Also Offered As: ARTH 505, COML 510, GSWS 574, CIMS 505 Electronic Literary Studies Proseminar, Also Offered As: ARTH 506, COML 504, ENGL 505. Veronica Aplenc Program Manager/Adjunct Assistant Professor, Graduate School of Education vaplenc@upenn.edu. In dialogue with this scholarship, students will develop and situate their own experimental documentary research projects. If there is a journal title which you feel it would be helpful to include but is not on this list, please e-mail me at cobine@upenn.edu. This course examines cinematic and literary portrayals of childhood. Julia Alekseyeva, Assistant Professor of English and Cinema and Media Studies, took some time away from her online-teaching preparations to give us her suggestions for the best works of global cinema available on Netflix. Specific course topics vary from year to year. The project, which can be collective or individual in nature, will enable an in-depth material investigation of one of the threads of the class. Also Offered As: COML 256, EALC 151, EALC 551, GSWS 257, CIMS 152 Forest Worlds: Mapping the Arboreal Imaginary in Literature and Film. Specific course topics vary from year to year. CIMS 387 The Holocaust in Italian Literature and Film, CIMS 388 Topics in Spanish and Latin American Cinema, CIMS 390 Introduction to Spanish American Literature, Topics vary. We will spend the first few weeks of the semester surveying major trends in modern Middle Eastern history. French is, after English, the second truly global language. We also investigate the ways that these creations have subsequently helped to launch new visual entertainments, including museum spectacles, blackface minstrelsy, and early film, from the colonial period through the 1940s. Also Offered As: ARTH 299, COML 073, ENGL 073, LALS 073, THAR 073, CIMS 074 Contemporary American Literature. The primary goal of the freshman seminar program is to provide every freshman the opportunity for a direct personal encounter with a faculty member in a small sitting devoted to a significant intellectual endeavor. Please see the Spanish Department's website for the current course description: https://www/sas/upenn.edu/hispanic-portuguese-studies/pc, Also Offered As: COML 390, GSWS 391, LALS 396, SPAN 390. Cinema Studies CINE 116 Screenwriting Workshop CINE 150 Television Studies CINE 170 History of Animation CINE 225 Topics in Theater & Cinema: connecting from stage to screens to monitors CINE 231 Anthropology & Cinema CINE 252 Flemish/Dutch Fiction: experiments in modern Flemish & … Class lecture/discussions will be illustrated with recorded examples. Additionally, some academic departments and programs have their own media collections (e.g., Cinema & Media Studies, History, Gender, Sexuality & Women's Studies). Our video production courses, offered through Fine Arts, focus on the acquisition of basic media language skills and insist upon evidence of a growing facility of comprehension and application. Students research and critique both the artistic aspects and the commercial p. In this studio based course, students are introduced to video production and postproduction as well as to selected historical and theoretical texts addressing the medium of video. Also Offered As: COML 120, GSWS 118, NELC 118, NELC 618. Cinema Studies Program 209A Fisher-Bennett Hall ⋅ 3340 Walnut Street ⋅ Philadelphia, PA 19104 ⋅ (215) 898-8782 They also represent a prolonged exploration of the potential of the long take - unusually extended, continuous shots. Cinema and Media Studies is an interdisciplinary program at the University of Pennsylvania. 2 Good Girls. modes of production, circulation, and exhibition) in different cultural and political contexts. Viacom streaming service, which broadcasts live streams of films, MTV's multiple channels, Spike's multiple channels, FoodTV. We will explore these issues in the context of the literary production of the twentieth century in Spanish America from roughly the twenties to the present, that is, the epoch encompassing the larger metropolitan cultural phenomena of Modernism and Postmodernism. If it leads to change then it can be useful, since it is then no longer guilt but the beginning of knowledge. Penn Summer COVID-19 Update Penn Summer staff are not onsite, but we are still available Monday through Friday from 9 a.m. - 5 p.m. by phone and online in case you need support: (215) 898-7326 or summer@sas.upenn.edu. During both the Philadelphia Film Festival and the Cannes Film Festival, students attend screenings of current international films, applying the critical tools and knowledge of the film industry gained from their earlier work. Visit coronavirus.upenn.edu, the University's dedicated coronavirus COVID-19 web page, for the latest updates. ), their "auteurs," the nature of the French star system, the role of the other arts, as well to the critical debated they have sparked among critics and historians. Specific course topics vary from year to year. 3440 Market Street, Suite 100 Philadelphia, PA 19104-3335 (215) 898-7326 summer@sas.upenn.edu We will also examine the critical role of "shadow libraries," (free culture hubs) in regards how the cultural artifact is produced and distributed in the digital age, alongside today's gatekeepers of algorithmic culture, such as Netflix, Amazon, and Spotify. Special emphasis on Berlin. In addition to contemporary theories that investigate the development of cinema and visual culture during the first half of the 20th century, we will read key texts that contributed to the emergence of film theory. This truly interdisciplinary program will introduce students to the wide range of methodologies used to study film and media, and this intersection with other disciplines makes Cinema and Media Studies an ideal component of a double major. Composers Nino Rota and Ennio Morricone serve as case studies, in partnership with directors Fellini, Visconti, Leone, Pontecorve, Pasolini, and Coppola. How important is the concept of authorship in this context? Requirements: Weekly reading; weekly journal for self-reflection (required, but not for submission); participation in discussion; design a syllabus for an introductory course in your field. Each student should, by the end of the semester, have at least thirty pages of a screenplay completed. A variety of approaches -- thematic, psychoanalytic, cultural, narratological -- will be used in an attempt to test their viability and define the subversive force of a literary mode that contributes to shedding light on the dark side of the human psyche by interrogating the "real," making visible the unseen and articulating the unsaid. There are no pre-requisites for CIMS 382. Major filmmakers in discussion include Kalatozov, Tarkovsky, Wajda, Polanski, Forman, Mentzel, Sabo, Kusturitsa, Konchalovsky, Mikhalkov and others. Can we study television in countries where we do not know the existing local languages? An exploration of modern discourses on and of the city. Penn Libraries' DVDs and video collections are accessible via Franklin. In addition to reading Chekhovs works, Russian and western productions and film adaptations of Chekhovs works will be screened. By the end of course, students will have a firm grasp of the history of the genre and will be able to draw on this knowledge to effectively debate issues related to privacy, big business, animal rights, climate change, migration etc. Thanks to all the students who have generously participated in developing this course and to the scholars who have written the materials we will read. Among them are, Vanya on 42nd Street with Andre Gregory, and Four Funny Families. At the same time, those formal features will be closely linked to historical and cultural distinctions and changes, ranging from the Paramount Decision of 1948 to the digital convergences that are defining screen culture today. CINEMA & MEDIA STUDIES Spring 2021 Course Timetable. Schirmer Encyclopedia of Film Encyclopedia covers topics like production, national cinemas, studios, genres, theory and film history. Also Offered As: ARTH 108, COML 123, ENGL 091, Notes: Fulfills the Arts and Letters Sector (All Classes), CIMS 102 World Film History 1945-Present. As a result of climate change, the world that will take shape in the course of this century will be decidedly more inundated with water than we're accustomed to. Students will gain an understanding of the unique approaches needed to appeal to museum visitors in a public setting, so we can make viable experiences for them. In addition to a range of short assignment-based exercises, students will be expected to complete three short projects over the course of the semester. This course presents an in-depth look at the storytelling power of image and sound in both narrative and documentary motion pictures. Yet all too often, guilt is just another name for impotence, for defensiveness destructive of communication; it becomes a device to protect ignorance and the continuation of things the way they are, the ultimate protection for changelessness." CIMS 166 Arab/Israeli Conflict in Literature and Film. What can video art, experimental documentary, and sensory ethnography teach us about the practice of urban research? We will conclude with the transformation of several film industries into propaganda tools during World War II (including the Nazi, Soviet, and US film industries). The class is a seminar, with required participation in discussions. We discuss the rules of drama and dialogue, character development, stage vs. screen-writing, adaptation of nondramatic works, remaking of plots, author vs. genre theory of cinema, storytelling in silent and sound films, the evolvement of a script in the production process, script doctoring, as well as screenwriting techniques and tools. CIMS 165 Russian and East European Film after World War II. The purpose of this course is to provide an introduction to the history and main themes of the supernatural/horror film from a comparative perspective. Cinema Studies Program 209A Fisher-Bennett Hall ⋅ 3340 Walnut Street ⋅ Philadelphia, PA 19104 ⋅ (215) 898-8782 In this course, we will study Italy's rich and complex past and present. 3440 Market Street, Suite 100 Philadelphia, PA 19104-3335 (215) 898-7326 summer@sas.upenn.edu A-Z index, short bios, and further recommended sources. The course will cover both the history of copyright law and current debates, legislation, and cases. An exploration of cinematic sound through the lens of specific composer/director collaborations in post-1950 Italy, examining scores, soundtracks, and the interaction of diegetic and non-diegetic music with larger soundscapes. The American musical is an unapologetically popular art form, but many of the works that come from this tradition have advanced and contributed to the canon of theatre as a whole. We will watch films such as Tornatore's Cinema paradiso and Coppola's The Godfather II, and read texts such as Lampedusa's The Leopard and Maraini's Bagheria. Where does the story begin and who has recounted, rewritten, and rearranged it over the centuries? Also Offered As: ENGL 276, THAR 275, URBS 274, CIMS 240 Modern Italian Culture: Italian American Experiences, Please check the website for a current course description at: http://www.sas.upenn.edu/italians/courses, CIMS 244 Metropolis: Culture of the City. Each student will learn to analyze film form and content and write two short and one longer paper on some longstanding aspect of Tarkovsky's work of the student's choice. From Viriginia Woolf's gender-bending epic, Orlando, to Tony Kushner's Angels in America, this course traces how non-normative desire is produced and policed by social and literary contexts - and how those contexts can be re-imagined and transformed. Specific course topics vary from year to year. Navigating from United States and Cuba to India and Egypt, the readings in the course illuminate how particular televisual genres, institutions, and reception practices emerged in various countries during specific historical periods. She received her PhD from Stanford University (2016). Also Offered As: COML 282, JWST 154, NELC 159, CIMS 164 Russian and East European Film from the October Revolution to World War II. Penn Cinema and Media Studies graduates go on to do many different things, e.g. CIMS-005 DYSTOPIAN LIT AND FILM 1 CU 401 SEM TR 9-10:30AM DADAWALA V COURSE ONLINE: SYNCHRONOUS FORMAT LOCATION: ONLINE CROSS LISTED: ENGL-005 MAX W/CROSS LIST: 16 CIMS-014 THE ETERNAL FEMININE? Eschewing defensiveness, ignorance, and innocence, and opening to meaningful change by engaging the writings of anti-racist and anti-imperialist thinkers, including those focused on the transformation of higher education, this course examines the responsibilities scholars take on when we affirm that "Black Lives Matter," and acknowledges that higher education, including the humanities, is actively implicated in the structures and operations of white privilege and anti-black racism as well as in other intersectional modes of exclusion, including all forms of discrimination based on race, ethnicity, national original, ability, class, sexuality, gender, and beliefs. The students are expected to develop and demonstrate a critical approach to different aspects of the cinematic, news, and social media representation of ethnic conflict. Group work, discussions and readings will allow us to examine the problems and trends in the political, cultural and social history from ancient Rome to today. The exhibit is currently on view at the Smithsonian's National Portrait Gallery. Seniors have the option to complete an honors thesis if they have a minimum GPA of 3.5 in the major. Students will be taught basic camera operation, sound recording and lighting, as well as basic video and sound editing and exporting using various screening and installation formats.