Please note: The information displayed here is current as of Saturday, December 15, 2018, but the official Course Catalog should be used for all official planning.

2016-2017 Course Catalog

Period: 2018-20192017-20182016-20172015-20162014-2015

This catalog was created on Saturday, December 15, 2018.


Film Studies

Professors:P. Cohen (Patricia Hamar Boldt Professor of Liberal Studies History), G. Fares (Spanish) (on leave term(s) I), B. Peterson (German), C. Skran (Edwin & Ruth West Professor of Economics and Social Science Government), R. Tapia (Spanish), T. Troy (J. Thomas and Julie E. Hurvis Professor of Theatre and Drama Theatre Arts)
Visiting professor:L. Baybrook (Film Studies Program)
Associate professors:E. Carlson (Art and Art History), A. Guenther-Pal (German), J. McQuinn (Conservatory of Music), A. Ongiri (Jill Beck Director of Film Studies Professorship Film Studies Program, chair), J. Shimon (Art and Art History), T. Spurgin (Bonnie Glidden Buchanan Professor of English Literature English)
Assistant professor:A. Haydock (Film Studies Program)

Film Studies regards visual culture as producing both vital art forms and cultural artifacts that can be rigorously analyzed. Although they draw on literary and other artistic traditions, cinematic texts have always had their own identifiable properties and conventions. Many of the courses listed below pay particular attention to the history, analysis, and interpretation of film as a key form of modern culture. Other courses specifically engage with the production of visual culture through filmmaking, animation and the production of digital media. All film studies courses provide students with background in the theory and criticism of moving images. Film studies invites interdisciplinary approaches, and the course offerings at Lawrence are drawn not only from the program’s core, but also from various language departments: Chinese, English, French, German, Russian, and Spanish; there are also film courses in the Departments of Anthropology, Art and Art History, Education, History, Theatre Arts, and the Conservatory of Music. Students taking courses in film studies have access to a wide range of interpretive methodologies, national cinemas, film styles and genres, and they can combine an interest in film studies with almost any discipline in the liberal arts.

Required for the film studies major

  1. A minimum of 10 film studies courses to include:
    1. FIST 100: Introduction to Film Studies
    2. Three additional designated courses, one in each category:
      1. Film History: FIST 210: Film History I, FIST 211: Film History II
      2. Film Theory: FIST 402: Film Theory and Criticism
      3. Filmmaking: FIST 370: Avant-Doc, FIST 371: Documentary Forms
    3. Six elective courses
    4. A Senior Experience capstone project that allows students to create either a film or a research paper as a final project

Required for the film studies minor

  1. A minimum of six film studies courses to include:
    1. FIST 100: Introduction to Film Studies
    2. One course in each of two categories:
      1. Film History: FIST 210: Film History I, FIST 211: Film History II
      2. Film Theory: FIST 402: Film Theory and Criticism, or a designated theory course
    3. Filmmaking: FIST 370: Avant-Doc, FIST 371: Documentary Forms
    4. Three electives

Courses - Film Studies

FIST 100: Introduction to Film Studies

An introduction to both cinema studies and film/video production, this course will provide an overview of historical, analytical, and theoretical approaches to cinema and introduce a broad range of basic production skills including the fundamentals of nonlinear editing. Through hands-on work and the study of a diverse selection of films rooted in different cultures, times, and ideologies, students will begin to develop the critical means for engaging with cinema and culture in discussion, writing, and creative work.
Units: 6.

FIST 110: Interdisciplinary Video

Designed primarily for students interested in incorporating video into their current or future work in other academic and creative disciplines. This course offers a practical introduction to basic editing, camera, and sound techniques, paired with a general study of multiple methodologies and current debates in representational ethics.
Units: 6.

FIST 120: Image and Sound I

A basic introduction to the fundamental forms, concepts, terminology, and techniques of filmmaking, contextualized within a critical/historical framework. Students explore multiple approaches to creating meaning through readings, screenings, lectures, discussions, and critiques, paired with video exercises and hands-on instruction.
Units: 6.
Also listed as Studio Art 120

FIST 191: Directed Study in Film Studies

Directed study follows a syllabus set primarily by the instructor to meet the needs or interests of an individual student or small group of students. The main goal of directed study is knowledge or skill acquisition, not research or creative work.
Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 210: Film History I

A foundation course on the history of cinema in a global and transnational context, Film History I focuses on "silent" film (early film to the present day) and the transition to sound. Topics include creative and technological practices; national cinemas in context; narrative, documentary, and experimental modes.
Units: 6.
Prerequisite: FIST 100 or consent of instructor

FIST 211: Film History II

A foundations course on the history of cinema in a global and transnational context, Film History II focuses on the sound era. Topics include creative and technological practices; studio, avant-garde, and postcolonial cinemas; independent, contemporary, and digital film; narrative, documentary, and experimental modes.
Units: 6.
Prerequisite: FIST 100 or consent of instructor

FIST 212: Writer vs. Director: The Battle Between Literature & Film

This course examines questions of identity, gender, nationality, civic duty, scientific inquiry, and/or historical progress from the perspectives of two complimentary—but also competing—media. Through scene analysis, students will learn to identify the distinctive marks of literary vs. cinematic form, evaluate the formal choices that writers and directors make, and apply the achievements of literary and cinematic art to shared ethical and existential concerns.
Units: 6.

FIST 220: Image and Sound II

A continuation of FIST 120 with expanded instruction in image design, sound design, sequencing, and concept development. Historical development of the medium and contemporary approaches to creative expression, representational ethics, and audience are emphasized through exercises, readings, lectures, demonstrations, discussions, and critiques, culminating in a final video project.
Units: 6.
Also listed as Studio Art 223
Prerequisite: FIST 120 or consent of instructor

FIST 222: Sound Design

An introduction to film sound studies paired with hands-on exploration of cinematic audio recording and editing techniques, with emphasis on sound/image relationships and the use of sound to create meaning. Students will engage in close readings of critical and theoretical texts, view and discuss film screenings, and produce a series of short audio and video exercises, culminating in a final video project showcasing the creative use of film sound.
Units: 6.
Also listed as Studio Art 224
Prerequisite: FIST 120 or consent of instructor

FIST 240: New Media in Art

An introduction to new media within a fine art context. Digital photography, experimental video, sound, photo book design, and blogging are covered as students use the Internet as a venue for presenting projects. The evolution of technology, new media theory, contemporary art discourse, and visual culture are examined through projects, readings, lectures, demonstrations, discussions, critiques, and visiting artist presentations. Mac-based. When scheduled on Tuesday-Thursday, class will dismiss early for University Convocations.
Units: 6.
Also listed as Studio Art 240
Prerequisite: ART 100 or ART 110

FIST 245: Interarts: New Media Projects

A class where students make projects that engage the outside world via digital media. Lectures, discussions, readings, and critiques will investigate contemporary interdisciplinary practices and the nature of creativity. Students will be taught the basics of design thinking, leading to conceptual-development, planning, and production. Students work individually or collaboratively on documentary, video, performance, installation, graphic novels, podcasts and web projects. Mac-based.
Units: 6.
Also listed as Studio Art 245
Prerequisite: ART 100 or ART 110, or consent of instructor

FIST 277: Introduction to German Film Studies

With its pivotal role in the inauguration of the cinema, knowledge of German film is critical to any understanding of the history of film. This course is intended to be an introduction both to German cinema and to the discipline of film studies. Considered perhaps as one of the most accessible aesthetic forms, the moving image pervades our everyday lives and yet we seldom think of what we do in the movie theatre as “reading.” Throughout this course, students will be introduced to the practice of reading the filmic text using three structuring lenses: 1) history, 2) formal and generic elements, and 3) film criticism.
Units: 6.
Also listed as German 377
Prerequisite: GER 312

FIST 278: Introduction to German Film (in English)

With its pivotal role in the inauguration of the cinema, knowledge of German film is critical to an understanding of the history of film. Considered as one of the most accessible aesthetic forms, the moving image pervades our everyday lives, and yet we seldom think of what we do as "reading" films. Throughout this course, students will be introduced to the practice of reading German films using three structuring lenses: 1) film and cultural history, 2) formal and generic elements, and 3) film criticism.
Units: 6.
Also listed as German 278

FIST 287: Russian Through Film

This course will examine topics in Russian film. Topics may include specific generes (e.g., the sad comedy), the work of a director or tradition, films important for a specific historical moment (e.g., The Thaw or World War Two), or films devoted to a specific theme. Students will expand their Russian vocabulary, improve fluency, increase speaking confidence and gain cultural knowledge by viewing Russian films and analyzing the psychology of the characters. Throughout this course, students will be introduced to the practice of reading the filmic text using three structuring lenses: 1) history, 2) formal and generic elements, and 3) film criticism. May be repeated when topic is different.

Topic for Fall 2018: The World of Children
In this course, we will be exploring the culture of Russian children. We will read poetry and short fiction for children, we will watch cartoons and films, and we will learn to play some children’s games. This course is also intended to provide the students with a comprehensive review of major grammatical topics and vocabulary covered in second-year Russian. More advanced students will be given additional readings and assignments. In Russian.
Topic for Spring 2019: Russian Folk and Fairy Tales in Film
This course will introduce advanced students of Russian to the rich tradition of Russian folk tales and their representation in film. Students will read tales about such all-time favorite characters as Kolobok, Yemelia and his Pike, Baba-Yaga, Kashchei the Deathless, Vasilissa the Beautiful, etc. We will then explore the cinematic presentations and re-interpretations of these tales and characters in Soviet and post-Soviet films and cartoons. Students will write their own fairy tales; as a final group project, students will shoot a fairy-tale film. In Russian.
Units: 6.
Also listed as Russian 287
Prerequisite: RUSS 250 or consent of instructor

FIST 300: Reel Men: Masculinity in American Film, 1945-2000

Focusing on an array of well-known American films — “The Maltese Falcon,” “Red River,” “Dr. Strangelove,” “McCabe and Mrs. Miller,” “Chinatown,” “Die Hard,” and “American Beauty” among them — the course will integrate film theory, gender theory, and American history to address the problem of how masculinity has been constructed in American culture since World War II. Not open to students who have previously received, or need to receive, credit for HIST 400.
Units: 6.
Also listed as History 300, Gender Studies 323
Prerequisite: Sophomore level or above

FIST 302: Cinematically Speaking

French films function as a springboard for readings, discussions, oral presentations, and short critical essays. We will briefly examine the history of French film from 1940 to the present, study cinematic techniques, the vocabulary of cinema, and explore the principal themes.
Units: 6.
Also listed as French 302
Prerequisite: FREN 202 or consent of instructor

FIST 305: Film as History and History as Film

An examination, through selected films, of specific moments in European history and an examination of film itself as a source of historical interpretation. Possible “historical moments” include Medieval England, Nazi Germany, and the Holocaust, and possible films include Becket, The Triumph of the Will, and Schindler’s List.
Units: 6.
Also listed as History 305
Prerequisite: Sophomore standing or consent of instructor

FIST 309: Hollywood Goes to High School

Year after year, Hollywood turns out movies that are set in schools and present images of teachers and teens. Many of these films address typical coming-of-age issues, societal fear of teen crime and delinquency and, of course, the search for romance. A subset of these films provide powerful and culturally enduring images of teachers and teaching. High school movies also provide insight into the fantasies, anxieties, dreams, and assumptions prevalent in American culture. This course will examine the world and worldview found in Hollywood high school movies and the extent to which the stories they tell make us who we are.
Units: 6.
Also listed as Education Studies 309
Prerequisite: Sophomore standing

FIST 318: Topics in Filmmaking

This course allows for an in-depth examination of various aspects of filmmaking, with a dual focus on close reading of related film studies texts and practical exploration of advanced techniques, culminating in a final video project.

Topic for Fall 2018: Photomotion
Photomotion is a hands-on darkroom class exploring strategies for conveying movement using light-sensitive materials. The history, theory, and practice of these techniques, within the continuums of both fine art and cinema, will be addressed.
Units: 6.
Also listed as Studio Art 125
Prerequisite: FIST 100 or consent of instructor

FIST 319: Principles of Editing

A theoretical and practical introduction to connecting images and sound in a compelling way. The goal is to promote understanding of film, video, and new media as tools for creative expression and to help students think critically and make informed choices about editing.
Units: 6.
Also listed as Studio Art 319
Prerequisite: FIST 100 or consent of instructor

FIST 320: Topics in Russian Film (in English)

This course explores facets of the development of Russian film in its historical and cultural context. Topics may include: “The Golden Age of Soviet Film,” “The Cinema of Tarkovsky,” and “Film as Propaganda.” Taught in English. Russian majors and minors may participate in a two-unit tutorial in which discussions and some course readings will be in Russian.

Topic for Winter 2019: Tarkovsky and Soviet Culture
This class will explore the feature films and theoretical writings of Andrei Tarkovsky against the background of late Soviet culture. Discussion and readings will address the historical context of Tarkovsky's work; his cinematic, poetic, and narrative techniques; and his philosophical aspirations as a Soviet--and therefore global--filmmaker. Students will do frequent short writing assignments. In English.
Units: 6.
Also listed as Russian 320

FIST 324: Gender and Cinema

This course examines gender and film in an international context. Topics include the construction of femininity and masculinity in film, feminist and queer film theories, analysis of film using intersectional and formal approaches, women behind the camera, and gender and genre.
Units: 6.
Also listed as Gender Studies 324
Prerequisite: FIST 100, GEST 100, the equivalent, or consent of instructor

FIST 325: Black, Brown, and Queer on Film: Race, Gender, and Sexuality on Film

Visual culture has long defined that which is not white, not queer, and not male as deviant from the visual norm. This course will explore the way in which film culture has traditionally positioned people it defines as deviant from the racial, ethnic, gender or sexual norm and the ways in which filmmakers have responded to that positioning.
Units: 6.
Also listed as Ethnic Studies 425, Gender Studies 325
Prerequisite: Sophomore standing or consent of instructor

FIST 330: Introduction to Film

An introduction to the critical analysis of Latin American and Spanish film. Selected films represent various countries, genres and directors from Latin America and Spain. Readings of relevant film theory, class discussions and composition tasks prepare students for other advanced courses in the Spanish program.
Units: 6.
Also listed as Spanish 430, Theatre Arts 352
Prerequisite: SPAN 202, its equivalent, or consent of instructor; not open to native speakers of Spanish.

FIST 340: Intermediate New Media in Art

A continuation of Art 240 or 245 using new media within a contemporary art context. Digital photography, experimental video, social media, performance, and installation are covered while using the Internet and campus spaces as venues for projects. Contemporary art discourse is examined through projects, readings, lectures, demonstrations, discussions, critiques, and visiting artist presentations. Mac-based. When scheduled on Tuesday-Thursday, class will dismiss early for University Convocations.
Units: 6.
Also listed as Studio Art 340
Prerequisite: ART 240 or ART 245

FIST 345: Screenwriting

An exploration of the plot, character, and theme in the work of short films and scripts followed by the creation of one or more short screenplays.
Units: 6.
Prerequisite: FIST 100 or consent of instructor

FIST 350: Modern Chinese Literature and Cinema in Translation

A survey of 20th-century Chinese fiction and cinema. Iconoclastic works of modern Chinese vernacular fiction from 1919 through the post-Cultural Revolution (1966-1976) will be juxtaposed alongside films dealing with the same period, such as Red Sorghum (1987) and Farewell, My Concubine (1992) made by the so-called Fifth Generation of film directors (born after 1949, when the People’s Republic was founded). Class conducted in English. No knowledge of Chinese required.
Units: 6.
Also listed as Chinese and Japanese 350, East Asian Studies 350
Prerequisite: Sophomore standing; EAST 150 recommended

FIST 354: History of Russian and Soviet Film

This course will introduce the student to the rich and varied tradition of Russian and Soviet cinema from the Pre-Revolutionary period to the present. Works by major filmmakers will be viewed and discussed in the context of the culture, economy, society, and politics of the time. Taught in English.
Units: 6.
Also listed as Russian 354, History 354
Prerequisite: Sophomore standing

FIST 357: Film in Germany (In English)

This course selects from 90 years of filmmaking in Germany. Films range from expressionism to Nazi propaganda and from escapist comedies to avant garde art. Learning to “read” German films critically also means finding out how to understand movies from Hollywood and beyond. Possible topics include “From Caligari to Hitler,” “German Literature as Film,” and “What Makes Lola Run.” Taught in English. German majors and minors may participate in a two-unit tutorial in which discussions and some course readings will be in German.

Topic for Spring 2019: Fatih Akin, a Retrospective
Now that he has produced a dozen films, including In the Fade which won the Golden Globe for best foreign film in 2018, it is time to take a retrospective look at Fatih Akin’s impressive body of work. Why do so many consider him to be Germany’s most important living filmmaker? What themes does he address? Do his films have a recognizable style? What can we learn from viewing his wide ranging collection of films?
Units: 6.
Also listed as German 357, Theatre Arts 351

FIST 360: Chinese Contemporary Film in English

Using feature films and documentaries from the so-called Fifth [1982-] and Sixth Generations [beginning in the 1990s] of film directors in China, this course provides a visual record of the immense political, economic, and social changes in China since the Reform and Opening up period at the end of the Cultural Revolution. Taught in English.
Units: 6.
Also listed as Chinese and Japanese 360, East Asian Studies 360
Prerequisite: Sophomore standing; EAST 150 or EAST 420 recommended

FIST 362: Vampires, Monsters, and Man-Eaters

This course examines the borders of the human through the figures of the vampire, monster, and femme fatale in literature, film, and the visual arts. Featured in the works of canonized authors as well as within popular culture, “monstrousness” can provide valuable insights into numerous aspects of German history and psychosexual relations. Possible texts include the early vampire film Nosferatu, Wedekind’s Lulu tragedies, Patrick Süskind’s Das Parfüm, and paintings by H.R. Giger.
Units: 6.
Also listed as German 462, Gender Studies 362
Prerequisite: GER 312

FIST 370: Avant-Doc

An exploration of personal, experimental, and emerging approaches to documentary filmmaking through video projects, readings, screenings, lecture, discussion, and critique. This course examines both contemporary practice and historical intersections among filmmaking traditions, with a focus on engaging with critical dialogues and diverse ways of articulating relationships between maker, subject, and audience.
Units: 6.
Also listed as Studio Art 372
Prerequisite: FIST 100 or consent of instructor

FIST 371: Documentary Forms

This course presents a broad overview of contemporary and historical documentary filmmaking practice through readings, screenings, discussion, and short video projects. Students will engage with critical dialogues and explore several distinct approaches to documentary production, including rhetorical, observational, participatory, and reflexive forms, culminating in a completed short documentary.
Units: 6.
Also listed as Studio Art 371
Prerequisite: FIST 100 or consent of instructor

FIST 380: Artisanal Animation

This course explores the history and contemporary practice of artisanal and experimental animation through hands-on workshops, film and video animation projects, readings, screenings, discussion, and critique. Topics include significant artists and movements, fundamental animation principles, optical toys, direct 16mm animation, rotoscoping, sound design for animation, 2D computer animation using Photoshop, and several stop-motion techniues using animation stands and Dragonframe software. Not open to students who have earned credit for the FIST 318 topic Artisanal Animation.
Units: 6.
Prerequisite: FIST 100 or consent of instructor

FIST 390: Tutorial in Film Studies

Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 391: Directed Study in Film Studies

Directed study follows a syllabus set primarily by the instructor to meet the needs or interests of an individual student or small group of students. The main goal of directed study is knowledge or skill acquisition, not research or creative work.
Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 399: Independent Study in Film Studies

Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 400: Reel Men: Masculinity in American Film, 1945-2000

At the upper level, the course will serve as a history seminar in preparation for the history department's capstone course. Those taking it at that level will be required to write at least one paper addressing film or gender theory and to write a 10-15 page research prospectus. Not open to students who have previously received credit for HIST 300.
Units: 6.
Also listed as History 400, Gender Studies 423
Prerequisite: Junior standing or above

FIST 402: Film Theory and Criticism

What is the language of film? What is the relationship between spectator and screen? What is the role of film as mass and global phenomena? This course explores basic issues in film theory and criticism that may include auteur theory, genre criticism, apparatus theory, stardom, feminist and queer film theories.
Units: 6.
Prerequisite: One of FIST 100, FREN 302, FREN 411, GER 177, GER 277, GER 357, GER 411, or SPAN 330; or consent of instructor

FIST 411: Fascism and Film

This course in French must be taken in conjunction with GER 411, taught in English. It will expand on the films made in France by Continental under the Nazi Occupation, 1940-1944. Concurrent registration in GER 411 is required.
Units: 2.
Also listed as French 411
Prerequisite: One course in French at the 300 level or consent of instructor

FIST 412: Fascism and Film (In English)

This course lets students examine films that were ostensibly made as entertainment or explicitly crafted as propaganda in the historical context of Nazi Germany and occupied France. Aside from learning how governments and their cinematic agents used this relatively new medium to shape public opinion (in support of the war, against Jews, etc.) students will see where and how resistance was possible.
Units: 6.
Also listed as German 411

FIST 418: Topics in Film Studies

Topics in Film Studies allows for an in depth examination of topics across time, for example, the work of women directors, or it permits a detailed analysis of special topics, for example, Turkish-German or Central European film.
Units: 6.

FIST 420: Topics in Film Genre

This topics course allows for an in-depth examination of film genre in various historical, national, theoretical, and aesthetic contexts. Course under this heading may focus on a single genre (for example, the musical) or be comparative. May be repeated when topic is different.

Topic for Winter 2019: Queering Sci Fi Film
The genre of sci fi film is one of the most malleable and resilient of all film genres. In this course, we'll examine the ways in which traditionally marginalized filmmakers employ the sci fi genre to think about difference, marginalization, and futurity. We will explore contemporary films by marginalized directors such as A Wrinkle in Time and The Shape of Water, in addition to classic films such as Metropolis and Blade Runner. Use/think about the boundaries of genre.
Units: 6.
Prerequisite: FIST 100 or consent of instructor

FIST 421: Editing the Manuscript: Studies in Film Criticism and Publication

An introduction to the hidden side of critical writing, where an editor's decisions and revisions define a field. As assistant editors to an active peer-reviewed journal, students will master the critical skills—from grammar, logic, and style to organization, sense of audience, and collaborative management—that shape Film Studies as both a professional market and an intellectual culture.
Units: 6.
Prerequisite: Freshman Studies

FIST 422: Borrowed Music in the Movies

When a film uses a pre-existing piece of music (popular or classical), meanings multiply, both within and outside the film itself. This course will explore these meanings, focusing on the fluid and reciprocal relationship between film and the music it borrows.
Units: 6.
Also listed as Musicology 422
Prerequisite: MUCO 202

FIST 447: Migrants and German Culture

Despite a long-term refusal to open itself to immigration, Germany has become a nation of immigrants and asylum-seekers. The course focuses on how both literature and films, including works by and about minorities in Germany, have dealt with key cultural phenomena: multiculturalism, diversity, acculturation, assimilation, “majority culture,” and parallel societies.
Units: 6.
Also listed as German 447, Ethnic Studies 382
Prerequisite: GER 312 or consent of the instructor

FIST 460: Topics in Community-Engaged Film Production

This course will explore the role of documentary video in public life, the way in which new digital media are reshaping communities and civic engagement, and the potential of video as a creative medium of participatory democracy.
Units: 6.
Prerequisite: FIST 100 or consent of instructor

FIST 464: Francophone Literature and Screen Adaptations

Focusing on the works of writers and filmmakers such as Sembene Ousmane, Joseph Zobel, Aimé Césaire, D.T. Niane, Dani Kouyate, Euzhan Palcy and Raoul Peck the course examines the interface between the literary and filmic media in raising consciousness about societal challenges, nationhood, power and identity. It also analyzes the strengths and weaknesses of each medium in accomplishing these objectives.
Units: 6.
Also listed as French 464
Prerequisite: 300-level French course or consent of instructor

FIST 540: Advanced New Media in Art

A continuation of Art 340 using new media at an advanced level. Digital photography, experimental video, social media, performance, and installation are covered while using the Internet and campus spaces as venues for projects. Contemporary art discourse is examined through projects, readings, lectures, demonstrations, discussions, critiques, and visiting artist presentations. Mac-based. When scheduled on Tuesday-Thursday, class will dismiss early for University Convocations.
Units: 6.
Also listed as Studio Art 540
Prerequisite: ART 340 and consent of instructor

FIST 580: Dis(re)membering the Nation: Contemporary Film & Fiction of Spain and Latin America

A thematic analysis of film and fiction produced in the late and post-dictatorial context of Spain and several Latin American countries. The course studies the cultural processes of historical memory, collective trauma, oblivion, and questioning of national narratives in selected works from the past four decades. Readings include Manuel Puig's Kiss of the Spider Woman, Ariel Dorfman's Death and the Maiden, and Carmen Martin Gaite's The Back Room, as well as films by Lucrecia Martel, Victor Erice, Pablo Larrain, and Guillermo del Toro, among others.
Units: 6.
Also listed as Spanish 580
Prerequisite: One 400-level course in Spanish or consent of instructor

FIST 590: Tutorial in Film Studies

Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 591: Directed Study in Film Studies

Directed study follows a syllabus set primarily by the instructor to meet the needs or interests of an individual student or small group of students. The main goal of directed study is knowledge or skill acquisition, not research or creative work.
Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 599: Independent Study in Film Studies

Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 601: Senior Research Seminar

Intended to serve as a capstone experience for film studies students with a research concentration. The seminar will explore research methodologies related to research in film history and theory.
Units: 6.
Prerequisite: Senior standing and declared major in film studies

FIST 602: Senior Production Seminar I

The seminar will serve as a critique group for senior film projects and explore practical issues pertinent to contemporary film practice.
Units: 3.
Prerequisite: Senior standing and a declared major in film studies

FIST 603: Senior Production Seminar II

The seminar will serve as a critique group for senior film projects and explore practical issues pertinent to contemporary film practice.
Units: 3.
Prerequisite: FIST 602, senior standing and declared major in film studies

FIST 690: Tutorial in Film Studies

Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 691: Directed Study in Film Studies

Directed study follows a syllabus set primarily by the instructor to meet the needs or interests of an individual student or small group of students. The main goal of directed study is knowledge or skill acquisition, not research or creative work.
Units: 1 TO 98.
Prerequisite: Counter Registration Required.

FIST 699: Independent Study in Film Studies

Units: 1 TO 98.
Prerequisite: Counter Registration Required.

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