Critical Visions In Film Theory Classic And Contemporary Readings
Roy Dassow
The in-person symposium will be held at The University of Texas at Dallas. We aim to create a network of scholars from around the world to develop theories, conceptual frameworks, and methodologies to reshape the field of global cinema.
The two-day symposium will include two keynote addresses by prominent scholars in the field, a featured panel of invited scholars to reflect on the state of the field, a workshop on syllabus development, and four traditional panels comprised of speakers selected from the open call for papers. The symposium also imagines more informal gatherings to promote collaboration and networking during meals and a reception on the first evening.
critical visions in film theory classic and contemporary readings
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Dr. Lcia Nagib is an internationally recognized specialist in world cinema, cinematic realism, and cinematic intermediality, which she has explored through a novel approach in many publications, including her single-authored books, Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema (Amsterdam University Press, 2020) and World Cinema and the Ethics of Realism (Bloomsbury, 2011). She is an expert in a number of national cinemas, such as Brazilian, Japanese and German cinemas.
Samirah Alkassim is an experimental documentary filmmaker and Assistant Professor of Film Theory at George Mason University. She is the co-editor of the Palgrave Studies in Arab Cinema and her publications include the co-authored book The Cinema of Muhammad Malas (Palgrave, 2018), contributions to Cinema of the Arab World: Contemporary Directions in Theory and Practice (Palgrave, 2020), the Historical Dictionary of Middle Eastern Cinema, 2nd Edition (Rowman and Littlefield, 2020), as well as chapter in Refocus: The Films of Jocelyne Saab (Edinburgh University Press, 2021), Gaza on Screen (Duke University Press, 2023), and an anthology text book Global Horror: Hybridity and Alterity in Transnational Horror Film (Cognella Academic Publishing, 2022) which she co-edited. She is currently editing a documentary about Jordanian artist Hani Hourani and researching for her book, A Journey of Screens in 21st Century Arab Film and Media (Bloomsbury, forthcoming).
Dr. Iggy Cortez is a scholar of world cinema and contemporary art whose research and teaching are broadly concerned with diasporic thought and visual culture; racialization in relation to labour and technology; the visual and sensory culture of digital media; debates on form and aesthetics across theories of anti-colonialism and race; and questions of sexuality, cinematic performance, and embodiment. He is currently at work on a book project entitled Wondrous Nights: Global Cinema and the Nocturnal Sensorium that explores nighttime as a conceptual and sensory threshold across recent world cinema. Through a global range of nocturnal films, this project looks at the relationship between technology-mediated perception and the affective and sensory dimensions of the historical present. His writing has appeared in The Journal of Cinema and Media Studies, camera obscura, Film Quarterly, ASAP/J, caa: reviews and several edited volumes. With Ian Fleishman, he is also the co-editor of Performative Opacity in the World of Isabelle Huppert (Edinburgh University, 2023).
Dr. Shekhar Deshpande is a professor of Media and Communication at Arcadia University. His teaching interests include world cinema, anthology film, visual culture, film and philosophy and critical theory. He writes on these topics, plus identities, diaspora, and representation, and his writing has been featured in Senses of Cinema, Studies in World Cinema, and other publications. He is a co-author, with Meta Mazaj, of the landmark book World Cinema: A Critical Introduction. He is also the author if Anthology Film and World Cinema and Cinema and Popular Memory: Critical Theory, History on Film and Popular Memory.
The list below includes descriptions of all undergraduate courses offered by the Film and Media Studies Program, though some courses may be taught more often than others. Descriptions for special topics seminars are updated each semester. Special topics courses vary in the number of semesters offered. View a master list of FMS courses with program requirements and distributions on this courses snapshot.
Visit the undergraduate page for course requirements for specific programs. For up-to-date information on course offerings, schedules, room locations, and registration, please visit the Student Information System (SIS).
Students should take Art of the Moving Image (FMS-0001) as their first course in the major (or aim to complete it in their first year in FMS). FMS-0001 is a pre-enrollment requisite for a number of FMS courses and must be taken before enrolling in those courses. This course is taught every semester and is open to first-years, sophomores, and juniors. Questions about the course can be directed to the instructor or Denise Cummings, Director of Undergraduate Studies.
FMS 0002 Global History of Cinema. (Cross-listed as ILVS 0052,) This course surveys the rich history of film art. We will begin with the emergence of the technologies for making and exhibiting films around 1894 and the major genres of early cinema (1895-1904), most of which were non-narrative. We will then turn our attention to the development of "classical" narrative film in the US in the 1900s and 1910s; the creation of alternatives to classical cinematic storytelling in the 1920s in France, Germany, the Soviet Union and elsewhere; the rise of documentary and experimental film; and the coming of synchronized sound in the late 1920s. We will see how European filmmakers on both the Left and Right responded to the increasing political turmoil in the lead-up to WWII in the 1930s while filmmakers in Japan created popular traditions of filmmaking. We will consider the impact of WWII on film history; the emergence of Italian Neo-Realism and "modernist" art cinema in the late 1940s and 1950s; the New Waves of the late 1950s; and political modernist, post-colonial, feminist and other radical forms of filmmaking that arose in response to the political crises of the 1960s. Finally, we will survey world cinema since the 1970s, focusing on the changes that have occurred in mainstream Hollywood filmmaking and the contributions to film art of filmmakers in Hong Kong and other non-western countries.
FMS 0006 20th Century U.S. Television History. (Cross-listed as TPS 0024) This core course examines the introduction and development of U.S. television through the network era (40s-90s) as a cultural history of the medium and a subject for critical engagement by media studies scholars. We trace the development of television (in the US but within a global context) from its conception through its industrial, technical, aesthetic and textual development to understand how American broadcast television emerged as a dominant cultural force around the world. In addition to gaining a working knowledge of broadcast television in its first half-century, we will also explore how specific analytical concepts in television studies develop as we learn (and practice) how media theory takes on historical research.
FMS 0198 Senior Honors Thesis 1. First course in the two course FMS Senior Honors Thesis, followed by FMS 0199 Senior Honors Thesis 2 in the spring of the senior year. Students undertaking a production-based Senior Honors Thesis such as a screenplay, film, or TV show should enroll in the production section, which meets regularly in the fall semester to help students plan their production-based Senior Thesis. Students undertaking a scholarly thesis or some other non-production-based Senior Honors Thesis should enroll in the non-production section, and meet individually with their Senior Honors Thesis committee members.
Required ONLY of FMS majors who are undertaking an FMS Senior Honors Thesis. Department consent required. Offered every spring. Section 01 is for production projects; section 02 is for non-production/written projects.
FMS 0032 PR & Marketing: A History of Theory and Tactics. An exploration and analysis of the history of public relations and marketing communications theory in the United States and how it evolved with and influenced our media environment and public discourse. Tracing the evolution of mass persuasion through the writings of major thinkers in the field from the mid-nineteenth century through the present, we will examine how these developed in parallel with social changes including the industrial revolution, theories of human consciousness and motivation, and advances in technology, to create an all-encompassing consumer culture. Authors will range from Gustave Le Bon, Walter Lippmann, Edward Bernays and Sigmund Freud to Daniel Boorstin, Marshall McLuhan, Stuart Ewen, Seth Godin and Malcolm Gladwell.
Using case studies, we will explore how the mechanics of this global mega industry practice strategies that influence everything from complex world affairs or simply the toothpaste we choose to buy. We will analyze advertising, images, visual design, and public relations campaigns and see how deeply these are embedded in our culture, psychology, polemics and politics, and how this is magnified by a digital reality that questions the nature of truth itself.
Students will apply these theories by working in teams to create their own marketing communications plan for a product, person, place or concept. This will include the rubric and latest thinking in the field including audience analysis, positioning strategy, messaging and examples of visual and digital communications.
FMS 0041 Cultures of Computing. (Cross-listed as ANTH 0136) Examines computers and computation as sociocultural phenomena. Questions universalizing narratives of technological progress by exploring the variety of human experience with computing. Topics include social media, postcolonial computing, the gender of artificial intelligence, the social analysis of mathematics, and the sociocultural implications of big data and contemporary algorithmic systems.
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