Film program description.
NOTE: See the beginning of Section H for abbreviations, course numbers and coding.
|FILM2022||The Art of Film (Cross-Listed: MAAC 2022)||3 ch (3C) [W]|
Introduces students to the language of motion pictures and to critical tools for discussing and writing about the 7th art – the art of film. By studying how movies function aesthetically, and how they become meaningful to audiences, students will acquire critical and formal analytical skills that will both enhance their appreciation for cinema and serve them more broadly as consumers and/or producers of visual culture. Topics will include mise-en-scène, framing, image composition, photographic space, colour, editing, sound, and narrative structure.
|FILM2909||International Film History (Cross-Listed: ENGL 2909)||3 ch (3C) [W]|
This course introduces students to major stages in the development of film as an international art. Topics include: Silent Cinema, German Expressionism, Soviet Montage, Classical Hollywood, Italian Neorealism and Modernism, French New Wave, Japanese New Wave, British New Wave, Australian New Wave, Experimental Cinema, Cinema Novo, New German Cinema, Postcolonial Cinema, Bollywood, the New Hollywood, American Independent Cinema, Dogme 95, and others. NOTE: Students who already have credit for ENGL 3194 cannot obtain credit for ENGL 2909 or FILM 2909.
|FILM2998||Digital Film Production I (Cross-Listed: MAAC 2998)||3 ch (3C)|
An introduction to the fundamental concepts and procedures of visual and audio production, including the techniques and aesthetics of shooting, lighting and editing. Over the course of the term, students will engage in a series of short exercises covering a variety of styles, genres and modes. Taught cooperatively with the New Brunswick Filmmakers' Co-Op. NOTE: Students who have received credit for MAAC/FILM/ENGL 3999 may not take this course for credit.
|FILM2999||Digital Film Production II (Cross-Listed: MAAC 2999)||3 ch (3C)|
This second course in the production sequence puts emphasis on applications of skills learned in MAAC 2998 by focusing on production of several short projects in various formats. Group work and analysis of student productions constitute the main course activities. Taught cooperatively with the New Brunswick Filmmakers' Co-op. NOTE: Students who have received credit for MAAC/FILM 3998 may not take this course for credit.
Prerequisite: MAAC 2998, or permission of the instructor.
|FILM3066||Trauma and Seduction: Early German Cinema (A) (Cross-Listed: CCS 3066, and MAAC 3066)||3 ch (3C) [W]|
Beginning with the earliest silent movies and concluding with National Socialist propaganda films, this course offers an introduction to a prolific and important era in German film history: the Weimar Republic and pre-WWII period, 1918-1939. Our discussions will situate the films within larger political and cultural discourses. Emphasis will be placed on such topics as the cinematic response to the trauma of WWI; German national identity; expressionism and modernity; the politics of gender and sexuality; the impact of sound on film aesthetics; the relationship between cinema and other media; the ethics of film production. Films to be studied include features by directors such as Lang, Lubitsch, Murnau, Pabst, Riefenstahl, Sagan, von Sternberg and Wiene. In English. Students who have taken WLCS 3066 or GER 3066 cannot obtain credit for FILM 3066.
|FILM3072||(Re)constructing National Identity: Contemporary German Cinema (A) (Cross-Listed: CCS 3072, and MAAC 3072) ||3 ch (3C) [W]|
Studies the major accomplishments of East and West German cinema of the post-War period, as well as cinematic trends since German unification. We will consider questions of narrative, genre, and authorship, examine the relationship of film to other media, and focus on the dynamic interaction between film history and social history. Films to be studied include features by prominent directors such as Wolf, Fassbinder, Wenders, von Trotta, Carow, Dorrie, and Tykwer. Students who have taken WLCS 3072 or GER 3072 cannot obtain credit for FILM 3072.
|FILM3075||Framing Reality: Theory and Practice of Documentary Media (A) (Cross-Listed: MAAC 3075)||3 ch (3C)|
This course surveys the history and aesthetics of non-fiction filmmaking from the birth of cinema to the digital age. It will examine epistemological and ethical questions raised by documentary's encounter with reality and its attempt to present “the truth.” Films screened are drawn from an array of nations and range from the personal to the political as well as more experimental and avant-garde works. The course includes a film production component as students apply what they have learned in class by producing a short non-fiction film as a final project. This course is open to students who have completed at least 30 credit hours at the university level.
|FILM3082||History of Canadian Cinema [A] (Cross-Listed: CCS 3082 and MAAC 3082)||3 ch (3C) [W]|
Focuses on the first half-century of filmmaking in Canada and the nation's long struggle to develop and sustain a functioning film industry in the shadow of Hollywood. Readings and screenings trace the history of the movies in Canada from the silent era to the 1970s. Issues raised may include Canadian/American relations, national and regional identities, tensions between art and entertainment, media and cultural policy, representation of race, class, gender, and relation of Canadian film to other media (TV, radio, video) and other arts (painting, music, literature) in Canada. Open to students who have completed 45 credit hours, or with permission of the instructor. Students who have taken WLCS 3082 cannot attain credit for FILM 3082.
|FILM3183||Creative Writing: Screenwriting for Short Formats (Cross-Listed: ENGL 3183)||3 ch (LE)|
This course guides writers through the basics of short format screenplay structures and introduces them to basic story, character, and dialogue principles. Students will be exposed to a wide range of short films in a variety of genres and forms so that they can explore the limits and possibilities of briefer forms of cinematic storytelling.
|FILM3186||Creative Writing: Feature Screenplay (Cross-Listed: ENGL 3186)||3 ch (LE)|
This intensive course guides writers through the basics of feature screenplay structure, character principles, archetypal storytelling, writing and rewriting strategies, and ‘the biz.’ Classes are a combination of lectures, discussion, and workshops.
Prerequisites: FILM 3183, ENGL 3183, or equivalent writing experience with permission of the instructor.
|FILM3204||Music and Cinema (Cross-Listed: MUS 3204)||3 ch|
|A practical and theoretical examination of the role in music in cinematic narrative from the silent film to the 21st century. The course will examine the origins of the music-cinema relationship from the misnamed “silent film era”, through the development of synchronized sound-film systems and the use of music in a selection of genres including film-noir, musical, science fiction, romantic comedy and suspense films. Music video production processes will be explored including the use of narrative storytelling techniques, as well as animation, Claymation, multimedia and experimental methods of creating images to synchronize with existing soundtracks.|
|FILM3903||Film Theory (Cross-Listed: ENGL 3903)||3 ch (3C) [W]|
This course introduces students to the major debates in the field of film theory, including (but not limited to): Early Silent Film Theory, the Soviet Montage-Theorists, Russian Formalism and the Bakhtin School, the Historical Avant-gardes, French Auteur Theory and its Americanization, Third World Film and Theory, Genre and Authorship, Marxist film theory, Spectatorship, Feminist Film Theory, Cognitive and Analytic Theory, Postcolonial Film Theory, Race and Ethnicity in Cinema. NOTE: Students who already have credit for ENGL 3193 cannot obtain credit for ENGL 3903 or FILM 3903.
|FILM3907||Film Genre (O) (Cross-Listed: ENGL 3907)||3 ch (3C) [W]|
|The Film Genre course explores the history, iconography, and socio-cultural significance of one particular film genre by means of a number of examples. The specific focus of the course varies from year to year.Prerequisite: ENGL 1000 (or equivalent) or permission of the instructor.|
|FILM3908||Zombies in Film (O) (Cross-Listed: ENGL 3908)||3 ch (3C) [W]|
|Zombie films make up one of the longest living sub-genre of horror through representations of zombies have evolved from exoticized monstrous figures from Haiti to cannibalistic brain eaters and eventually to infectious bodies carrying epidemics. This course will explore the evolution of zombies from studio pictures starring Bela Lugosi to B-movies featuring fighting ninjas and murdering cheerleaders through to modern film zombies who look uncannily like the unconcious bored populace and/or become loving family pets. Zombies are never simply undead; they always reflect something about our changing lives and fears. These films also permit us to explore the murky spaces between high and low culture, the history and development of horror films as a genre, and the aesthetics of fear.Prerequisite: ENGL 1000 (or equivalent) or permission of the instructor.|
|FILM3916||Canadian Film Since 1967 (O) (Cross-Listed: ENGL 3916)||3 ch (3C) [W]|
|Through the study of various representative Canadian filmmakers and prevalent genres, this course will explore the roles regionalism, commercialism, and independent filmmaking play in defining national ideas about Canadian cinema and film audiences. This course concurrently traces developments in Canadian film production, policy, funding, distribution, and use since the creation of Telefilm (formerly CFDC) and how these funding and cultural policies have affected and responded to the central themes and issues facing Canadian filmmakers and audiences. NOTE: Students who already have credit for ENGL 3966 cannot obtain credit for FILM 3916 or ENGL 3916.Prerequisite: ENGL 1000 (or equivalent) or permission of the instructor.|
|FILM3917||National Cinemas (O) (Cross-Listed: ENGL 3917)||3 ch (3C) [W]|
|The National Cinemas course explores significant historical periods, movements, styles, film-theories, directors, and topics in the development of particular national ands/or transnational cinemas. The specific focus of the coruse varies from year to year.Prerequisite: ENGL 1000 (or equivalent) or permission of the instructor.|
|ENGL3918||The French New Wave (O) (Cross-Listed: ENGL 3918)||3 ch (3C) [W]|
|One of the most exciting movements in cinema, the French New Wave radically altered film, inlfuencing and informing new kinds of cinema around the world and choanging how we talk about and study films. The films of filmmakers like Francois Truffaut, Claude Chabrol, and Jean-Luc Godard continue to inspire contemporary filmmakers and critics. Through watching and analyzing their first films, reading their writings in Cahiers du Cinema, and exploring how film historians interpret this period now, we will attempt to understand the artistic, social, economic, and historical forces that shaped the film movement and filmmaking in the decades to follow.Prerequisties: ENGL 1000 (or equivalent) or permission of the instructor.|
|FILM3999||Editing and Post Production (A) (Cross-Listed: MAAC 3999)||3 ch (3C/WS) (LE)|
This course introduces students to the processes and technical aspects of video production. Topics include: videography fundamentals, digital camera techniques, location sound recording, lighting for video, scriptwriting for documentary and dramatic productions, post-production picture editing and finishing. Various scriptwriting, shooting and editing exercises will be done in a small group environment. Taught cooperatively with the New Brunswick Filmmakers’ Co-op. NOTE: Students who already have credit for ENGL 3999 “Film and Video Production” cannot obtain credit for FILM 3999.
|FILM4001||Advanced Production (Cross-Listed: MAAC 4001)||3 ch (3C/WS) (LE)|
Students produce more complex films, developing a project from beginning to end, working on each other's projects, and gaining hands-on experience in a variety of skilled positions on a film's crew.
Prerequisite: FILM 2999, or permission of the instructor.