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Any course on this list (except for the First Year Seminars) may count as an elective for the Global Cinema Minor or the Film Studies concentration in English and Comparative Literature. Some of these courses, however, may not automatically count, and in those cases you will need to request a Tar Heel Tracker adjustment from the program advisor.

Keep in mind that some restrictions may apply to film/media production courses. Be sure to check Connect Carolina for specifications by the department offering the course.

We recommend that you take courses from a wide range of faculty members. If you have already had the same professor for as many as four or five courses, you should branch out and take full advantage of the variety our curriculum offers.

Note to grad students: you may receive credit for any 400-level CMPL course and any 600-level ENGL course listed here. If you are PhD student in English and Comparative Literature, you can fulfill seminar paper requirements in these courses if your instructor makes allowances for you to write and revise a long research paper.

If you are an undergrad following the Film Studies Concentration, here are fall 21 courses that will meet certain requirements:



ENGL 142 — Dr. Johnson


ENGL 680 Film Theory — Dr. Warner

Survey II

ENGL 381 Literature and Cinema — Dr. Veggian

CMPL 382 Film and Nature — Dr. Legassie (with Tar Heel Tracker adjustment)

Writing Intensive

ENGL 381 Literature and Cinema — Dr. Veggian

CMPL 382 Film and Nature — Dr. Legassie

[If you are graduating in the spring and you need another writing-intensive course, and you’re not able to take ENGL 381 or CMPL 382 because of your schedule, you can still satisfy this requirement by taking any 300-level ENGL or CMPL course offered next semester, even if film isn’t the focus.]

Research Intensive

ENGL 680 Film Theory — Dr. Warner (with Tar Heel Tracker adjustment)


CMPL 262 Film and Politics — Dr. Christmas

CMPL 280 Film Genres — Dr. Warner



First Year Seminars

ANTH   62 – 001   First-Year Seminar: Indian Country Today

MoWeFr 11:15AM – 12:05PM

Valerie Lambert

With the United States as our geographic focus, this seminar explores a range of 20th- and early-21st-century American Indian topics and current issues. We look at Indian casinos, tribal colleges, identity, gender, tribal courts, sports, and other topics. An exploration of the history of American Indians before and after the arrival of Europeans, a history with which we begin the seminar, provides essential background for looking at the present and recent past. This seminar will help students better understand the challenges facing American Indian communities both internally and externally and the creative solutions being forged to address these challenges. It will also help students further develop skills in reading, writing, critical analysis, and public speaking.


This course examines current topics in American Indian country today through the use of films and interactive case studies.


ASIA   55 – 001   First-Year Seminar: Kung-Fu: The Concept of Heroism in Chinese Culture

TuTh 12:30PM – 1:45PM

Li-ling Hsiao

Film, history, novels, and theater are used to explore the rich, complex kung-fu tradition in Chinese culture from ancient to modern times, as well as its appropriation in foreign films.


ASIA   61 – 001   First-Year Seminar: India through the Lens of Master Filmmakers

TuTh 9:30AM – 10:45AM

Mo 6:00PM – 9:00PM

Pamela Lothspeich

In this course, students will experience films by some of the most acclaimed directors working in various languages and regions of India, as well as the Indian diaspora. The cinematic journey in this course will introduce students to important themes in South Asian culture and history over the past 200 years. It will also introduce students to some of the formal elements of filmmaking to help them better ¿read¿ the text of film, and appreciate the craft and aesthetics of filmmaking. There will be weekly film screenings and related readings on Indian cinema, culture, and film theory. For the Communication-Intensive component of this course, students will receive feedback on a piece of their writing and be asked to revise and resubmit it. They will also be given opportunities to speak on assigned topics in class.


ENGL   57H – 001   First-Year Seminar: Future Perfect: Science Fictions and Social Form

TuTh 2:00PM – 3:15PM

Matthew Taylor

What will our world look like in ten years? Fifty? One hundred? Will the future be a utopian paradise or a dystopian wasteland? Through a wide-ranging survey of popular science writing, novels, and films, this first year seminar will examine fictional and nonfictional attempts to imagine the future from the nineteenth century to the present. We will explore everything from futurology and transhumanism to warnings of imminent environmental collapse. Our focus will be less on assessing the accuracy of these predictions and more on determining what they tell us about the hopes and fears of the times in which they were made. The course will culminate in a short research paper on a future-oriented topic of your choosing.


First year students only.

My research focuses on the intersections among environmental humanities, critical theory (including posthumanism, biopolitics, science and technology studies, and critical race theory), and nineteenth- and twentieth-century American literature. My first book, Universes without Us: Posthuman Cosmologies in American Literature (Univ. of Minnesota Press), examines cosmologies that challenge the utopianism of both past and present attempts at fusing self and environment.

Honors Carolina students register online when their registration appointment begins. Non-honors students register beginning June 14.  If you are unable to enroll online, submit a wait list request at between June 14 and August 11.


ENGL   59 – 001   First-Year Seminar: Black Masculinity and Femininity

MoWeFr 9:05AM – 9:55AM

Tyree Daye

This first year seminar will use literature, film, and popular culture to explore different expressions of masculinity and femininity in the African American and Black diasporic context. Students will evaluate how artists use gender and sexuality for social critique and artistic innovation.


ENGL   81 – 001   First-Year Seminar: Jane Eyre and Its Afterlives

TuTh 3:30PM – 4:45PM

Jeanne Moskal

Class members will reflect upon Brontë’s Jane Eyre (1847) in its original contexts and study subsequent novels and films that engage with it. What makes a literary work a “classic”? How do later readers’ concerns affect their responses? Lovers of Jane Eyre are welcome, as are newcomers and skeptics. We will read Charlotte Brontë’s Jane Eyre (1847), ed. Richard J. Dunn; Grace Zaring Stone, The Bitter Tea of General Yen (1930); Daphne Du Maurier, Rebecca (1938); Jean Rhys, Wide Sargasso Sea (1966); and two books by Jeanette Winterson, Oranges Are Not the Only Fruit (1985) and Why Be Happy When You Could be Normal? (2013). Films will be drawn from this list. English-language adaptions of 1934, 1943, 1970, and 2011; film adaptions in Spanish, Hindi, Tamil, and Mandarin; The Bitter Tea of General Yen, dir. Frank Capra (1933); Rebecca, dir. Alfred Hitchcock (1940); Oranges Are Not the Only Fruit (BBC-TV, 1990); Wide Sargasso Sea (1993), dir. John Duigan. Your grade will be determined by a Creative Assignment, presented orally and in writing (8 pages; 45%), a Conversational Bibliography, presented orally and in writing (8 pages; 45%), and engaged, thoughtful participation in class discussions (10%).


GEOG   67 – 001   First-Year Seminar: Politics of Everyday Life

TuTh 9:30AM – 10:45AM

Sara Smith

This seminar examines the ways that politics, especially contests over territory, are part of our day-to-day life. We will explore a range of cases, from immigration policy and rhetoric in the US, to popular representations of geopolitics in film, to the politics of family planning in India. How do questions of love, friendship, family and youth identity tie into the international and national political stories that we see on the news? What does national identity have to do with our individual sense of self? We will also explore alternative ways that international politics have been studied, as feminist geopolitics or anti-geopolitics and questions of citizenship. Work for the seminar will involve original research on intersections of international politics and students’ daily life, as well as exploring representations of geopolitical issues in the media, film and fiction.


GSLL   69 – 001   First-Year Seminar: Laughing and Crying at the Movies: Film and Experience

TuTh 12:30PM – 1:45PM

Inga Pollmann

In this seminar, we will consider a puzzling question: Why is it that we cry at the movies? And why do we willingly, and lustfully, expose ourselves to such an experience? How do films make us laugh or recoil in horror, and what is the difference between experiencing this in a movie theater or at home? Crying, laughing or screaming are just a few of the possible responses a movie can elicit from its audience. We will focus on various film genres, including melodrama, horror and comedy, to venture a few preliminary answers. Additionally, we will make excursions into other genres and their emotional responses to think further about the physical and psychological aspects of film spectatorship. Over the course of this seminar, students will learn the basics of film analysis and gain an overview over the history of international film production, and they will also consider various definitions of, and approaches to, emotion, affect, and the body. Questions that will guide our investigation include: What is an emotion? What formal elements of a film can we identify that guide emotional response? What distinguishes crying from laughing and other emotional utterances? How do we account for the social role of laughing and crying in the movie theater, its communicative and contagious aspects? What is the role of gender in emotional response? What do emotional responses to film tell us about the medium film?


GSLL   83 – 001   First-Year Seminar: We, Robots: Identifying with our Automated Others in Fiction and Film

TuTh 3:30PM – 4:45PM

Eliza Rose

The word “robot” was invented by Czech author Karel Čapek in 1920. Science fiction has had a long-running obsession with robots: fiction and film portray robots who have mastered and even surpassed the strange art of being human. Meanwhile, in contemporary robotics, to build a robot capable of walking is a difficult and costly feat of engineering. In this class, we will read and watch stories about robots from East and Central Europe with frequent detours into American culture.

Students will use fiction to develop critical perspectives on technology’s place in today’s world and to think creatively about the future. Students will learn and practice methods of writing from the traditional comparative essay to creative writing, research reports, and film reviews.

Films will be screened with English subtitles. All readings and discussions will be in English.


HIST   66 – 001   First-Year Seminar: Film and History in Europe and the United States, 1908-1968

TuTh 2:00PM – 3:15PM

Louise McReynolds

History teachers often assign novels that capture the essence of the era. When they show movies, however, they tend to prefer filmic recreations on an historical event, and class discussion centers around “accuracy” and “objectivity.” This course takes a different approach, and treats films as primacy sources for studying the historical context in which they were made. Beginning with the development of narrative film in 1908, it will trace change by looking sequentially at those nationally specific genres that had repercussions beyond national borders. The primary historical themes will be the repercussions of two world wars in the United States and its European allies and enemies. Both wars played a pivotal role in the critique liberal democracies that consistently proved unable to fulfill their utopian aspirations, as analyzed so perceptively in the assigned book by Mark Mazower. The rise of socialism, which includes National Socialism, as an alternative to liberalism also played itself out on the Silver Screen.

A course such as this is especially important in our age of mass media, when people must be familiar with film as well as literature to be considered “culturally literate.” One cannot become learned, however, simply by viewing these films. Critics and audiences alike have been influenced by these movies for a wide variety of reasons, and this course will integrate a series of films into the dominant social, political, and economic environments that produced them. In the process, we will see how the motion picture industry has ignited controversial debates that move well beyond the courtyards of the old movie palaces. Students will also learn how to watch movies, that is, how to integrate the effects of a film’s formal aesthetics into its social and political contents.


General Course List

AAAD  130 – 001   Introduction to African American and Diaspora Studies

TuTh 9:30AM – 10:45AM

Charlene Regester

The course tracks the contours of history, life, societies, and cultures of the Atlantic African diaspora from their origins through Emancipation in the United States, the Caribbean, and South America.


AAAD  250 – 001   The African American in Motion Pictures: 1900 to the Present

Tu 3:30PM – 6:20PM

Charlene Regester

This course will analyze the role of the African American in motion pictures, explore the development of stereotypical portrayals, and investigate the efforts of African American actors and actresses to overcome these portrayals.


AAAD  389 – 001   The Caribbean Anticolonial: Caribbean Literature, Film, Aesthetics, and Politics

TuTh 12:30PM – 1:45PM

Petal Samuel


This course will examine literature, film, art, and music from the Caribbean that illustrates and critiques the past and present impacts of colonial rule in the region. What role has anticolonial Caribbean literature and art played in shaping the region’s present and future, and in shaping global anticolonial politics?


ARAB  150 – 001   Introduction to Arab Cultures

TuTh 3:30PM – 4:45PM

Ana Maria Vinea


Introduction to the cultures of the Arab world and of the Arabs in diasporas: art, literature, film, music, food, history, etc.


ARTS  209 – 001   2D Animation

TuTh 11:00AM – 1:45PM

Sabine Gruffat


Studio Art course enrollment is temporarily restricted to declared Studio Art majors and/or minors. For a full enrollment calendar, please visit:


Prerequisite, ARTS 104. This class explores several techniques of 2D character animation, including storyboarding and conceptualizing, pencil testing and timing animation, animating simple sequences with Photoshop, experimenting with coloring and materials under a film camera, and compositing in After Effects.


ARTS  309 – 001   3D Animation

TuTh 2:00PM – 4:45PM

Sabine Gruffat


Prerequisite, ARTS 209. The primary goals of this class are to introduce students to three-dimensional computer modeling and animation in Maya. While the particular focus of the class is 3D character animation and most students will produce a short 3D animation as their final project, students may also explore a broad range of creative applications and avenues for development, including special effects, compositing with video, and motion graphics.


ARTS  353 – 001   Phantasmagoria: Haunted Art, History, and Installation

MoWe 11:15AM – 2:00PM

Roxana Perez-Mendez


This course will be organized around four art making/art building projects, culminating in a class presentation of a multimedia phantasmagoria. Students will research early light/shadow, pre-cinema techniques, hauntings/horror and artists whose work is influenced by these tropes. We will work with Maker’s Spaces to produce components for this course. Previously offered as ARTS 253


CHIN  346 – 001   History as Fiction or Fiction as History? Early Chinese History in Film and Literature

TuTh 9:30AM – 10:45AM

Uffe Bergeton


Through analysis of the role movies play in the formation of popular perceptions of the past, this course provides an introduction to the history of the Qin and Han dynasties.


CMPL  262 – 001   Film and Politics

TuTh 3:30PM – 4:45PM

Danielle Christmas

Screening Hate:

Although the political tenor of the moment has brought the normalization of white nationalist rhetoric into relief, Americans have always found creative ways to visualize the exclusion and eradication of the racial other. In this course, students will look at the arc of screen narratives that have inspired and defined contemporary hate movements in the United States. After establishing a shared critical language, we will examine films from D.W. Griffith’s cinematic celebration of the Klan in The Birth of a Nation (1915) all the way through a cross-section of recent YouTube “red-pill” videos, detouring into hate movement mainstream favorites like Fight Club (1999) and American Psycho (2000). We will read selected fiction that fills out these aesthetic politics, all with an eye towards understanding what aesthetics can tell us about hate politics, and how hate politics visualizes aesthetics.  By the end of the semester, students will have the capacity to understand the place of this cinematic subculture within the larger body of contemporary American cultural production and the urgent discourses of race and violence that animate it. Students should have a high tolerance for disturbing content and a spirit of critical curiosity.


CMPL  277 – 001   Myth, Fable, Novella: The Long History of the Short Story

TuTh 3:30PM – 4:45PM

Shayne Legassie


Traces the development of European short fiction from the 12th through the 17th centuries, taking brief looks backward toward the ancient world and forward to the modern short story.


CMPL  280 – 001   Film Genres

TuTh 11:00AM – 12:15PM

Rick Warner

This course will examine three film genres: horror, thriller, and dark comedy. While genres tend to be defined on the basis of stylistic and narrative conventions, we will consider our three genres mainly in terms of their emotional, psychological, visceral, and ideological impact on the spectator. How exactly do suspense and surprise operate? How is it that viewers enjoy frightening and eerie situations? How do horror and thriller genres make use of multi-sensory atmospheres? Why do we laugh at onscreen events that are deeply unsettling? How do horror, thriller, and comedy all three exploit the aesthetic and political power of cinema to disturb? And how do these genres provoke discussion around matters of gender, sexuality, social class, and race? We will work toward a complex understanding of how cinema functions as an affective medium. NOTE: some of the films we will examine feature graphic and disturbing scenes. Please enroll only if you plan to engage such content in a serious manner. Films likely to be shown include Night of the Living Dead (Romero), The Thing (Carpenter), Let the Right One In (Alfredson), Zodiac (Fincher), Cure (Kiyoshi Kurosawa), Personal Shopper (Assayas), Eastern Promises (Cronenberg), Get Out (Peele), Don’t Look Now (Roeg), We Need to Talk About Kevin (Ramsay), After Hours (Scorsese), Barton Fink (Coen brothers), Candyman (Rose), The Shining (Kubrick), It Follows (Mitchell), A Girl Walks Home Alone at Night (Amirpour), Alien (Scott), and Hereditary (Aster). This course counts for the Film Studies Concentration, Global Cinema Minor, and VP gen ed requirement.

Some seats are reserved for the following groups until 6.16.21: Film studies concentrations, Global Cinema Minors, First year students, sophomores.


CMPL  382 – 001   Film and Nature

TuTh 2:00PM – 3:15PM

Shayne Legassie


Examines the complex aesthetic relationship between cinema and nature through a range of different genres, traditions, and theoretical frameworks. Films in which natural landscape, animals, and/or plant life receive special attention may be addressed. Thinkers as disparate as Kant, Thoreau, and recent proponents of eco-critical perspectives may be deployed.


COMM  130 – 001   Introduction to Media Production

Tu 11:00AM – 12:50PM

Kristin Hondros


This course has major restrictions.

Permission of instructor for nonmajors.

This course has classification (class year) restrictions.

This course is not open to seniors.


This course requires a lab section.


Class meetings may also be held in the following alternative locations: Swain Hall 01A, Swain Hall 101A, and Swain Hall 108A.


If you are an incoming transfer student (entering in fall 2019) who meets the course requirements but cannot enroll in this course because it is closed, please contact Jonah Hodge ( to see if any additional seats might be available.


Permission of the instructor for nonmajors. Prerequisite for all production courses. Introduces students to basic tools, techniques, and conventions of production in audio, video, and film.


COMM  230 – 01   Audio/Video/Film Production and Writing

MoWe 12:20PM – 2:15PM

Edward Rankus


Prerequisites, COMM 130 and 140; Grade of C or better in COMM 130; permission of the instructor for students lacking the prerequisites. The material, processes, and procedures of audio, video, and film production; emphasis on the control of those elements of convention that define form in the appropriate medium. Lecture and laboratory hours.


COMM  230 – 02   Audio/Video/Film Production and Writing

TuTh 2:00PM – 3:50PM

Kristin Hondros


Prerequisites, COMM 130 and 140; Grade of C or better in COMM 130; permission of the instructor for students lacking the prerequisites. The material, processes, and procedures of audio, video, and film production; emphasis on the control of those elements of convention that define form in the appropriate medium. Lecture and laboratory hours.


COMM  330 – 001   Introduction to Writing for Film and Television

TuTh 11:00AM – 12:15PM

Stephen Neigher


This course is reserved for first year and sophomore COMM majors only for the first two weeks of registration. Non-majors and upper class students can enroll after April 18th.


An introduction to screenwriting for film and television.


COMM  330 – 002   Introduction to Writing for Film and Television

TuTh 2:00PM – 3:15PM



This course is reserved for first year and sophomore COMM majors only for the first two weeks of registration. Non-majors and upper class students can enroll after April 18th.


An introduction to screenwriting for film and television.


COMM  331 – 001   Writing the Short Film

TuTh 11:00AM – 12:15PM

Dana Coen


This course is reserved for COMM majors for the first two weeks of registration. Non-majors can enroll after April 18th.


Students practice and learn the craft of narrative, short film writing by conceptualizing, outlining, writing, and rewriting three short film scripts. They include one three-minute silent, one five-minute script with dialogue, and one 15-minute script with dialogue.


COMM  335 – 001   Film Story Analysis

Th 5:00PM – 8:00PM

Dana Coen


This course is reserved for COMM majors for the first two weeks of registration. Non-majors can enroll after April 18th.


If you have issues enrolling, e-mail Jonah Hodge (


A variety of feature films (both domestic and foreign) are screened in class and analyzed from a storytelling perspective. Emphasis is on the range of possibilities the screenwriter and film director face in the process of managing the audience’s emotional involvement in a story.


COMM  345 – 001   Gender and Film / WGST 345-001 LEC

TuTh 3:30PM – 4:45PM

Sarah Bloesch


This course examines the representations of women in contemporary American film and also considers women as producers of film.


COMM  534 – 001   Aesthetic and Technical Considerations in Making Short Videos

MoWe 5:15PM – 7:00PM

William Brown


This course has major restrictions.

Permission of the instructor for non-majors.

This course has prerequisite requirements.

Prerequisites, COMM 130 (C or better), COMM 230


Class meetings may also be held in the following alternative locations: Swain Hall 106A, Swain Hall 108A, and Swain Hall 200A.


Prerequisite, COMM 230. The course examines the aesthetic and technical elements at work and play in cinematic storytelling. The student is required to complete three projects and will gain hands-on experience in narrative filmmaking.


COMM  635 – 001   Documentary Production

TuTh 11:00AM – 12:15PM

Julia Haslett


For more information or for assistance enrolling in this course, contact Jona Hodge (email or call  (919) 962-4985.

This course is reserved for COMM majors for the first two weeks of registration. Non-majors can begin enrolling after April 18th.


This course has prerequisite requirements.

COMM 230 or permission of instructor required for students lacking the prerequisite.


A workshop in the production of video and/or film nonfiction or documentary projects. The course will focus on narrative, representational and aesthetic strategies of documentary production.


Class meetings may also be held in the following alternative locations: Swain Hall 200A, Swain Hall 201A, and Swain Hall 106A.


Prerequisite, COMM 230. A workshop in the production of video and/or film nonfiction or documentary projects. The course will focus on narrative, representational, and aesthetic strategies of documentary production.


COMM  644 – 001   Documentary Production: First Person Filmmaking

TuTh 12:30PM – 1:45PM

Julia Haslett


Prerequisite, COMM 230; permission of the instructor for students lacking the prerequisite. Students create documentaries emphasizing the filmmaker’s personal perspective and experience: essay, diary, and autobiographical films, and pieces in which the filmmaker performs a role for expressive or political ends. Significant class time is devoted to work-shopping student films.


DRAM  245 – 001   Acting for the Camera

TuTh 9:30AM – 10:45AM

Ray Dooley


Prerequisite, DRAM 135 or 150; permission of the instructor for students lacking the prerequisite. The process of acting and its relationship to the technical and artistic demands of television/film production. Problems of continuity and out-of-sequence filming. Concentration and thinking on camera.


ENGL  142 – 001   Film Analysis

MoWe 11:15AM – 12:05PM

Martin Johnson


This course offers an introduction to the technical, formal, and narrative elements of the cinema.


ENGL  143 – 001   Film and Culture

TuTh 3:30PM – 4:45PM

Bradley Hammer


Examines the ways culture shapes and is shaped by film. This course uses comparative methods to contrast films as historic or contemporary, mainstream or cutting-edge, in English or a foreign language, etc.


ENGL  190 – 001   Exploring Topics in English Studies

TuTh 3:30PM – 4:45PM

Abigail Lee


Introduction to a popular genre, cultural context, group of writers, or contemporary issue in literature, composition, and/or film.


ENGL  190 – 002   Exploring Topics in English Studies

TuTh 12:30PM – 1:45PM

Courtney Rivard


Introduction to a popular genre, cultural context, group of writers, or contemporary issue in literature, composition, and/or film.


ENGL  235 – 001   Studies in Jane Austen

TuTh 8:00AM – 9:15AM

James Thompson


Fulfills a major core requirement. This course focuses on both the novels of Jane Austen and their fate since publication in the early 19th century. They have inspired countless imitations, over 150 sequels and continuations, and more than 30 full-length films. We will trace the transmission and transformation of the original texts across time and cultures. Previously offered as ENGL 340.


ENGL  256 – 001   Crafting the Dramatic Film: Theory Meets Practice

MoWe 4:40PM – 5:55PM

Guillermo Rodriguez


This course examines key concepts and theoretical approaches to cinema as students learn how to produce and direct a short narrative film. As they engage with positions and issues of film theory and criticism (including semiotic, cognitive, psychoanalytic, feminist and phenomenological), students practice the basic principles of film production (producing, directing, cinematography, editing, and sound designing) to bring to life narratives of their own making. By the end of the course, students should display basic competence in conceiving and developing dramatic ideas and in using cinema and digital media to engage audiences. Using smartphones and Adobe editing software available to all UNC students, this course instills the attitude that creative and critical ways of thinking should go hand in hand.


ENGL  257 – 001   Video Games and Narrative Cinema

MoWeFr 2:30PM – 3:20PM

Guillermo Rodriguez


In this hands-on gaming course, students decipher the narrative design of video games while exploring the legacy of cinema to gameplay. They also apply critical gaming concepts (agency, world-building, point of view, authorship, representation, narrative choice, play) to evaluate cinema as a ludic and participatory artform beyond conventional narrative elements.


ENGL  381 – 001   Literature and Cinema

MoWeFr 2:30PM – 3:20PM

Henry Veggian


The course introduces students to the complex narrative, aesthetic, and rhetorical relationship between literature and cinema.


ENGL  680 – 001   Film Theory

TuTh 2:00PM – 3:15PM

Rick Warner

This course offers a survey of film theory from the 1920s to the present. We will begin by reconsidering classical debates about medium specificity, especially as they pertain to the close-up, montage, photogénie, and realism. Our conversations will then range widely across a number of important approaches, including feminism, psychoanalysis, affect theory, critical race theory, queer theory, sound studies, phenomenology, ecocriticism, and so-called “post-cinema” as it extends from media theory. Theorists we will likely read include: Jean Epstein, Sergei Eisenstein, André Bazin, Laura Mulvey, Vivian Sobchack, Frantz Fanon, Manthia Diawara, Walter Benjamin, Bertolt Brecht, Judith Halberstam, Gilles Deleuze, Nicole Brenez, Pascal Bonitzer, Michel Chion, and several others. Questions of time, affect, atmosphere, and the spectator’s embodied engagement will loom large for us. Our task will be to give the readings and the films we study equal weight in our discussions. Films we will likely watch include Arrival (Villeneuve), Le Tempestaire (Epstein), Pariah (Rees), The Underground Railroad (Jenkins), Dunkirk (Nolan), Point Break (Bigelow), Days of Heaven (Malick), Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (Akerman), Two Days, One Night (Dardenne brothers), Parasite (Bong), Stalker (Tarkovsky), A Man Escaped (Bresson), My Life to Live (Godard), Caché (Haneke), Neighboring Sounds (Mendonca Filho), Portrait of a Lady on Fire (Sciamma), Transit (Petzold), You Were Never Really Here (Ramsay), and 2001: A Space Odyssey (Kubrick). There are no pre-requisites. This course counts for the Film Studies Concentration, the Global Cinema Minor, and the VP gen ed requirement.


ENGL  881 – 001   Studies in Cinema

We 5:00PM – 8:00PM

Gregory Flaxman


This course offers graduate students the opportunity to investigate, in a seminar setting, a particular subject within the domain of film studies.


FREN  186 – 001   Food for Thought: Cultures of Cuisine in Modern France

MoWeFr 12:20PM – 1:10PM

Jessica Tanner


Exploration of French food culture in film, literature, and historical texts, examining gastronomy in relation to national and individual identity, immigration, cultural specificity, tradition and innovation, markets, sociability, and excess and lack. Formerly offered as FREN 286.


FREN  262 – 001   Cultural and Linguistic Diversity in the French-Speaking World

TuTh 2:00PM – 3:15PM

Hassan Melehy


Prerequisite, FREN 204 or 402. French is evolving, changing, and becoming a multifaceted language, adapting to modernity and cultural realities. This course focuses on today’s French across the French-speaking world and explores the diversity of relationships that French-speakers have with this shared heritage. Previously offered as FREN 250.


FREN  370 – 001   French and Francophone Studies to 1789

TuTh 3:30PM – 4:45PM

Hassan Melehy


Prerequisites, FREN 300 and one of the following: FREN 255, 260, or 262. An overview of literatures, cultures, and histories of the French-speaking world from Antiquity to 1789.


GERM  268 – 001   Auteur Cinema

TuTh 9:30AM – 10:45AM

Inga Pollmann


We will explore the works of one or more German director(s). By watching a sample of a director’s oeuvre over a significant period of time, students come to understand the director’s arch, identify common threads in their films, and consider how his or her work relates to larger developments in German film history. Films with English subtitles; readings and discussions in English.


ITAL  335 – 001   Themes in Italian Film

TuTh 2:00PM – 3:15PM



Themes in Italian cinema: literary adaptation, neorealism, a single auteur or period, representations of fascism, the city, the country, industrialization, social space, north/south difference, regionalism, gender, and sexuality.


ITAL  388 – 001   Environmental Issues in Italian Literature and Film

TuTh 11:00AM – 12:15PM

Serenella Iovino


Prerequisite, ITAL 204 or permission from instructor for students lacking the prerequisite. This course examines how Italian literature and film convey relevant insights about ecological crises and planetary communities, contributing to shaping environmental imagination. Repeatable for credit. In Italian.


JAPN  375 – 001   The Culture of Modern, Imperial Japan, 1900-1945

Tu 6:20PM – 8:50PM

Mark Driscoll


This course will examine the various expressions of cultural modernity in Japan with a focus on film, literature, and popular culture from 1900 to the end of the Pacific War.


JAPN  482 – 001   Embodying Japan: The Cultures of Beauty, Sports, and Medicine in Japan

MoWeFr 1:25PM – 2:15PM

Dwayne Dixon


Explores Japanese culture and society through investigating changing concepts of the human body. Sources include anthropological and history materials, science fiction, and film.


MEJO  439 – 001   Producing for Advertising

MoWe 6:00PM – 7:15PM

Naomi Newman


This class is designed to enhance your understanding and appreciation for the producers’ role in the advertising process. Students will be introduced to terminology, roles, shooting fundamentals, and interpreting the written word as they explore the three stages of filmmaking: preproduction, production, and post-production. Students will also learn what goes into bidding, scheduling, and delivering a completed campaign while also delving into client interfacing, legal, and union/nonunion rules.


MEJO  652H – 001   Digital Media Economics and Behavior

TuTh 12:30PM – 1:45PM

Ryan Thornburg


The course will focus on the changing economics affecting 21st-century news organizations and the economic drivers of other content providers such as music companies, the film industry, online aggregators, and commerce sites for lessons that can be applied across industry segments. Previously offered as MEJO 551.


PHIL  381 – 001   Philosophy and Film

Mo 3:35PM – 6:05PM

Alan Nelson


Prerequisite, one previous PHIL course. An examination of how philosophical issues are explored in the medium of film.


PORT  370 – 001   Modern Brazil through Literature and Film in Translation

MoWeFr 11:15AM – 12:05PM

Richard Vernon


This course is devoted to the study of Brazilian culture and history through representative works of the late 19th- and early 20th-century literature with supplemental films. Taught in English. Available for major/minor credit in Portuguese if readings and written work are done in Portuguese.


RUSS  280 – 001   Russian Villains, Western Screens: Ethno-Cultural Stereotypes on Page and Stage, in Movies and Minds

MoWe 1:25PM – 2:40PM

Stanislav Shvabrin


A survey of fascinating history of Hollywood stereotypes of Russian villainy from Elizabethan England to Boris Badenov, Natasha Fatale, Ivan Drago, and Xenia Onnatop. What do these theatrical buffoons, cartoon-movie monsters, and cinematic seductresses tell us about Russia — and about ourselves as consumers of stereotypes? Readings and discussions in English.


SPAN  361 – 001   Hispanic Film

MoWeFr 2:30PM – 3:20PM

Abel Munoz-Hermoso


Prerequisite, SPAN 261 or SPAN 267. Study of contemporary cultural, historical, and aesthetic issues through narrative film, documentary, and other media from Latin America and Spain.