FILM 1501a, 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  0 Course cr
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* FILM 1610a / ART 2941a, Introductory Film Writing and Directing  Sahraa Karimi

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. Priority to majors in Art and in Film & Media Studies.  RP
T 1:30pm-5:20pm

* FILM 1620a or b / ART 1942a or b, Introductory Documentary Filmmaking  Staff

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."  RP
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* FILM 1800a, Makeovers in Classical Hollywood Cinema  Staff

This course examines the American dream of the makeover in Hollywood cinema. We look at era-defining classical films from Hollywood’s Golden Age to contemporary films and media to consider narratives of self-transformation. The course traces and interrogates conceptions of self and Other, person and thing that are summoned in cinematic visions of passing, self-improvement, restoration, and instant alteration. Some of the questions we ask are: What kind of labor does the makeover recognize and efface? What does it mean to make-over a self, a house, a genre, a people, a nation? How do we come to visualize such changes, and how do we know what it is we see? We watch films by Charlie Chaplin, Max Ophuls, Howard Hawks, Alfred Hitchcock, Douglas Sirk, Billy Wilder, Bob Fosse, Martin Scorsese, Janicza Bravo, among others. We read critics and theorists such as Barbara Johnson, André Bazin, Stanley Cavell, Lauren Berlant, Anne Anlin Cheng, Joan Copjec, and Roland Barthes to conceptualize the Hollywood makeover’s connections to embodiment, sexuality, material objecthood, and racial difference. Along the way, we consider the visual lure and theoretical stakes of "making it.”  HU
TTh 11:35am-12:50pm, M 7pm-9pm

FILM 1900a, Modes of Thinking Through Media Making  Leighton Pierce

This foundational course is designed to generate conceptual and practical creative potentials within the processes of developing, making, and critiquing films and videos. Students explore principles of video creation through six layered projects, focusing on techniques and production processes rather than specific genres. This hands-on course emphasizes foundational videomaking skills, making it ideal for first- and second-year students or anyone interested in a non-commercial, conceptual approach to media making.  HU  RP
TTh 10:30am-12:20pm

FILM 2167a / LAST 2165a / PORT 2165a / SPAN 2090a / WGSS 2165a, Through the Lens of Memory: Other Perspectives on Dictatorships in Latin America and Iberia  Giseli Tordin

This course examines the cinematic portrayals of military dictatorships in Brazil, Argentina, Chile, Spain, and Portugal, exploring how film serves as both a historical document and a means to reinterpret and reconstruct the past. As a language course, it allows students to engage with multiple modes of meaning–linguistic, visual, auditory, tactile, gestural, and spatial–through which cinema conveys its narratives. Students analyze how films reconstruct memory, challenge hegemonic historiography, and reinscribe erased or silenced perspectives. The course reflects on the relevance of these works in contemporary struggles against violence and oppression, considering how they teach us to critically engage with power, resistance, and collective memory. It also focuses on women's cinematic productions and representations, examining how gender, race, and political resistance intersect in the visual representation of repression, violence, and memory. The course incorporates both Spanish and Portuguese, encouraging students to express their ideas and develop projects in either language. Languages: Portuguese and Spanish. Prerequisite: PORT 1400 (or equivalent) or SPAN 1400 (or equivalent).   L5, HU
MW 2:30pm-3:45pm

* FILM 2540a / ENGL 2151a, Skin and Surface: Fashion and Culture  Staff

What do we mean by fashion? This course explores the intimate relationship between film, fashion, and various modes of self-fashioning and unfashioning. By examining the sartorial—what, or whom, we wear—in literature and film, we consider the ramifications of style in discourses on race and gender. We study films, novels, and photography that focus on garments in ways that highlight the complex relationship among material histories, social fabrics, and notions of the corporeal and the human. Along the way, we unsettle the easy yet stubborn distinction between surface and interiority. From Alfred Hitchcock’s Vertigo to Wendell B. Harris’s Chameleon Street, Frederick Wiseman’s documentary of department stores to Lee Bul’s cyborg sculptures, this course asks: how does fashion constitute—or unravel—our notions of the self and of the world as “surface” activity?  HU
W 1:30pm-3:20pm, T 7pm-9pm

* FILM 2607a / CPLT 2607a, East/West European New Waves: Life and Revolution in the 1960s  Katie Trumpener

The 1960s were marked by a sense of profound political and aesthetic possibility: It is no coincidence that this period saw a transformation of what film could be as well. Often described as “New Waves,” this new cinema responded to social change and intervened in it, attempting to understand and critique the social order even as it participated in popular culture and reworked film aesthetics. This course focuses on the new waves of European cinema, East and West. Within the broader trends of destalizination, decolonization, and the rise of youth and women’s movements, we consider flashpoints including 1968 and the Vietnam War alongside the transformations in work, gender roles, and the qualities of everyday life—legacies that remain with us to this day (along with elements of 60s film style). Films from West and East Germany, the Soviet Union, Poland, Hungary, Czechoslovakia, Yugoslavia, Britain, France, Italy, Senegal, Cuba, and the United States, among others. Background in Film, European Languages, or European History is helpful, but not required.   WR, HU
T 1:30pm-3:20pm, M 7pm-9pm

* FILM 2800a / ENGL 3082a / PSYC 3320a, The Science and Culture of Memory  John Williams

This is an FAS-sponsored cross-divisional course. This course offers a comparative and interdisciplinary approach to the science and culture of memory. We aim to bring traditional philosophies, narratives, and histories of memory into conversation with both long established and cutting-edge research findings on the neuroscience of memory. Questions explored in the course include: What is memory and how does it work? How has memory been conceptualized over time in both culture and science? What are the various media through which we process memories, including collective and individual forms? What can we learn from moments of mnemonic failure? What new technologies of memory are on the horizon? How is our vision of the future influenced by the content and processes of memory? In wrestling with these questions, we encounter a wide selection of narratives, art objects, films, and scientific data. Students also have an opportunity to explore their own experiences in learning and memory (including experiential assignments, e.g., asking them to memorize certain things and report on the experience, as well as opportunities to reflect on their experiences of and access to forms of collective, communal memory).  HU, SO
MW 4pm-5:15pm

* FILM 2827a / CPLT 3180a / GMAN 3180a / HUMS 3188a, Artificial Life: (Re)Production and the Limits of Humanity  Austen Hinkley

A mad scientist creates a living being in a laboratory; automata band together to overthrow their creators; a moving statue appears more lifelike than a human being. Such fantastical images and stories of artificial humanity haunt human culture, from ancient myths to contemporary media. This seminar explores such imaginations of the artificially human, with an emphasis on their role within German culture, in order to examine the often-hazy boundary between artificial production and organic reproduction. We will discuss the significance of this boundary for our understanding of topics such as literature, art, labor, gender, and psychology. Readings are drawn from sources both ancient and modern, from discourses including religion, philosophy, alchemy, literature, and psychoanalysis. In addition to readings, film and other visual materials will be incorporated as primary texts.  HU
MW 4pm-5:15pm

* FILM 2897a / GMAN 1701a / WGSS 1701a, Gender and Sexuality in German Literature and Film  Lea Jouannais

In this course, we will explore the 20th-century German artistic, literary, and cinematic canon through the lens of gender and sexuality. Queer and feminist perspectives will play a central role in our discussions, while also providing students with a broader understanding of artistic movements in the German-speaking world. A chronological approach, spanning from the interwar period to the present day, will serve as a guide through key moments in German history. Our readings and analyses will include works by Irmgard Keun and Mela Hartwig in the interwar period, August Sander’s photographs, excerpts of Klaus Mann and Annemarie Schwarzenbach’s texts, postwar literature with Ingeborg Bachmann, New German Cinema through the films of RW Fassbinder and Ulrike Ottinger; a novel by Elfriede Jelinek, the poetry of May Ayim, and contributions from contemporary German voices. This course is conducted entirely in German. It is recommended that students have completed one other L5 class, though exceptions are possible on a case-by-case basis.  Please contact Language Program Director Theresa Schenker with questions: theresa.schenker@yale.edu  L5, HU
TTh 1pm-2:15pm

FILM 2940a / ART 2943a, Cinematography: History, Theory, Practice  Jonathan Andrews

This course serves to introduce students to the artistic practice of cinematography in the context of its history from the birth of cinema to the present. Readings, screenings, and discussions exploring film history are complemented by readings, workshops, and creative assignments exploring the tools, techniques, conventions, and scientific and psychological foundations of the cinematographer’s art.
T 1:30pm-5:20pm

* FILM 2980a / AMST 3303a / EP&E 247 / ER&M 3530a / SAST 2620a, Digital War  Madiha Tahir

From drones and autonomous robots to algorithmic warfare, virtual war gaming, and data mining, digital war has become a key pressing issue of our times and an emerging field of study. This course provides a critical overview of digital war, understood as the relationship between war and digital technologies. Modern warfare has been shaped by digital technologies, but the latter have also been conditioned through modern conflict: DARPA (the research arm of the US Department of Defense), for instance, has innovated aspects of everything from GPS, to stealth technology, personal computing, and the Internet. Shifting beyond a sole focus on technology and its makers, this class situates the historical antecedents and present of digital war within colonialism and imperialism. We will investigate the entanglements between technology, empire, and war, and examine how digital war—also sometimes understood as virtual or remote war—has both shaped the lives of the targeted and been conditioned by imperial ventures. We will consider visual media, fiction, art, and other works alongside scholarly texts to develop a multidiscpinary perspective on the past, present, and future of digital war. none  HU, SO
Th 1:30pm-3:20pm

* FILM 3007a / RSEE 3120a / SLAV 3120a and SLAV 6120a / UKRN 3120a and UKRN 6120a, Cinematic Ukraine: Culture, Identity, and Memory  Olha Tytarenko

This course traces the evolution of Ukrainian cinema from the avant-garde experiments of the 1920s to the vibrant post-2014 film resurgence. Exploring themes of national identity, historical memory, and resistance to political and cultural oppression, we analyze how filmmakers have shaped Ukraine’s self-conception through film. Topics include the poetic cinema of the 1960s, post-Soviet transition films, and contemporary works responding to war and cultural sovereignty. Students will engage critically with cinematic language, narrative structures, and visual aesthetics while incorporating perspectives from postcolonial theory and memory studies. The course features guest lectures from Ukrainian film directors and hands-on cinematographic workshops. Weekly thematic units pair films with historical and theoretical readings, offering a dynamic exploration of Ukraine’s place in global cinema and cultural history. None  HU
M 3:30pm-5:20pm, Th 6pm-9pm

* FILM 3057a / ITAL 4305a, Italian Film Ecologies: Yesterday, Today, and Tomorrow  Millicent Marcus

Landscape and the natural environment have never occupied “background” status in Italian film. Given the spectacular visual presence of its terrain—thanks to the relative proximity of mountain chains and the long seacoast—and given the pivotal importance of farming and pasturage in this traditionally agrarian economy, the synergy between the human and natural worlds has played a prominent role in Italian filmmaking since the very inception of the industry. Most recently, two developments have pushed this issue to the forefront of scholarly attention: the advent of ecocriticism, which found one of its earliest and most influential champions in Serenella Iovino, and the establishment of regional film commissions, grassroots production centers that sponsored cinematic works attuned to the specificity of “the local.” The course includes study of films that predate our current environmental consciousness, as well as recent films that foreground it in narrative terms. In the case of the older films, which have already attracted a great deal of critical commentary over time, we work to shift our interpretive frame in an “eco-friendly” direction (even when the films’ characters are hardly friends of the environment). Among the films considered are Le quattro volte, Il vento fa il suo giro, L’uomo che verrà, Gomorra, L’albero degli zoccoli, Riso amaro, Red Desert, Christ Stopped at Eboli, and Il ladro di bambini. We screen one film a week and devote our seminars to close analysis of the works in question.  HU
W 3:30pm-5:20pm

* FILM 3300a, The Screenwriter's Craft  Camille Thomasson

A rigorous writer's workshop. Students conjure, write, rewrite, and study films. Read screenplays, view movie clips, parse films, and develop characters and a scenario for a feature length screenplay. By the end of term, each student will have created a story outline and written a minimum of fifteen pages of an original script. All majors welcome.  Application required. Please find the link to the application form on the syllabus. 
T 2:30pm-4:20pm

* FILM 3500a, Screenwriting  Shakti Bhagchandani

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 first-year students.
W 1:30pm-3:20pm

* FILM 3537a / AFST 3351a / CPLT 3351a / ENGL 2831a, The Nigerian ‘Video Novel’ and Nollywood  Staff

The course introduces students to an emerging genre of the Nigerian novel in which writers adopt narrative re-purposing strategies that invite transcription and adaptation to films. This evolving ‘Nigerian visual novel’, or ‘video novel’, is defined by its loosely structured, tabloid-themed and reader-friendly style, all reflecting the craft of Nollywood films, a thriving video film culture that emerged in the 1990s and has remained popular globally. Through the study of Nollywood films alongside new Nigerian fiction, the course will examine the techniques adopted by writers to accommodate the aesthetics of popular culture, to revive a declining readership, and to make literature more sellable. As these novels win literature prizes and find their way onto syllabi, the implications they have for our understanding of the African literary canon will be discussed. Students will view selected Nollywood movies and read a number of novels in the new genre in order to appraise the extent to which the serious and the sensuous intersect in this remaking of literariness. Seminar discussions will be accompanied by short lectures in which concepts such as ‘trans-mediality’, ‘reverse-adaptation’, ‘screen-to-page’, ‘appropriation’ and ‘quotation’ will be discussed to build an understanding of how the ‘new’ approach reconfigures Nigerian novels.  HU
W 1:30pm-3:20pm

* FILM 3540a / AMST 3334a / CPLT 3500a / GMAN 3460a / HUMS 3466a, Uwe Johnson's Anniversaries: From A Year in the Life of Gesine Cresspahl  Austen Hinkley

Uwe Johnson's Anniversaries: From A Year in the Life of Gesine Cresspahl remains a monument of postwar German literature – and it was written in and about New York City. Across its 367 short chapters (each corresponding to a day of the year), the novel unfolds on three levels: the historical present in New York, memories and family history from Germany, and reporting from the New York Times on current events. The result is a view of life, politics, and history in the middle of the 20th century that is as rich and expansive as it is fragmented. The social and political climate of New York in the late '60s is put into contact with memories of the rise of Nazism in Germany; reporting on the Vietnam war, the civil rights movement and the Prague Spring is refracted through the lenses of the protagonist's past life in East Germany and her new life raising her daughter alone in New York. This course undertakes a close reading of Johnson's sprawling novel with attention to its many historical, political, and literary contexts. Readings from the novel are complemented by relevant short readings on theories of media, politics, literature, and history. No prior knowledge of German language and literature is required.
   HU
W 1:30pm-3:20pm

FILM 3550b / ART 3941b, Intermediate Film Writing and Directing  Jonathan Andrews

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. Priority to majors in Art and in Film & Media Studies. Prerequisites: ART 2941.  RP
T 1:30pm-5:20pm

FILM 3560b / ART 3942b, Intermediate Documentary Filmmaking  A.L. Steiner

Students explore the storytelling potential of the film medium by making documentaries an art form. The class concentrates on finding and capturing intriguing, complex scenarios in the world and then adapting them to the film form. Questions of truth, objectivity, style, and the filmmaker's ethics are considered by using examples of students' work. Exercises in storytelling principles and screenings of a vast array of films mostly made by independent filmmakers from now to the beginning of the last century. Limited enrollment. Priority to majors in Art and in Film & Media Studies. Prerequisites: ART 1942 or 2941  HU  RP
M 1:30pm-5:20pm

* FILM 3740b / HUMS 3475b, Media and Protection  Francesco Casetti

Alarm systems safeguard private homes; passwords filter access to websites; digital watches monitor vital signs; x-rays scan passengers in airport terminals; locked doors requiring IDs isolate sensitive sites; GPS helps escape traffic jams; weather forecasts warn how to avoid impending disasters; whistleblowing platforms stop wrongdoing; online entertainment offers respite from external pressures; and social networks allow online exchanges between individuals who want to bypass physical interactions. A full range of media provide protection against what appears to be a threatening milieu. However, protection has a cost in terms of values and habits. It requires identifying and even materializing a threat and an enemy; it implies a step back from the direct experience of reality and others; and ultimately it idealizes a safe world. But is the world ready to be safe? Is the enemy a necessary invention? Is security guaranteed to all? And ultimately, is protection the only remedy for our fears? This seminar addresses such questions.   HU
T 9:25am-11:15am, M 4:30pm-6:30pm

* FILM 3990a / ENGL 2411a, The Craft of Graphic Narrative  Alison Bechdel

This class explores the ways that text and sequential images work together to tell stories. This class will be a roughly equal mix of theory and practice, of reading comics with a critical eye and making your own comics. We’ll study aspects of craft like voice, structure, point of view, description, and character development, as well as comics-specific elements such as page layout, panel transitions, and the abstract-to-realistic drawing style continuum. This is a beginner-level class. You don't need to be an experienced cartoonist, but an affinity for drawing will serve you well.  RP
TTh 9am-10:15am

* FILM 4140a / AFAM 3314, Jazz and African-American Historical Representations in American Films  Claire Demoulin

This course deals with the presence of jazz music in American cinema, mainly in Hollywood films. Beyond considering the role of major jazzmen and jazzwomen in films such as Duke Ellington, Cab Calloway, Louis Armstrong, Billie Holiday, Charles Mingus, Benny Goodman, Thelonious Monks, Lena Horne, etc., we also analyze how jazz and African Americans are represented in Hollywood films featuring this music as a focal point or as musical accompaniment. Jazz music has served historically as a medium for early African-American presence in Hollywood films, via musical numbers and performances (Duke Ellington orchestra, the Nicholas Brothers, etc.), all while conforming to the demands of major film companies. During WWII, wartime films saw in jazz the opportunity to convey consent and support for the war (Birth of the Blues, Blues in the Night, Syncopation). By exploring films from the 1930s to the 1970s, and cross-examining essays by Paul Gilroy, Krin Gabbard, and others, this course calls into question these attempts and investigates the early silencing, instrumentalization, and reappropriation processes commonly characteristics of Hollywood. We contextualize this filmography by comparing it with films made by African-American film directors and analyzing their use of jazz music. The course illustrates how jazz music embodies a formal and political counter-power, evident through its themes and compositions, and demonstrates how films such as The Cry of Jazz, or The Connection capture this spirit.   HU
W 9:25am-11:15am, T 7pm-10pm

* FILM 4200a / MUSI 4478a, Radio  Brian Kane

Introduction to selected topics in the social history, technique, and meaning of radio in America, with a focus on music and mediation. Topics may include: the nature of the "radio archive;" early radio listening (DXing); the formation of the networks; advertising; the rise of audience research; African-American radio; the origins of the DJ and format radio. Workload may include: short papers, book reviews, radio building, archival research, and end-of- semester project.  HU
Th 9:25am-11:15am

* FILM 4220a / ENGL 2145a / HUMS 4145a, The Aesthetics of Adaptation  Katja Lindskog

Adaptations of literary texts are the bread and butter of visual narrative media like TV and film. Adaptations of certain authors and texts have given rise to entire sub-genres and cottage industries. We consider what adaptations of literary texts, particularly very famous and beloved texts, might help us understand better about the texts themselves, and about the needs and expectations of the audiences of their adaptations. To that purpose, this course explores the purposes and effects of adaptation through a study of a variety of screen versions of adapted texts by authors including Jane Austen, Emily St. John Mandel, and Geoffrey Chaucer. Assigned readings include both literary texts and screen adaptations.  HU
MW 11:35am-12:50pm

* FILM 4270a / HUMS 2631a / MUSI 4470a, Noise  Brian Kane

A study of noise from musical, philosophical, and cultural perspectives. Reading and discussion of theoretical, political, ecological, and avant-garde writings on noise; critical study of musical repertoire involving noise, sound art, and recorded sound; introduction to current debates in sound studies and auditory culture; hands-on work with electronic noise.  WR, HU
W 9:25am-11:15am

* FILM 4470a / AMST 4449a / HIST 2114a, The Historical Documentary  Charles Musser

This course looks at the historical documentary as a method for carrying out historical work in the public humanities. It investigates the evolving discourse sand resonances within such topics as the Vietnam War, the Holocaust and African American history. It is concerned with their relationship of documentary to traditional scholarly written histories as well as the history of the genre and what is often called the “archival turn.”
T 3:30pm-5:20pm, M 7pm-10pm

* FILM 4550a / AMST 4463a / EVST 4630a / TDPS 4023a, 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
W 3:30pm-6:20pm, T 7pm-9pm

* FILM 4670a / ENGL 4411a, Making Comics  Alison Bechdel

This advanced class will explore the alchemy of combining words and pictures into the visual language of comics. We’ll touch on some history and theory of comics, but this is a hands-on writing/drawing class, and the focus will be on practice: how to write, draw, design, and produce your own work. We'll be looking at different formats like single panel comics, strips, and minicomics, as well as full-length graphic novels, memoirs, and journalism. You’ll keep a sketchbook and develop a daily drawing practice. For most of the second half of the semester, you'll be working on your own minicomic. Some cartooning experience or drawing ability will be helpful.
T 1:30pm-3:20pm

* FILM 4680a / CPLT 3940a / GMAN 4050a, Weimar Cinema  Fatima Naqvi and Claire Demoulin

The German cinema, 1919–1930. Expressionist films and films of the New Objectivity. The pressures of technology and the other arts on cinema; issues of spectatorship, visual pleasure, and distraction. Readings by Simmel, Kracauer, Benjamin, and others. Films by Murnau, Lang, Lubitsch, Pabst, Brecht, von Sternberg, and others. Unless otherwise indicated, courses in this group are conducted in English with both readings and discussion in English. The courses are open to all students in Yale College. Conducted in English, with readings in English.  HU
Th 9:25am-11:15am, W 6pm-8pm

* FILM 4710a, Independent Directed Study  Shakti Bhagchandani

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.
HTBA

* FILM 4800a, Film and Media Hybridity Lab  Leighton Pierce

This course supports senior majors completing a screenwriting or moving image/sound project as their thesis. The focus is to support innovative, hybrid, and emergent forms of film/media making and writing, or to support conventional projects through custom-designed practical exercises. There are two options: 1) the lab as a context for innovative film/media/writing projects that do not productively fit into the standard FMS senior courses, or 2) the lab as a supplement to the standard FMS thesis production classes. In this case, the thesis project would be overseen in the standard thesis classes with the lab serving as conceptual and practical development through specifically designed exercises in technique, critique, and conceptual exploration.  For Film and Media Studies seniors only. Permission of the instructor and DUS required.  RP
Th 2:30pm-6:30pm

* FILM 4830a and FILM 4840b / ART 4942a and ART 4943b, 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. Priority to majors in Art and in Film & Media Studies. Prerequisite: ART 3941.
W 8:25am-12:20pm

* FILM 4870a, Advanced Screenwriting  Shakti Bhagchandani

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.
W 3:30pm-5:20pm

* FILM 4910a, The Senior Essay  John Peters

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).
HTBA

* FILM 4930a, The Senior Project  John Peters

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.
HTBA