Film and Media Studies

Director of undergraduate studies: Katerina Clark, Rm. 203, 451 College, 432-0712, [F]; Ron Gregg, Rm. 323, 53 Wall, 432-3048, [Sp];


Professors *Dudley Andrew (Comparative Literature, Film & Media Studies), Hazel Carby (African American Studies, American Studies), *Francesco Casetti (Chair) (Humanities, Film & Media Studies), *Katerina Clark (Comparative Literature, Slavic Languages & Literatures), Michael Denning (American Studies, English), *Aaron Gerow (East Asian Languages & Literatures, Film & Media Studies), Inderpal Grewal (Women's, Gender, & Sexuality Studies), *John MacKay (Film & Media Studies, Slavic Languages & Literatures), *Millicent Marcus (Italian), Donald Margulies (Adjunct) (English, Theater Studies), Kobena Mercer (History of Art, African American Studies), Christopher L. Miller (African American Studies, French), *Charles Musser (American Studies, Film & Media Studies), John Durham Peters (English, Film & Media Studies) *Brigitte Peucker (German, Film & Media Studies), Joseph Roach (English, Theater Studies), Michael Roemer (Adjunct) (Art, American Studies), Alan Trachtenberg (Emeritus), *Katie Trumpener (Comparative Literature, English), *Laura Wexler (American Studies, Women's, Gender, & Sexuality Studies)

Associate Professors Moira Fradinger (Comparative Literature), Zareena Grewal (Ethnicity, Race, & Migration), Brian Walsh (English), R. John Williams (English)

Senior Lecturer *Ron Gregg (American Studies, Film & Media Studies)

Lecturers *Jonathan Andrews (Art, Film & Media Studies), James Charney (School of Medicine), *Michael Kerbel (American Studies, Film & Media Studies), *Marc Lapadula (Film & Media Studies)

Critic *Sandra Luckow (Art)

Senior Lector II Seungja Choi (East Asian Languages & Literatures)

Senior Lectors Krystyna Illakowicz (Slavic Languages & Literatures), Karen von Kunes (Slavic Languages & Literatures)

*Member of the Film and Media Studies Advisory Committee.

The major in Film and Media Studies focuses on the history, theory, criticism, and production of cinema and other moving-image media. Courses examine cinema and the broader landscape of audiovisual media as significant modern art forms, and the contributions of moving-image media as cultural and communicative practices of enduring social significance. As an interdisciplinary program centered in the humanities, Film and Media Studies offers students latitude in defining their course of study within the framework established by the Film and Media Studies Committee. With this freedom comes the responsibility of carefully planning a coherent and well-focused program. Because of the special demands of Film and Media Studies and the diversity of its offerings, potential majors are encouraged to consult the director of undergraduate studies early in their academic careers.

Prerequisite Students normally take FILM 150 in their freshman or sophomore year. This course is useful preparation, and in some cases a prerequisite, for many other courses in the major.

The major for the Class of 2018 and previous classes Students in the Class of 2018 and previous classes may fulfill the requirements of the major that were in place when they entered the major in Film and Media Studies, as described in previous editions of this bulletin. Alternatively, they may fulfill the requirements for the major as described below for the Class of 2019 and subsequent classes.

The major for the Class of 2019 and subsequent classes The Film and Media Studies major consists of twelve term courses, including the prerequisite and the senior requirement. Students are required to take FILM 160 and 320, preferably by the end of their sophomore year. In addition, students are required to take one upper-level course in the study of representative films from a non-American national cinema (e.g. German expressionist cinema, Italian cinema or world cinema) and one course in critical studies. Students also must take at least one course on the creative process in film; appropriate courses are listed under "Production Seminars." Courses taken outside the Film and Media Studies department will not count toward the major without the permission of the director of undergraduate studies. Admission to senior-level seminars is at the instructor's discretion, but the Film and Media Studies program will ensure that every senior major gains admission to the required number of seminars.

Preparation for a senior project Those students hoping to produce a film script or video as their senior project should make sure that they have taken enough courses in video production and screenwriting to be accepted into an advanced course in screenwriting or production. Senior creative projects in Film and Media Studies must be produced in conjunction with one such upper-level course. Students often start by completing FILM 161, 162 by the end of their sophomore year, and continue with FILM 355, 356 by the end of their junior year, to prepare for FILM 455, 456 or 483, 484 in their senior year. Those students interested in screenwriting often begin with FILM 350. Students interested in filmmaking should also take courses in screenwriting, and vice versa. Some production courses are available in the summer program in Prague.

Preparation for a senior essay  Students in their senior year may prefer to write a senior essay rather than work on a creative project. To prepare, they should take advantage of the variety of courses in film history, media studies, criticism and theory offered by the program, as well as such topics as American independent cinema, film theory, and African American cinema.

Senior requirement  During the senior year, each student takes one or two senior-level seminars or the equivalent and submits a senior essay or senior project, which should represent a culmination of work in the major and in Yale College. The senior requirement does require both critical writing and writing in images. Those undertaking creative senior projects should be expected to produce a paper of approximately fifteen pages in which the student discusses such questions as the genre to be used in the project, existing precedents for the topic, and his or her strategy in working on the project. Those undertaking to fulfill the senior requirement by writing a senior essay should additionally take a course in which they are expected to do, minimally, a small production assignment.

For the student writing a senior essay, several options are possible. First, the student may enroll in two terms of relevant senior-level seminars (usually courses numbered in the 400s) and write a substantial term paper of twenty-five pages, double-spaced, for one of these courses. Second, the student may do independent research on a yearlong senior essay (FILM 491, 492). This option is intended for students with clearly defined topics that do not relate closely to a senior-level seminar. During the first two weeks of the first term of senior year, a petition for permission to do independent research should be submitted to the director of undergraduate studies in the form of a brief prospectus, approved by the proposed faculty adviser to the essay. Such research receives two terms of credit; the product of a two-term research essay is a work of at least fifty pages. Third, the senior requirement may be completed by combining one single-term senior-level seminar with one term of an independent research project (FILM 491 or 492), resulting in a paper of thirty-five pages. Whichever option is chosen, the essay should be written on a topic informed by the student's previous course work at Yale College. In researching and writing the essay, the student should consult regularly with the seminar instructor, supplying preliminary drafts as appropriate, and may consult with other faculty members as well.

Students who wish to complete a senior project as an alternative to an essay must petition the Film and Media Studies Committee for approval of their project at the end of the junior year. Projects might include writing a screenplay or producing a video. Students electing such an alternative should note that the project must be undertaken and accomplished over two terms. A limited number of students making films or videos are admitted to either the Advanced Fiction Film Workshop (FILM 483, 484) or the Documentary Film Workshop (FILM 455, 456), and receive three credits for their projects (two credits for FILM 483, 484 or 455, 456, and one for FILM 493 or 494). Such a choice effectively commits students to one extra course in addition to the twelve courses required for the major, because FILM 493 or 494 does not count toward the fourteen required courses when taken in conjunction with FILM 483, 484 or 455, 456. Students may undertake a production project outside the workshops if (1) the Film and Media Studies Committee approves their petition, (2) they have found a primary adviser qualified and willing to provide the necessary supervision, and (3) they have identified the equipment necessary to execute the project. Such students may count FILM 493 and 494 toward the twelve courses required for the major.

Majors graduating in December must submit their senior essays or senior projects to the director of undergraduate studies by Friday, December 9, 2016; those graduating in May, by Friday, April 28, 2017. A second reader assigned by the director of undergraduate studies participates in evaluating the essays and/or projects.

Credit/D/Fail No more than one course taken Credit/D/Fail may be counted toward the major with permission of the director of undergraduate studies.

The intensive major Students of substantial accomplishment and commitment to film and media studies are encouraged to pursue the intensive major. Students in the intensive major complete a senior project in production and also write a senior essay. The intensive major in Film and Media Studies is intended for students who are not pursuing two majors. Students must request approval from the Film and Media Studies Committee at the end of their junior year by submitting a proposal that outlines their objectives and general area of study.

Foreign Languages Study of relevant foreign languages is urged for all Film and Media Studies majors. Students considering graduate work should become proficient in French or another modern language. Those choosing to study film in relation to a foreign culture must have good listening and reading abilities in that language.


Prerequisite FILM 150

Number of courses 12 term courses, incl prerequisite and senior requirement

Specific courses required FILM 160 and FILM 320

Distribution of courses 1 national or world cinema course (non-American); 1 production course; 1 critical studies course

Senior requirement For senior essay—2 terms of senior-level seminars, or 2 terms of senior essay (FILM 491, 492), or 1 term of each; or 2 terms of senior project in FILM 455, 456, or 483, 484, and either FILM 493 or 494, for a total of 13 term courses; for senior project—2 terms of senior project in FILM 493, 494 with approved petition

Intensive major Both senior essay and senior project

Required Courses

FILM 150a, Introduction to Film Studies Staff

A survey of film studies concentrating on theory, analysis, and criticism. Students learn the critical and technical vocabulary of the subject and study important films in weekly screenings. Prerequisite for the major.  WR, HU

FILM 160b / ENGL 196b, Introduction to Media Robert Williams

Introduction to the long history of media as understood in classical and foundational (and even more recent experimental) theories. Topics involve the technologies of modernity, reproduction, and commodity, as well as questions regarding knowledge, representation, public spheres, and spectatorship. Special attention given to philosophies of language, visuality, and the environment, including how digital culture continues to shape these realms.   WR, HU

* FILM 320b / HSAR 490b, Close Analysis of Film Oksana Chefranova

Ways in which traditional genres and alternative film forms establish or subvert convention and expectation and express thematic and ideological concerns. The balancing of narrative containment and excess, as well as action and image. Use of body and voice, space and music. Examples include films by Antonioni, Zhang, Ozu, and Hitchcock. Prerequisite: FILM 150.  HU

National Cinemas

* FILM 020b / ENGL 020b, Literature, Media, and Weather John Peters

Interdisciplinary overview of how weather serves as a topic of human imagination and invention across such domains as literature and science, philosophy and religion, painting and popular culture. The stories we tell about weather, the temperamental and nebulous materials of weather, and the media that helps us understand it and shape it. Readings include poems, prose, and academic articles. Enrollment limited to freshmen. Preregistration required; see under Freshman Seminar Program.   WR, HU

FILM 240b / ENGL 192b / LITR 143b, World Cinema Dudley Andrew and Marta Figlerowicz

Development of ways to engage films from around the globe productively. Close analysis of a dozen complex films, with historical contextualization of their production and cultural functions. Attention to the development of critical skills. Includes weekly screenings, each followed immediately by discussion.  HU

* FILM 241b / PLSH 246b, Polish Communism and Postcommunism in Film Krystyna Illakowicz

The Polish film school of the 1950s and the Polish New Wave of the 1960s. Pressures of politics, ideology, and censorship on cinema. Topics include gender roles in historical and contemporary narratives, identity, ethos of struggle, ethical dilemmas, and issues of power, status, and idealism. Films by Wajda, Munk, Polanski, Skolimowski, Kieslowski, Holland, and Kedzierzawska, as well as selected documentaries. Readings by Milosz, Andrzejewski, Mickiewicz, Maslowska, Haltoff, and others. Readings and discussion in English.  HU

* FILM 302a, Introduction to Spanish Cinema Noël Valis

The development of cinema in Spain from the 1930s to the present. Directors include Almodóvar, Amenábar, Bardem, Bigas Luna, Buñuel, Álex de la Iglesia, Médem, Erice, and Saura.  L5, HU

* FILM 304a / EALL 281a, Japanese Cinema and Its Others Aaron Gerow

Critical inquiry into the myth of a homogeneous Japan through analysis of how Japanese film and media historically represents “others” of different races, ethnicities, nationalities, genders, and sexualities, including blacks, ethnic Koreans, Okinawans, Ainu, undocumented immigrants, LGBT minorities, the disabled, youth, and monstrous others like ghosts.  HU

* FILM 319a / GMAN 273a / LITR 368a, The Third Reich in Postwar German Film, 1945-2007 Jan Hagens

Close study of the intersection of aesthetics and ethics with regard to how German films, since 1945, have dealt with Nazi history. Through the study of German-language films (with subtitles), produced in postwar East, West, and unified Germany through 2007, students consider and challenge perspectives on the Third Reich and postwar Germany, while learning basic categories of film studies.  HU

* FILM 363a / LITR 360a, Radical Cinemas of Latin America Moira Fradinger

Introduction to Latin American cinema, with an emphasis on post–World War II films produced in Cuba, Argentina, Brazil, and Mexico. Examination of each film in its historical and aesthetic aspects, and in light of questions concerning national cinema and "third cinema." Examples from both pre-1945 and contemporary films. Conducted in English; knowledge of Spanish and Portuguese helpful but not required.  HU

FILM 371a / SAST 269a, The Social Worlds of Indian Cinema Lawrence Liang

Examination of the social history of Indian cinema through close reading of film texts as well as through the study of social practices, political histories, spaces, and technologies. Study of popular Indian fan clubs, cinema hall histories, and film labor to better understand how cinema lives in and beyond its life as narrative. Some prior knowledge of Indian cinema preferred. Prerequisite: read at least one overview of post independence Indian history such as India after Gandhi by Ramchandra Guha.

* FILM 407b, War on Film Katerina Clark and Maria Shpolberg

Cinematic representations of war from the American-Spanish War of 1898 to present-day military engagements in Iraq and Afghanistan. Consideration of war experiences, including battles, resistance movements, the home front, P.O.W. camps, extermination camps of World War II, as well as different “kinds” of wars and the way representation of defensive wars differs from those of civil wars, colonial wars, guerilla wars, insurgencies, etc. Analysis of how films give narrative form to war, how heroes are portrayed, and whether the historical moment influences representation of the conflict.  HU

* FILM 409a / LITR 306a / RSEE 327a / RUSS 327a, The Danube in Literature and Film Marijeta Bozovic

The Danube River in the film, art, and literature of various Danubian cultural traditions, from the late nineteenth century to the present. Geography and history of the region that includes the river's shores and watershed; physical, historical, and metaphoric uses of the Danube; the region as a contested multilingual, multicultural, and multinational space, and as a quintessential site of cross-cultural engagement. Readings and discussion in English.  WR, HUTr

* FILM 412a / LITR 385, The Horror Film, 1960-1991 Brigitte Peucker

An examination of the horror film genre, primarily in American cinema. Psychosocial determinants; spectatorship, affect, and identification; the uncanny and the monstrous; the body; abjection. Films by Hitchcock, Romero, Friedkin, De Palma, Carpenter, Kubrick, Cronenberg, Demme, and others.  HU

* FILM 415a / FREN 398a, Seventeenth-Century France in Cinema Christopher Semk

Introduction to seventeenth-century French literature and culture through cinematic adaptations of literary works and representations of the period in film. The influence of seventeenth-century France on contemporary French culture; ways in which the period and its literature continue to capture the imagination of film directors.  L5, HU

* FILM 421a / MGRK 213a / WGSS 261a, Cinema of Migration George Syrimis

Cinematic representations of the migrant experience in the past thirty years, with some emphasis on the post–Cold War period. Focus on southeastern Europe and its migrant populations. Topics include identity, gender, sexual exploitation and violence, and nationalism and ethnicity.  WR, HUTr

* FILM 457a / ITAL 303a / LITR 359a, Italian Film from Postwar to Postmodern Millicent Marcus

A study of important Italian films from World War II to the present. Consideration of works that typify major directors and trends. Topics include neorealism, self-reflexivity and metacinema, fascism and war, and postmodernism. Films by Fellini, Antonioni, Rossellini, De Sica, Visconti, Pasolini, Bertolucci, Wertmuller, Tornatore, and Moretti. Most films in Italian with English subtitles.  WR, HU

Film Theory, Visual Media, and Special Topics

* FILM 099a / LITR 099a, Film and the Arts Dudley Andrew

A study of cinema as it developed into a significant art form, including its interactions with fiction, theater, and painting. Focus on André Bazin's reflections on cinema in response to Chaplin, Welles, and Cocteau, as well as to writers such as Faulkner, Sartre, and Malraux. Enrollment limited to freshmen. Preregistration required; see under Freshman Seminar Program.  WR, HURP

FILM 160b / ENGL 196b, Introduction to Media Robert Williams

Introduction to the long history of media as understood in classical and foundational (and even more recent experimental) theories. Topics involve the technologies of modernity, reproduction, and commodity, as well as questions regarding knowledge, representation, public spheres, and spectatorship. Special attention given to philosophies of language, visuality, and the environment, including how digital culture continues to shape these realms.   WR, HU

FILM 244a / AMST 247a / HIST 147a / HLTH 170a / HSHM 202a, Media and Medicine in Modern America John Warner

Relationships between medicine, health, and the media in the United States from 1870 to the present. The changing role of the media in shaping conceptions of the body, creating new diseases, influencing health and health policy, crafting the image of the medical profession, informing expectations of medicine and constructions of citizenship, and the medicalization of American life.  HU

* FILM 305a / LITR 361a, History and Theory of Animation Staff

Survey of the history and theory of animation. Examples from around the world, from various traditions, and from different periods.  HU

* FILM 324a / AMST 402a / ANTH 302a / WGSS 380a, Gender and Sexuality in Media and Popular Culture Laura Wexler and T.L. Cowan

Investigation of visual media and popular culture in the United States and transnationally. Gender, race, class, and sexuality in relation to the production, circulation, consumption, and reception of media culture. Focus on theories of media and the visual. Significant lab component in which students use media technologies to make and illustrate theoretical arguments.  HU

* FILM 346b / GMAN 225b / LITR 362b, Intermediality in Film Brigitte Peucker

Film is a hybrid medium, the meeting point of several others. This course focuses on the relationship of film to theater, painting, and video, suggesting that where two media are in evidence, there is usually a third. Topics include space, motion, framing, color, theatricality, tableau vivant, ekphrasis, spectatorship, and new media. Readings feature art historical and film theoretical texts as well as essays pertinent to specific films. Films by Fassbinder, Bergman, von Trier, Jarman, Godard, Haneke, Antonioni, Greenaway and others.  HU

* FILM 368a / HIST 275Ja / LITR 320a / MGRK 233a, The Culture of the Cold War in Europe George Syrimis

European culture during and after the Cold War. Focus on the relation of politics and dominant ideologies to their correlative literary and cinematic aesthetics models and to popular culture. Themes include totalitarianism, Eurocommunism, decolonization, espionage, state surveillance, the nuclear threat, sports, and propaganda.  HU

* FILM 379a / ART 390a, Strategies of Visual Memoir in Art Practice Thomas Harris

Strategies of visual memoir and art practice formed by archival research in the construction of real and fictive narratives across a variety of disciplines. This studio based seminar explores works of contemporary artists who draw from the family album whether inherited or found, to call into question identity, biography, visual literacy, truth, and representation. Rooted in the instructor’s experience with the Digital Diaspora Family Reunion project, students explore the construction of visual text in the creation of communal and individual memory. Materials fee: $150.  HURP

* FILM 383b / RUSS 390b, Media and Revolution since 1917 John MacKay

Review of one hundred years of cultural production informed by the idea of social revolution. Consideration of works by Sergei Eisenstein, Esther Shub, Dziga Vertov, Sun Yu, Jean-Luc Godard, Jorge Sanjines, Chris Marker, Aldo Garay, and Hanna Polak. Topics include propaganda and agitation; modernity and capitalism as political categories; masses, classes, collectivities, parties and states; gender and political change; ownership of and control over media; politics and media shifts; and the notion of revolution and its implications for artistic practice.   HU

* FILM 385a, Digital Storyworlds Lisa Akervall

Theoretical approaches as well as practical perspectives of digital storyworlds. Consideration of the impact of digital technologies on visual cultures and visual storytelling, including network aesthetics, mind-game films, transmedia storytelling, the politics of low-resolution imagery, and the aesthetic potentials of amateur and prosumer digital production. How contemporary cultures of amateur production fit into a longer history of experimentation with the possibilities and limits of new mediums. Students will create their own digital storyworlds.  HU

* FILM 411b / LITR 380b, The Films of Alfred Hitchcock Brigitte Peucker

An examination of Hitchcock's career as a filmmaker from Blackmail to Frenzy, with close attention to the wide variety of critical and theoretical approaches to his work. Topics include the status of the image; the representation of the feminine and of the body; spectatorship; painterliness and theatricality; generic and psychoanalytic issues.  HU

* FILM 417a / HSAR 497a, Painting and Cinema Brigitte Peucker

Examination of the relationship between painting and cinema historically, materially, conceptually, and aesthetically from the 1890s to the present. Focus on the relationship between high art and popular culture, as well as critical interrogation of medium-specificity and the materiality of the objects under study. one film or one history of art course.  HU

FILM 423b / AMST 364b / EVST 366b, Documentary and the Environment Charles Musser

Survey of documentaries about environmental issues, with a focus on Darwin's Nightmare (2004), An Inconvenient Truth (2006), Food, Inc. (2009), GasLand (2010), and related films. Brief historical overview, from early films such as The River (1937) to the proliferation of environmental film festivals.  HURP

* FILM 443a / GMAN 272a / HUMS 472a, Fear Paul North and Francesco Casetti

Examination of fear, as the pivotal passion in late modernity, through literature, philosophy, and film. Special emphasis on the twentieth century and the way cinema represents, causes, and reflects on fear. None.  HU

* FILM 453a / AMST 411a, Introduction to Documentary Studies Zareena Grewal

An introduction to documentary film, photography, and radio for students interested in doing documentary work, as well as for those who simply wish to study the history of the documentary as a cultural form.    HURP

Production Seminars

* FILM 161a / ART 141a, Introductory Film Writing and Directing Michael Roemer

Problems and aesthetics of film studied in practice as well as in theory. In addition to exploring movement, image, montage, point of view, and narrative structure, students photograph and edit their own short videotapes. Emphasis on the writing and production of short dramatic scenes. Materials fee: $150. Priority to majors in Art and in Film & Media Studies. Prerequisite for majors in Film & Media Studies: FILM 150.  RP

* FILM 162a or b / ART 142a or b, Introductory Documentary Filmmaking Sandra Luckow

The art and craft of documentary filmmaking. Basic technological and creative tools for capturing and editing moving images. The processes of research, planning, interviewing, writing, and gathering of visual elements to tell a compelling story with integrity and responsibility toward the subject. The creation of nonfiction narratives. Issues include creative discipline, ethical questions, space, the recreation of time, and how to represent "the truth." Materials fee: $150.  RP

* FILM 350a or b, Screenwriting Staff

A beginning course in screenplay writing. Foundations of the craft introduced through the reading of professional scripts and the analysis of classic films. A series of classroom exercises culminates in intensive scene work. Prerequisite: FILM 150. Not open to freshmen.

FILM 355a or b / ART 341a or b, Intermediate Film Writing and Directing Staff

In the first half of the term, students write three-scene short films and learn the tools and techniques of staging, lighting, and capturing and editing the dramatic scene. In the second half of the term, students work collaboratively to produce their films. Focus on using the tools of cinema to tell meaningful dramatic stories. Materials fee: $150. Enrollment limited to 8. Priority to majors in Art and in Film & Media Studies. Prerequisites: ART 141 or 142, and FILM 150.  RP

* FILM 395b, Intermediate Screenwriting Marc Lapadula

A workshop in writing short screenplays. Frequent revisions of each student's script focus on uniting narrative, well-delineated characters, dramatic action, tone, and dialogue into a polished final screenplay. Prerequisite: FILM 350. Priority to majors in Film & Media Studies.

* FILM 396b / ENGL 461b, Writing for Film: Voice and Vision John Crowley

Practice in all aspects of writing a screenplay. Focus on elements shared with other forms of fiction, including story, character, dialogue, and audience expectations. Students plan, pitch, outline, and write a large part of a single original screenplay, while studying screenplays and films selected to illustrate narrative modes and styles, as well as briefer examples of scene construction and dialogue.  RP

* FILM 397b / ENGL 244b / THST 228b, Writing about the Performing Arts Margaret Spillane

Introduction to journalistic reporting on performances as current events, with attention to writing in newspapers, magazines, and the blogosphere. The idea of the audience explored in relation to both a live act or screening and a piece of writing about such an event. Students attend screenings and live professional performances of plays, music concerts, and dance events.  HU

* FILM 455a and FILM 456b / AMST 463a and AMST 464b / EVST 463a, Documentary Film Workshop Charles Musser

A yearlong workshop designed primarily for majors in Film and Media Studies or American Studies who are making documentaries as senior projects. Seniors in other majors admitted as space permits.  RP

* FILM 483a and FILM 484b / ART 442a and ART 443b, Advanced Film Writing and Directing Jonathan Andrews

A yearlong workshop designed primarily for majors in Art and in Film & Media Studies making senior projects. Each student writes and directs a short fiction film. The first term focuses on the screenplay, production schedule, storyboards, casting, budget, and locations. In the second term students rehearse, shoot, edit, and screen the film. Materials fee: $150. Enrollment limited to 8. Priority to majors in Art and in Film & Media Studies. Prerequisite: ART 341.

* FILM 487a and FILM 488b, Advanced Screenwriting Marc Lapadula

Students write a feature-length screenplay. Emphasis on multiple drafts and revision. Admission in the fall term based on acceptance of a complete step-sheet outline for the story to be written during the coming year. Primarily for Film & Media Studies majors working on senior projects. Prerequisite: FILM 395 or permission of instructor.

Individual Research and Senior Essay Course or Project

* FILM 471a or b, Independent Directed Study Staff

For students who wish to explore an aspect of film and media studies not covered by existing courses. The course may be used for research or directed readings and should include one lengthy essay or several short ones as well as regular meetings with the adviser. To apply, students should present a prospectus, a bibliography for the work proposed, and a letter of support from the adviser to the director of undergraduate studies. Term credit for independent research or reading may be granted and applied to any of the requisite areas upon application and approval by the director of undergraduate studies.

* FILM 491a and FILM 492b, The Senior Essay Staff

An independent writing and research project. A prospectus signed by the student's adviser must be submitted to the director of undergraduate studies by the end of the second week of the term in which the essay project is to commence. A rough draft must be submitted to the adviser and the director of undergraduate studies approximately one month before the final draft is due. Essays are normally thirty-five pages long (one term) or fifty pages (two terms).

* FILM 493a and FILM 494b, The Senior Project Staff

For students making a film or video, either fiction or nonfiction, as their senior project. Senior projects require the approval of the Film and Media Studies Committee and are based on proposals submitted at the end of the junior year. An interim project review takes place at the end of the fall term, and permission to complete the senior project can be withdrawn if satisfactory progress has not been made. For guidelines, consult the director of undergraduate studies. Does not count toward the fourteen courses required for the major when taken in conjunction with FILM 455, 456 or FILM 483, 484.