, M. Fiennes), Burnt By the Sun* (1994, N. Mikhalkov), Man with a Movie Camera* (1928, Dziga Vertov).
RUSI 2001 counts towards the Multicultural/Transnational/International Film Cognate for Spring 2014 semester.
T, TH, 3:30-5:30 pm
Film screenings: TH, 3:30 pm
Course description: This course is an overview of French cinema from its beginning in 1895 to the present day. We will examine the works of legendary filmmakers such as Jean Renoir and François Truffaut as well as contemporary filmmakers such as Jean-Pierre Jeunet, Julie Delpy, and Michel Hazanavicius. This course emphasizes the chronological developments of styles, techniques, and genres while introducing students to French historical and socio-cultural contexts.
Screenings: An Andalusian Dog (1929, Luis Buñuel & Salvador Dali), The Rules of the Game (1939, Jean Renoir), The Raven (1943, Henri-Georges Clouzot), The Samourai (1967, Jean-Pierre Melville), Entre Nous (1983, Diane Kurys), The Big Blue (1988, Luc Besson), 2 Days in Paris (2007, July Delpy)
FORL 2700 / FREN 3700 counts towards the Multicultural/Transnational/International Film Cognate for Spring 2014 semester.
Sitawa R. Kimuna
T, TH, 9:30–10:45 am
Film screenings: In class
Course description: The purpose of this course is to provide students with the knowledge and skills to critically analyze media content and institutions. The course will explore various forms of media and their functions in society. Topics include, but not limited to, media economics, media and political regulations, media representations of the real world, media audiences, and globalization and media. By the end of the course, students should be able to develop a critical awareness of media institutions and the social environment in which they are situated.
Screenings: Boys Don’t Cry (1999, Kimberly Peirce); Brokeback Mountain (2005, Ang Lee); Crash (2004, Paul Haggis); Money for Nothing: Behind the Business of Pop Music (2001, Kembrew McLeod); Guess Who’s Coming to Dinner (1967, Stanley Kramer); A Beautiful Mind (2002, Ron Howard); Class dismissed: How TV Frames the Working Class (A Media Education Foundation presentation, Directed by Loretta Alper, 2005).
SOCI3025-001 counts as a film elective for the Spring 2014 semester.
ENGL 3810: Advanced Composition (WI) (Online only)
Film Screenings: students must screen the films on their own
Course Description: This section of advanced composition focuses on writing about film as a rhetorical text. Students will learn how “to read” films beyond their simple entertainment value and to analyze how films work rhetorically for their target audiences; then they will write about them. Students will practice writing in a variety of genres that will help them to develop skills for analyzing film and writing, peer editing, images, and writing about visual rhetoric in film. This class satisfies the ECU writing requirement.
Screenings: Contagion (2011, Soderbergh), Lions for Lambs (2007, Redford), Traffic (2000, Soderbergh), Minority Report (2002, Spielberg), Inception (2010, Nolan), Thank You for Smoking (2005, Reitman), Temple Grandin (2010, Jackson), 50/50 (Levine, 2011), No (Larrain 2012), Sherlock Holmes (2011, Ritchie), Across the Universe (2007, Taymor), The International (2009, Tykwer), Fruitvale Station (2013, Coogler), and Gangs of New York (2002, Scorsee).
ENGL3810 counts as a film elective for the Spring 2014 semester.
FILM 3920: Film Theory and Criticism (FC: HU)
MW, 3:30-4:45 pm
Film screenings: M, 6:30 pm
Course description: This course introduces the basic problems and arguments that have been addressed and engaged by film theory and criticism about the function and the basic nature of the medium and how it affects viewers and their relationship to reality, to the arts, and to society. Students will learn how to read and “unpack” complex theoretical texts and how to apply these theories to the film text. This course asks basic questions, such as: What is the cinema and what makes it different from other art forms? Is film a record of reality, a way to manipulate reality, or something in between? What is the “language” of film and how do audiences “read” this language? How are movies products of their culture that make impact on the societies they reflect and shape? How do audiences react to and interpret what they see? How do race, gender, sexual orientation affect the relationship between film and viewer?
Screenings: Gentlemen Prefer Blondes (Howard Hawkes, 1953), It’s a Wonderful Life (Frank Capra, 1946), Psycho (Alfred Hitchcock, 1960), 11’09”01 (Alejandro González Iñárritu, 2002), District 9 (Neill Blomkamp, 2009), Hedwig and the Angry Inch (John Cameron Mitchell, 2001)
FILM 3920 counts towards the Film Studies minor core.
Elena K. Murenina
W, 2:00-5:00 pm
Film screenings: in-class/ students watch on their own
Course description: Revered by filmmaking giants such as Bergman and Kurosawa, Andrey Tarkovsky is famous for his use of long shots, dream-like metaphorical imagery, and for his meditations on spirituality and the human soul. In this seminar we will focus on the masterpieces of the legendary Russian director who perceived the role of the filmmaker as one of ‘sculpting in time’. By examining auteur cinema classics, we will explore Tarkovsky “poetic cinema” within the aesthetic and ideological dynamics of old and modern Russia. Taught in English. All Russian films will be shown with English subtitles.
Screenings: Andrei Rublev (1966, A. Tarkovsky), Ivan’s Childhood (1962, A. Tarkovsky), The Mirror (1974, A. Tarkovsky), Solaris (1972, A. Tarkovsky), Stalker (1979, A. Tarkovsky), Nostalgia (1982, A. Tarkovsky ), The Sacrifice (1986, A. Tarkovsky)
FILM 4920/WOST3510: Women, Identity and Difference in American Cinema
Amanda Ann Klein
T, TH, 12:30-1:145pm
Film screening: T, 6:30 pm
This seminar explores the different ways that American cinema has attempted to represent women. Beginning with the documentary Miss Representation, this course explores how American cinema represents women from different races, economic classes, sexual orientations, ethnicities and body types. The course will explore different facets of a particular American identity from the perspective of mainstream films (Pretty Woman) as well as independent (Beasts of the Southern Wild) and experimental features (Superstar: The Karen Carpenter Story). In addition to looking at isolated identities and what it means to be an African American, white, working class, or a disabled woman in America, this course will also focus on intersectionality, or the ways that multiple systems of oppression are felt on individual bodies and how they intersect. This FILM course is also cross-listed with WOST.
Screenings: Miss Representation (2011, Jennifer Siebel Newsom and Kimberlee Acquaro), Spring Breakers (2012, Harmony Korine), Boys Don’t Cry (1999, Kimberly Pierce), Pretty in Pink (1986, John Hughes), Beasts of the Southern Wild (2012, Benh Zeitlin), Down Argentine Way (1940, Irving Cummings), Little Darlings (1980, Ronald F. Maxwell), Precious (2009, Lee Daniels), The Joy Luck Club (1993, Wayne Wang)
FILM 4920 counts towards the Multicultural/Transnational/International Film Cognate for Spring 2014 semester.
ENGL4940 Multicultural and Transnational Cinema: Contemporary Chinese-Language Films (WI)
MWF, 11-11:50 a,
Screenings: T, 6:30 pm
Course description: This course covers films made by directors from China, Hong Kong and Taiwan, ranging from the 1980s to early 2010s. Films produced in these three regions share certain commonalities, but they also differ owing to the discrepancies in historical, socio-economic, political, and geographical contexts. Some readings in modern Chinese history will be included to help you explore how issues of class, age, labor, migration, sexuality, and nationality have informed contemporary Chinese-language filmmaking.
Screenings: Yellow Earth (1984, Chen Kaige), A Time to Live and A Time to Die (1985, Hou Hsiao-hsien), Song of the Exile (1987, Ann Hui), Raise the Red Lantern (1991, Zhang Yimou), Autumn Moon (1992, Clara Law), Center Stage (1992, Stanley Kwan), Crouching Tiger, Hidden Dragon (2000, Ang Lee), Yi Yi: A One and a Two (2000, Edward Yang), In the Mood for Love (2000, Wong Kar-wai), Aftershock (2010, Feng Xiaogang), Din Tao: Leader of the Parade (Feng Kai, 2012)
ENGL4940 counts towards the Multicultural/Transnational/International Film Cognate for Spring 2014 semester.
FILM 4985: Cinema and Dystopia in the 21st Century
Instructor: Anna Froula
MW, 2:00-3:15 pm
M, 6:30 pm
Course description: For film studies minors, this capstone course provides the opportunity to draw out and articulate connections among the various classes students have taken for the minor. Movies and popular culture can provide creative, entertaining, and illuminating insights into national consciousness, traumas, and anxieties. This film studies minor capstone class will take on some of the hard questions facing us in the age of economic uncertainty and global instability. We will use various genres and approaches to explore the important ways that cinema can be in dialogue with contemporary issues of war and social unrest.
Screenings: Children of Men (Alfonso Cuarón, 2006), Even the Rain (Icíar Bollaín, 2008), Zero Dark Thirty (Kathryn Bigelow, 2012), The Other Guys (Adam McKay, 2010), The Hunger Games (Gary Ross, 2012), Standard Operating Procedure (Errol Morris, 2008), North Country, (Niki Caro, 2005), The Campaign (Jay Roach, 2012)FILM4985
FILM 4985 counts towards the Film Studies minor core.