Subject	Course Number	Long Course Title	Description
FIST	100	Introduction to Film Studies	This course provides students with a basic introduction to the vocabulary of film studies and an overview of historical, analytical, and theoretical approaches to film. Students will begin to develop the critical means for engaging with the filmic medium in discussion and writing. These aims will be met through a diverse selection of films rooted in different cultures, times, and ideologies.
FIST	177	Introduction to German Film (in English)	With its pivotal role in the inaugurationof 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.
FIST	190	Tutorial in Film Studies
FIST	199	Independent Study in Film Studies
FIST	200	Introduction to 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.
FIST	240	Digital Processes	An introduction to the digital medium focusing on its capacity to convey artistic concepts through the interactive and multimedia capabilities of the Mac computer. Producing still image, video, and web-based projects using the computer screen as a venue is covered. The evolution of technology, new media theory, contemporary art discourse, and visual culture are explored through lectures, readings, discussions, and assignments.
FIST	260	The Art of Film	A study of the narrative and visual techniques in films selected from masterpieces of modern cinema. Readings in film history, film theory, and film aesthetics along with viewings of approximately ten movies from various periods and countries, by directors such as Eisenstein, Wells, Fellini, Kurasawa, and Truffaut.
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.
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.
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. (E)
FIST	330	Introduction to Film	A bridge between intermediate and advanced courses. Intensive discussion, reading, and writing practice using films from a variety of genres (documentaries and feature films, including film adaptations of stories, novels, and plays in Spanish). Emphasis on the analysis of film components and structure and, where relevant, on the interconnections between literary texts and film. Not open to native speakers of Spanish.
FIST	340	Intermediate Digital Processes	A continuation of Art 240 with an emphasis on the production of art objects through the use of digital tools. The Mac computer and software are used as an extension of existing art forms such as photography, filmmaking, and book publishing. Lectures, readings, discussions, and assignments focus around the exploration of new media theory and contemporary art issues.
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 Yellow Earth (1984) 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.
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.
FIST	361	Vanpires, Monsters, and Man-Eaters (In English)	This course seeks to reveal the ways in which the question of monstrous difference is articulated in a variety of German “texts.” Its main goal is to examine the ways that representations of monstrousness are employed to stage complex public and private anxieties as well as to provide an expression of rebellion against various systems of hierarchy. Featured in the works of canonized authors as well as within the realm of popular culture, the representational functions of the monster can provide valuable insight into numerous aspects of German history and psychosexual relations.
FIST	362	Vampires, Monsters, and Man-Eaters	This course seeks to reveal the ways in which the question of monstrous difference is articulated in a variety of German “texts.” Its main goal is to examine the ways that representations of monstrousness are employed to stage complex public and private anxieties as well as to provide an expression of rebellion against various systems of hierarchy. Featured in the works of canonized authors as well as within the realm of popular culture, the representational functions of the monster can provide valuable insight into numerous aspects of German history and psychosexual relations.
FIST	390	Tutorial in Film Studies
FIST	399	Independent Study in Film Studies
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.
FIST	411	Fascism and Film	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.
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.
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.
FIST	447	The Literature and Culture of Ethnic Minorities in Germany	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.
FIST	470	American Indians on Film	The course examines the ways in which American Indians have been depicted on film. Ethnographic, documentary, and feature films are examined and compared to understand how film has shaped our image of American Indians.
FIST	540	Advanced Digital Processes	A continuation of Art 340. Advanced work in digital techniques and contemporary art theory. Discussions, readings and projects focus around art issues and conceptual exploration. Project planning and implementation are emphasized as students work toward producing a self-designed project with a developed artist statement.
FIST	590	Tutorial in Film Studies
FIST	599	Independent Study in Film Studies
FIST	690	Tutorial in Film Studies
FIST	699	Independent Study in Film Studies