2016-17 Edition

Department of Film and Media Studies

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Catherine Liu, Chair
2000 Humanities Gateway
949-824-3532
http://www.humanities.uci.edu/filmandmediastudies/

Overview

Media greatly influence our sense of who we are and how we live. Those sights and sounds are so pervasive, and in many cases so enjoyable, that we rarely pause to consider how we engage and interact with them. Yet so much of our entanglement with the sights and sounds of film, TV, video, the Internet, games, etc., requires audiovisual literacy and critical reflection. The Film and Media Studies curriculum trains students to read and understand the audio-visual expressions and forms of media, and to analyze them from historical, theoretical, political, and aesthetic perspectives. Learning these critical skills involves exploring the appeal and operation of the social, historic, institutional, and textual entities we call cinema, television, and digital technologies. These highly portable and applicable skills continue to grow in importance as audiovisual media become ever more ubiquitous. In short, the skills learned in Film and Media Studies are relevant not only in the influential U.S. film and broadcast industries or in the fast-growing Internet and game sectors, but also increasingly as the professional language of the future in legal, medical, and business careers.

There are more than 300 Film and Media Studies majors enrolled at UCI. The Film and Media Studies curriculum is systematic and comprehensive. This major familiarizes students with the history, theory, and art of cinema, broadcast media, and digital culture. Courses focus on a range of topics, including but not limited to the history and criticism of radio, television, sound theory and popular music, the history of games and simulations, period styles, industry genres, directors, national cinemas, and developments in new media and digital technologies. Faculty members actively engage with the profession, have published numerous books and articles, and regularly win grants and awards. Film and Media Studies at UCI emphasizes the history, theory, and criticism of cinema, television, popular music and sound, and new media. However, additional courses offer students hands-on experience in production and in screenwriting. Regular course offerings are complemented by film and video screenings and series. In cooperation with other units at UCI, the Department regularly invites scholars, artists, directors, producers, and screenwriters to campus to share their work and perspectives with students. In order to cover the extra costs generated by the purchase and rental of media demanded by the specialized Film and Media Studies curriculum, the School of Humanities charges a laboratory fee to students taking Film and Media Studies courses.

Career Opportunities

A degree in Film and Media Studies will provide students with a variety of opportunities leading to a career choice or to further education at the graduate or professional level. Graduates from the Department have gone on to a host of different careers. Some have pursued graduate work in critical studies and/or production at leading institutions such as the University of California, Los Angeles, Columbia University, New York University, University of Texas at Austin, and University of Southern California. Many are now at work in various sectors of the entertainment industry as feature film editors, executives in film and video distribution companies, network television producers, and independent filmmakers. Professional internships are encouraged and open to all students who meet required criteria. Visit the internship page on our website for more information.

The UCI Career Center provides services to students and alumni including career counseling, information about job opportunities, a career library, and workshops on resume preparation, job search, and interview techniques. See the Career Center section for additional information.

Requirements for the B.A. Degree in Film and Media Studies

All students must meet the University Requirements.
All students must meet the School Requirements.
Departmental Requirements for the Major
A. Complete the following:
FLM&MDA 85A Introduction to Film and Visual Analysis
FLM&MDA 85B Broadcast Media History and Analysis
FLM&MDA 85C New Media and Digital Technologies
FLM&MDA 101A History of Film I: The Silent Era
FLM&MDA 101B History of Film II: The Studio Era
FLM&MDA 101C History of Film III: The Contemporary Era
FLM&MDA 139W Writing on Film and Media
B. Complete either:
Film and Media Theory
Film and Media Theory and Practice
C. Complete either:
Introduction to Screenwriting
Basic Production
D. Select four of the following:
Genre Study
Narrative/Image
Film, Media, and the Arts
Authorship
Intermediate Screenwriting 1
Screenwriting Workshop 1
Intermediate Production 1
Production Workshop 1
Multicultural Topics in the Media
Critical Theory of Television
Studies in New Media
Popular Culture and Media
Sound Studies
Audiences and Reception
Documentary and Experimental Film and Media
National/Regional Cinemas and Media
Global/Transnational Cinemas and Media
U.S. Cinema
Television and New Media
Special Topics in Film and Modern Media
Special Topics in Critical Practice
1

Only two of the courses marked may be applied toward this requirement.

Residence Requirement for the Major: At least five upper-division courses required for the major must be completed successfully at UCI.

Requirements for the Minor in Film and Media Studies

Departmental Requirements
A. Complete:
FLM&MDA 85A Introduction to Film and Visual Analysis
B. Select three of the following:
Broadcast Media History and Analysis
New Media and Digital Technologies
History of Film I: The Silent Era
History of Film II: The Studio Era
History of Film III: The Contemporary Era
C. Select three of the following:
Film and Media Theory
Film and Media Theory and Practice
Genre Study
Narrative/Image
Film, Media, and the Arts
Authorship
Multicultural Topics in the Media
Critical Theory of Television
Studies in New Media
Popular Culture and Media
Sound Studies
Audiences and Reception
Documentary and Experimental Film and Media
National/Regional Cinemas and Media
Global/Transnational Cinemas and Media
U.S. Cinema
Television and New Media
Special Topics in Film and Modern Media
Special Topics in Critical Practice

Residence Requirement for the Minor: Four upper-division courses must be completed successfully at UCI. By petition, two of the four may be taken through the UC Education Abroad Program, providing course content is approved in advance by the appropriate department chair.

Graduate Study

In conjunction with the Department of Art History, the Department of Film and Media Studies offers a graduate program in Visual Studies. A description may be found in the Program in Visual Studies section.

Courses

FLM&MDA 85A. Introduction to Film and Visual Analysis. 4 Units.

Introduces the language and techniques of visual and film analysis. Teaches students to analyze the moving image, emphasizing the ways framing, camera movement, sound, and editing produce meaning, reproduce historical ideologies, foster or disrupt narrative, and cue spectators.

(IV)

FLM&MDA 85B. Broadcast Media History and Analysis. 4 Units.

History of broadcast media from the radio era to the present day, including social, political, institutional, and audience analysis as well as methods of visual and aural analysis of these media.

(IV)

FLM&MDA 85C. New Media and Digital Technologies. 4 Units.

The study of digital media, computer-mediated communication, and Internet cultures, from historical and theoretical perspectives.

(IV)

FLM&MDA 101A. History of Film I: The Silent Era. 4 Units.

The aesthetic, industrial, and socio-historical developments of cinema in the U.S. and internationally from its invention to the adoption of synchronous sound. Includes early exhibition, developments in narrative and editing, the formation of the studio system, and avant-garde film movements.

Prerequisite: FLM&MDA 85A.

FLM&MDA 101B. History of Film II: The Studio Era. 4 Units.

The aesthetic, industrial, and socio-historical developments of cinema in the U.S. and internationally from the 1930s through the 1960s. Includes the Hollywood studio system, propaganda films, Italian neorealism, post-war Japanese cinema, and the French New Wave.

Prerequisite: FLM&MDA 85A.

FLM&MDA 101C. History of Film III: The Contemporary Era. 4 Units.

The aesthetic, industrial, and socio-historical developments of cinema in the U.S. and internationally from the late 1960s to the present. Includes New Hollywood and independent U.S. films, ethnic cinemas, postcolonial cinemas, East-Asian new waves, and digital filmmaking.

Prerequisite: FLM&MDA 85A and FLM&MDA 101B.

FLM&MDA 110. Film and Media Theory. 4 Units.

Survey of major directions in film and media theory. Various theories of mass culture, realism, auteurism, semiotics, feminism, cultural studies, and theories of other media, with an emphasis on developing the student’s ability to analyze and articulate a theoretical argument.

Prerequisite: FLM&MDA 85A and FLM&MDA 85B and FLM&MDA 85C and (FLM&MDA 101A or FLM&MDA 101B or FLM&MDA 101C).

FLM&MDA 111. Film and Media Theory and Practice. 4 Units.

Seminar focusing on issues in film and media production and editing. Reading and exercises to understand aspects of film and media production (montage, sound, film movement, directing, and mise en scène), and how ideology works in tandem with style.

Prerequisite: FLM&MDA 85A and FLM&MDA 85B and FLM&MDA 85C and FLM&MDA 120A and (FLM&MDA 101A or FLM&MDA 101B or FLM&MDA 101C).

FLM&MDA 112. Genre Study . 4 Units.

Critical approaches to the serial productions we call "genre" films such as westerns, weepies, musicals, horror films, and others; televisual genres, such as sitcoms, drama, comedy, news, docudrama, police; Internet categories, such as chat-rooms, listservs, Web pages.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 113. Narrative/Image . 4 Units.

What relations do sound, image, and story assume in film, television, video, and Internet narratives? In what ways do these media interact with and borrow from each other and traditional story-telling media? How have the new media explored non-narrative strategies.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 114. Film, Media, and the Arts. 4 Units.

A synthetic entity, film draws on both established and popular arts. Looks at visual media's exchanges with "high" and "low" culture, exploring its relation to areas such as photography, music, painting, and architecture.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 115. Authorship . 4 Units.

Theoretical and analytical discussions of visual media authorship, focusing on case studies of directors, producers, scriptwriters, and film, video, and digital artists.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 117A. Introduction to Screenwriting. 4 Units.

Introduction to the technique and format of the screenplay, with a particular focus on its three act structural elements: coverage, treatment, and 60 beat outline.

Prerequisite: FLM&MDA 85A.

FLM&MDA 117B. Intermediate Screenwriting. 4 Units.

Exercises in the development of screenplays, with emphasis on formal and structural considerations of character development. Students work with the hero structure and other character development methodologies, such as method acting.

Prerequisite: FLM&MDA 117A.

FLM&MDA 117C. Screenwriting Workshop. 4 Units.

Continuation and intensification of work initiated in 117B. Students complete a full-length screenplay. Concentrates on both practical and technical concerns, addressing pragmatic and aesthetic questions in intensive small-group discussions.

Prerequisite: FLM&MDA 117B.

FLM&MDA 120A. Basic Production. 4 Units.

Introduction to the basic apparatus of video/film production. The elementary essentials of production, including the use of camera and lenses, lighting, editing, and sound.

Prerequisite: FLM&MDA 85A.

FLM&MDA 120B. Intermediate Production. 4 Units.

Students work on individual and group projects, utilizing skills and insights introduced in Film and Media Studies 120A.

Prerequisite: FLM&MDA 120A.

FLM&MDA 120C. Production Workshop. 4 Units.

As film and video are collaborative media, students form production groups and ultimately produce final 10-15 minute film/video projects.

Prerequisite: FLM&MDA 120B.

FLM&MDA 130. Multicultural Topics in the Media. 4 Units.

Investigation of media representations of gender, race, and sexuality in the United States. Topics include media images of and by one or more minority groups in the United States, including African Americans, Asian Americans, Chicano/Latinos, Native Americans, gays and lesbians.

Repeatability: Unlimited as topics vary.

FLM&MDA 139W. Writing on Film and Media. 4 Units.

Practical exercises in film, TV, and other media criticism as a form of cultural analysis. Requires at least 4,000 words of assigned composition.

Prerequisite: FLM&MDA 85A or FLM&MDA 85B or FLM&MDA 85C. Satisfactory completion of the Lower-Division Writing requirement.

Restriction: Film and Media Studies majors only.

(Ib)

FLM&MDA 143. Critical Theory of Television. 4 Units.

Introduction to critical, theoretical, scholarly understandings and analyses of television, which offer in-depth analyses of television programming, audience reception practices, and industry strategies of address.

Prerequisite: FLM&MDA 85B.

FLM&MDA 144. Studies in New Media. 4 Units.

Advanced analysis of the technologies, texts, theories, and cultures of computers, videogames, networks, or platforms.

Prerequisite: FLM&MDA 85C.

Repeatability: Unlimited as topics vary.

FLM&MDA 145. Popular Culture and Media. 4 Units.

Considers the forms, ideologies, consumption, and marketing of popular entertainment and technologies. May focus on cultural studies methods, transnational approaches, and synergy between media.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 146. Sound Studies. 4 Units.

Focuses on the production, theories, and meanings of sound recordings, music, and/or audio technologies. Topics may include the cultures of popular music and audio devices, music television, and theories of film sound.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 150. Audiences and Reception. 4 Units.

Explores the dynamics of address, interpretation, and appropriation between film and media texts and their viewers. Topics may include reception studies, fandom, audience-defined modes of production, demographics, spectatorial pleasure, and historical approaches to audiences.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 151. Documentary and Experimental Film and Media. 4 Units.

Examines nonfiction and/or experimental cinemas and media, such as documentary, the historical avant-garde, video art, and activist media. Students consider the specific aesthetics and ideologies of forms distinct from narrative feature films.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 160. National/Regional Cinemas and Media. 4 Units.

National schools, period styles, or cultural movements beyond U.S. cinema, as defined by national borders or by geographic regions, such as Latin America. May be approached from a comparative perspective.

Repeatability: Unlimited as topics vary.

FLM&MDA 161. Global/Transnational Cinemas and Media. 4 Units.

Analyzes the multinational production, circulation, and reception of film and media texts beyond singular national borders or specific geographic regions. Topics may include transnational co-productions, exports, and diasporic reception.

Repeatability: Unlimited as topics vary.

FLM&MDA 162. U.S. Cinema . 4 Units.

Explores the modes of production and distribution, aesthetics, and contexts that have shaped cinema in the United States. Topics may include Classical Hollywood, American Independent Cinema, or periods such as 1970s Cinema.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 185. Television and New Media. 4 Units.

Advanced seminar focusing on special topics in television and new media. Past examples have included courses on Media Marketing and Brand Identity; Television and Sound; Game Theory; and other issues related to popular culture, broadcast media, and new media technologies.

Prerequisite: FLM&MDA 85B or FLM&MDA 85C.

Repeatability: Unlimited as topics vary.

FLM&MDA 190. Special Topics in Film and Modern Media. 4 Units.

Special issues concerned with film and media history, theory, and criticism.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 191. Special Topics in Critical Practice. 4 Units.

Integrates critical analysis, historical, and theoretical methods with creative projects to illuminate film and media production and industries. May include courses in adaptation, writing television, media activism, writing the short film, performance studies, and movie title sequences.

Prerequisite: FLM&MDA 85A.

Repeatability: Unlimited as topics vary.

FLM&MDA 197. Professional Internship. 2-4 Units.

Professional internship in the film, broadcast, and/or digital media industries designed to provide students with closely supervised professional experience to enhance their understanding of media from industrial, historical, and critical perspectives. Journal and final report required.

Grading Option: Pass/no pass only.

Repeatability: May be taken for credit 3 times.

Restriction: Upper-division students only.

FLM&MDA 198. Creative Project. 2-4 Units.

Creative project in screenwriting, filmmaking, videomaking, or Web or Internet design intended to provide advanced production and creative writing training beyond the Film and Media Studies 117A-B-C or 120A-B-C series. Final project required.

Prerequisite: (FLM&MDA 85A and FLM&MDA 117A and FLM&MDA 117B and FLM&MDA 117C) or (FLM&MDA 120A and FLM&MDA 120B and FLM&MDA 120C). Recommended: FLM&MDA 101A.

Repeatability: May be taken for credit 2 times as topics vary.

Restriction: Upper-division students only.

FLM&MDA 199. Directed Research. 4 Units.

Directed reading and research under supervision of a faculty member in topic areas not covered by regular course offerings. Final research paper required.

Restriction: Upper-division students only.

FLM&MDA 399. University Teaching. 4 Units.

Limited to Teaching Assistants.

Grading Option: Satisfactory/unsatisfactory only.

Repeatability: May be repeated for credit unlimited times.

Faculty

Eyal Amiran, Ph.D. University of Virginia, Associate Professor of Comparative Literature; Film and Media Studies; Visual Studies (digital media theory, twentieth-century literature, narrative and textual theory, psychoanalysis, modern and postmodern intellectual history)
Catherine Benamou, Ph.D. New York University, Associate Professor of Film and Media Studies; Culture and Theory; Visual Studies (Hispanophone and Lusophone cinema and television, U.S. Latino media, Orson Welles and maverick cinema, transnational flows, spectatorship, cinematic memory and cultures of preservation)
Elizabeth M. Cane, M.F.A. University of California, Los Angeles, Lecturer of Film and Media Studies
Marie Cartier, Ph.D. Claremont Graduate University, Lecturer of Film and Media Studies
Desha Dauchan, M.F.A. University of California, Los Angeles, Lecturer of Film and Media Studies
Sohail Daulatzai, Ph.D. University of Southern California, Associate Professor of Film and Media Studies; African American Studies; Culture and Theory; Visual Studies (African American studies, postcolonial theory, race, hip hop, Muslim diasporas)
Edward Dimendberg, Ph.D. University of California, Santa Cruz, Professor of Film and Media Studies; European Languages and Studies; Visual Studies (film and literature, history of the book, scholarly communication)
Aglaya Glebova, Ph.D. University of California, Berkeley, Assistant Professor of Art History; Film and Media Studies; Visual Studies (history and theory of photography and film, European avant-garde, Russian and Soviet art)
Kristen L. Hatch, Ph.D. University of California, Los Angeles, Associate Professor of Film and Media Studies; Visual Studies (American film history; stardom; histories of race, gender, and sexuality; childhood; melodrama)
Lucas Hilderbrand, Ph.D. New York University, Associate Professor of Film and Media Studies; Visual Studies (Queer cultures and media, cultural studies, documentary, pornography, popular music, video art, histories of technology)
Victoria E. Johnson, Ph.D. University of Southern California, Associate Professor of Film and Media Studies; Culture and Theory; Visual Studies (television, critical race theory, sound, media policy, sport)
Peter O. Krapp, Ph.D. University of California, Santa Barbara, Professor of Film and Media Studies; English; Informatics; Visual Studies (digital culture, media history, cultural memory)
Felicidad (Bliss) Lim, Ph.D. New York University, Associate Professor of Film and Media Studies; Culture and Theory; Visual Studies (Philippine cinema, temporality, postcolonial and feminist film theory, transnational horror and the fantastic, film archives)
Catherine Liu, Ph.D. Yale University, Department Chair and Professor of Film and Media Studies; Comparative Literature; Visual Studies (Hou Hsiao-hsien, culture wars, Frankfurt School, historiography of critical theory/cultural studies, surveillance, cold war culture and neoliberalism)
Glen M. Mimura, Ph.D. University of California, Santa Cruz, Associate Professor of Film and Media Studies; Culture and Theory; Visual Studies (minoritarian and political film; media and race; popular culture and social movements)
Allison J. Perlman, Ph.D. University of Texas at Austin, Assistant Professor of History; Film and Media Studies; Visual Studies (history of broadcasting, American social movements, media law and policy, media activism, popular memory)
Fatimah Tobing Rony, Ph.D. Yale University, Associate Professor of Film and Media Studies; Visual Studies (ethnographic film, race and representation, film production)
Braxton Soderman, Ph.D. Brown University, Assistant Professor of Film and Media Studies; Visual Studies (digital and new media studies, video games, networks, digital art and electronic literature)

Affiliate Faculty

M. Ackbar Abbas, M.Phil. University of Hong Kong, Professor of Comparative Literature; Culture and Theory; Film and Media Studies; Visual Studies (Hong Kong culture and postcolonialism, visual culture, architecture and cinema, cultural theory, globalization)
Kyung Hyun Kim, Ph.D. University of Southern California, Professor of Korean Culture; Asian American Studies; Film and Media Studies; Visual Studies (East Asian cinema, modern Korea, critical theory)
Beryl F. Schlossman, Doctorate University of Paris 7, Ph.D. Johns Hopkins University, Professor of Comparative Literature; European Languages and Studies; Film and Media Studies; Visual Studies (Modern literature, critical theory, film studies, psychoanalysis, the arts in society.)
Jared Charles Sexton, Ph.D. University of California, Berkeley, Program Director and Associate Professor of African American Studies; Culture and Theory; Film and Media Studies; Visual Studies (race and sexuality, policing and imprisonment, contemporary U.S. cinema and political culture, multiracial coalition, critical theory)
Georges Y. Van Den Abbeele, Ph.D. Cornell University, Dean of the School of Humanities and Professor of Comparative Literature; English; European Languages and Studies; Film and Media Studies; Visual Studies (French and European philosophical literature, travel narrative and tourism/migration studies, critical theory and aesthetics, francophone literature, history of cartography, media history and theory.)
Roxanne Varzi, Ph.D. Columbia University, Associate Professor of Anthropology; Culture and Theory; Film and Media Studies; Visual Studies (Iran, media, war, visual anthropology, film studies, ethnographic and fiction writing)
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