Film and media studies

Fall 2016

Course

Catalog

Fall 2016 Complete FMS Course List The following courses all count toward the FMS major and minor. The majority of electives taken must have FMS course

numbers. No more than four practice electives may be counted toward the FMS major; two toward the FMS minor.

Required Courses Core Course: FMS 20/FAH 92-05. Art of the Moving Image (requirement for all FMS majors and minors) Core Course: FMS 23/Sociology 40. Media and Society (requirement [or FMS 22 Media Literacy] for all FMS majors) FMS 198 (formerly FMS 29). FMS Senior Colloquium (requirement for all FMS majors, during their senior year, taking two-semester Senior Thesis/Project capstone) Elective Courses THEORY (all FMS majors are required to take one theory course) FMS 87/English 81. Postmodernism and Film FMS 94-01/ILVS 92. Special Topics: Intro to Film Theory PRACTICE (all FMS majors and minors are required to take one practice course. No more than four practice electives may be counted toward the FMS major; two toward the FMS minor.) English 11. Intermediate Journalism English 12. New Forms of Screen Narrative EXP 49. Power, Policy, and the Digital Age EXP 51. Narrative and Documentary Practice EXP 55. Film Criticism: Art and Practice EXP 56. Fiction into Film: Adaption, Transmigration, or Recreation EXP 57. Making Time: Temporality in Cinema FAM 39. Graphic Design FMS 30. Film and Media Production 1 (formerly Filmmaking 1) FMS 32/Drama 47. Writing the Short Film FMS 34/Drama 152. Producing for Film FMS 94-05/EXP 55. Film Criticism: Art and Practice FMS 94-06/EXP 52. PR and Marketing: Unraveling the Spin FMS 138. Advanced Filmmaking (By consent only. Contact Howard.Woolf@tufts.edu, x73384.) Music 67-01. Composing Music for Multimedia NON-U.S. (all FMS majors are required to take one non-U.S. course) Arabic 91. Visual and Literary Cultures after the “Arab Spring” Chinese 72. Martial Arts in Chinese Literature & Film FMS 79/German 85. German Film FMS 80/Russian 80. Russian Film: Art, Politics and Society FMS 86/ILVS 100. Classics of World Cinema FMS 88/Chinese 80. Introduction to Chinese Cinema FMS 194-01/Spanish 191 A. Film and Representation in Latin America (Spanish required)

Fall 2016 Complete FMS Course List (cont.) UPPER LEVEL (all FMS majors are required to take one upper-level course) American Studies 175/Sociology 190. Integrative Seminar: Immigration: Public Opinion, Politics, and Media FAM 40. Graphic Design II FMS 138. Advanced Filmmaking (By consent only. Contact Howard.Woolf@tufts.edu, x73384.) FMS 164/Child Development 267. Research Seminar: Children and Mass Media FMS 194-01/Spanish 191 A. Film and Representation in Latin America (Spanish required) ADDITIONAL ELECTIVES American Studies 172. American Highways, Routes and Roots Community Health 99. Designing Health Campaigns Using Social Media EXP 54. The Aesthetics of Commercial Culture EXP 59. Persuasive Politics FMS 89/Drama 48. African American Theater and Film FMS 94-03/PS 118-26. Race for the White House in a Modern Media Environment FMS 94-04/ILVS 91-02. The History of Animation FMS 99. Internship (By consent only. Contact Leslie.Goldberg@tufts.edu, x72007.) FMS 195. Directed Study (By consent only. Contact Julie.dobrow@tufts.edu or Malcolm.turvey@tufts.edu) Sociology 149. Selected Topics: Crime, Justice, and the Media

Experimental filmmaker Abigail Child visits

Tufts—March 2016

FMS Fall 2016 Course Descriptions

FMS 20 Art of the Moving Image Malcolm Turvey MW 1:30 to 2:45 p.m. (Cross-listed as ILVS 51) Exploration of cinema's basic aesthetic characteristics: its stylistic features, such as editing, cinematography, and sound, as well as its major narrative and non-narrative forms. Screenings include a variety of films from the US and abroad that exemplify cinema's myriad forms and styles: mainstream and avant-garde, fiction and non-fiction, narrative and non-narrative, black-and-white and color, silent and sound. Discussion of the extent to which cinema's aesthetic features are shared by television and interactive media such as video games, as well as what is artistically distinctive about these newer moving image media. (Required for majors and minors. This course counts toward the Arts distribution requirement.) FMS 23 Media and Society Sarah Sobieraj TUTH 10:30 to 11:45 a.m. (Cross-listed with SOC 40) Social and economic organization of the mass media of communication. Effects on content. Themes of mass culture. Social composition of the audience. Effects of the media on the audience. Topics such as television, films, the press, books, magazines, and advertising. (This course counts toward the Social Sciences distribution requirement.) FMS 30 Film and Media Production I (formerly Filmmaking 1) Don Schechter TU 1:30 to 4 p.m. Howard Woolf M 6 to 8:30 p.m. Don Schechter TU 4:30 to 7 p.m. Tools and techniques necessary to create stories for film, television, and the web. Focus on how to effectively use the camera, set lights, record sound, and edit. Emphasis on learning both film style and scene building in preparation for making a short film in FMS 31. Recommended for first and second year students. (This course counts toward the Arts distribution requirement.) FMS 32 Writing the Short Film Khary Jones TH 6:30 to 9 p.m. (Cross-listed as DR 47) An introduction to cinematic storytelling and dramatic construction, which guides student short film ideas from concept to screenplay. An immersive workshop in the craft of writing short, engaging scripts. (This course counts toward the Arts distribution requirement.) FMS 34 Producing for Film Jennifer Burton TU 1:20 to 4:20 p.m. (Cross-listed as DR 152.) Exploration of the art of creative film production through participation on the production team for a new professional film project. Through film analysis, theoretical readings, project development, production experience, and engagement with working filmmakers, students will expand their capacities to think as artists and critics. Learn and practice fundamental elements of successful producing, including script breakdown, budgeting, fundraising, executing contracts, copy-right and other legal documents, casting, scheduling, location scouting, shooting, editing, marketing, and distribution. Gain skills to facilitate their own future projects, while developing increased understanding of film as a collaborative medium. Prerequisite: Introduction to Filmmaking or Introduction to Film Studies. (This course counts toward the Arts distribution requirement.)

FMS 79 German Film Christiane Romero TH 3 to 4:15 p.m. (Cross-listed w/ GER 85) A survey of German cinema, from its striking and influential achievements in the Weimar Republic, through its role under Hitler and its decline in the postwar period, to the remarkable phenomenon of New German Cinema in the sixties and seventies and the developments of the contemporary period. (May be taken at the 100-level. This course counts toward the Arts distribution requirement.) FMS 80 Russian Film Vida Johnson TUTH 4:30 to 7 p.m. (Cross-listed w/ RUS 80) Survey of film classics by Eisenstein, Pudovkin, Vertov, Tarkovsky, and others, tracing the parallels between the history of film and the history of the new Soviet state and society. Lenin and film as propaganda; the experimental twenties; cinema verité (kinopravda); Socialist Realism; the Great Patriotic War; the "thaw"; 1960s to present: conservatives vs. liberals; unbanned films, and the new cinema of glasnost, perestroika, and post-Soviet Russia. Films with English subtitles. (This course counts toward the Arts distribution requirement.) FMS 86 Classics of World Cinema Joel Rosenberg TH 4:30 to 5:45 p.m. (Cross-listed as WL 101 and ILVS100.) Worldwide survey of major films from the silent era to the present. Trends in filmmaking styles and genres; the impact of modern history on cinematic art; cultural, theoretical, and philosophical issues related to the study of film. Filmmakers covered may include Eisenstein, Chaplin, Renoir, Welles, DeSica, Ray, Ozu, Bergman, Fassbinder, Sembene, and Zhang Yimou. (This course counts toward the Arts and Humanities distribution requirements.) FMS 87 Post Modernism and Film Lee Edelman MW 10:30 to 11:45 a.m. (Cross-listed w/ ENG 81) Introduction to postmodernism through the study of late twentieth century and early twenty-first century film in relation to important texts of literary and cultural criticism. The movement from modern to postmodern, originality to mechanical reproduction, identity to difference. Readings from Baudrillard, Benjamin, Butler, Derrida, Foucault, Haraway, and Lacan, along with films by Cameron, Gilliam, Polanski, Scott, the Wachowski brothers, and Welles. (This course counts toward the Humanities distribution requirement.) FMS 88 Intro to Chinese Cinema Xueping Zhong MW 3 to 5:15 p.m. (Cross-listed w/ CHNS80) Evolution of Chinese film from its inception to the present and how cinematic changes reflect social, cultural, and political changes. Major film directors and cinematic styles and techniques they employed and different subject matters that have preoccupied them. Relationships between Chinese film and politics, social-cultural changes, Hollywood, and the unresolved issues of modernity. (This course counts toward the Arts and Humanities distribution requirements.) FMS 89 African American Theatre and Film Monica White Ndounou MW 4:30 to 5:45 p.m. (Cross-listed as AFR 48 and DR 48). A broad historical survey of plays and films by African Americans. (over)

Comparison of cinematic and theatrical representations. Relation of African American aesthetics to broader American, European, and Pan-African forms. Historical evaluation and comparison of images created by African Americans and those established in the mainstream milieu. (May be taken at 100 level for graduate credit with consent. This course counts toward the Arts and Humanities distribution requirements.) FMS 94-01 Special Topics: Intro to Film Theory Scarlett Marquette TUTH 10:30 to 11:45 a.m. (Cross-listed w/ ILVS 91-01) Arguably more than any other art form, film has the potential to foster the illusion of reality. As such, it generates a multitude of questions: Can we consider cinema to be a true art form, even though it reproduces the external world in apparently mechanical fashion? How does our experience living life compare with our experience as spectators of film? How does film condition our perceptions of time and space? What are the consequences (representational, psychological, ethical) of filming and disseminating scenes of unspeakable violence or trauma? Is viewing a film analogous to dreaming while asleep, and may we therefore analyze films just as we would dreams and the unconscious? This course is an introductory survey of the critical concepts in film theory from the classical pre-1968 period to the present. We will read representational texts from Formalist, Realist, Soviet, and Semiology/Suture theory, and follow the trajectory to critical race, feminist, and queer theory. Many of the great film theorists were also filmmakers, and we will raise questions about the mutual reverberations of praxis and theory. Students will be encouraged, for example, to stake their own positions in the great debates about suture theory, and how they perceive the relationship between spectator and screen in Hitchcock’s continuity editing. Film theory owes an enormous debt to philosophy—aesthetics, ontology, phenomenology, psychoanalysis; and we will periodically reference those philosophers critical to the development of film theory--Heidegger, Ayfre, Benjamin, Bergson, Lacan. We will establish the frameworks and fundamental questions that film theory inherited from philosophy. We will ask whether film can do the work of philosophy—that is, whether film itself can be construed as a mode of thought, as Stanley Cavell has proposed. Is film, and not merely film theory, on a continuum with philosophical thought? Or does it represent a radical new mode of philosophizing? We will analyze Gilles Deleuze’s reframing of cinema as the evolution from the movement-image to the time-image and the implications of his model for the study of film and philosophy. FMS 94-03 Special Topics: Race for the White House (Cross-listed w/ PS 118-26) Join David Gregory, Tisch College Senior Fellow and former NBC News White House Correspondent and Moderator of "Meet the Press," as he takes you inside the historic 2016 presidential campaign. We’ll look at the campaign side: how candidates devise strategy, use social media, television advertising and target voters. On the media side, we’ll go inside the newsroom to learn how campaigns are covered and candidates are scrutinized. What is the best way to question a candidate? How do reporters ensure fairness in their reporting? Do the media play an outsized role in the campaign by driving the narrative for voters? You will also get some historical perspectives about how campaigns reflect where the country is at a particular moment. And we will try to determine what a presidential campaign and its coverage in the press shows us about how a candidate would lead the country. This course is sponsored by Tisch College, the Film and Media Studies Program and the De-partment of Political Science. (This course counts toward the Social Sciences distribution requirement.)

FMS 94-04 Special Topics: History of Animation Susan Napier TUTH 12 to 1:15 p.m. (Cross-listed w/ ILVS 91-02) This course explores the history and theory of animation, the art form that Paul Wells has described as “the medium of the twenty first century.” But animation as we know it arguably begins at the start of the twentieth century with the whimsical metamorphoses of Winsor McCay and Emile Cohl so we will start there and continue within a generally chronological framework. Along the way we will explore a wide range of topics such as techniques (cel, rotoscoping, CGI), auteurs, (Disney, Miyazaki), music (as emotional amplification and in musicals, music videos), visual effects in live action films, the animated body, television cartoons, experimental/art animation, propaganda, commerce, gender, fantasy and humor. We will also include a section on culturally specific animation, most notably Japanese anime. (This course counts toward the Arts distribution requirement.) FMS 94-05 Special Topics: Film Criticism: Art and Practice Ty Burr F 10 a.m. to 1 p.m. (Cross-listed w/EXP 55) This class will examine movie reviewing as both a practice and an art, and it will use the form to springboard to a larger engagement with cultural analysis as a whole. What does it mean to think critically about the media and popular culture through which we swim every day? What tools are needed to decode its messages? The course will function partly as a historical survey largely (but not wholly) focusing on American writers such as James Agee, Manny Farber, Andrew Sarris, and Pauline Kael. As we move into the modern day, topics will include the rise of genre-based criticism, the schisms and fragmentation of specialist critics and agendas, and how the form and substance of cultural criticism can change with the container (tweet, blog post, episode recap) in which it appears. A second, parallel track will focus on students learning to write professional film and cultural criticism for themselves. Through weekly screenings of classic films and current theatrical releases, and through regular writing and in-class peer editing of reviews, students will receive a grounding in formulating opinions for public consumption in ways that combine journalistic integrity, contextual knowledge, and an individualistic voice that makes for a "good read." FMS 94-06 Special Topics: PR and Marketing: Unraveling the Spin Gail Bambrick M 6 to 8:30 p.m. (Cross-listed w/EXP 52) What is the formula for mind control? Take a little psychology, a pinch of sociology, a smidge of anthropology, some cognitive analysis, and add a healthy dash of strategic media manipulation. Give a good stir. It's all the ingredients you need to decide a Presidential election, repair the reputation of BP after the Gulf oil spill, make more people buy Hondas than Kias, or choose Coke over Pepsi. Primarily using case studies, this course will look at the history of public relations and marketing in the US and how it evolved in parallel with our media environment. We will explore how the mechanics of this global mega-industry create strategies that influence complex world affairs or simply the toothpaste we use. Guest speakers from the industry will share their thoughts. Students will work in teams on a final project to solve a PR/marketing challenge by creating their own ads, messages, and strategic plan.

FMS 99 FMS Internship Leslie Goldberg By arrangement Your internship will teach you about the world of communications through hands-on experience in broadcasting, film production, print journalism, public relations, marketing communications, advertising, publishing, web and multimedia, social media, and other fields. You will learn how media organizations operate and will have the chance to develop skills such as copywriting, editing, web design, social media, blogging, photography, and film production. You will see first-hand how media professionals handle crisis situations as well as their normal daily routines. You may learn that you "have what it takes" for success in a particular field, or you may learn that you don't want to pursue a media career at all. You will certainly learn things that you could never learn in a classroom. This course involves 3 short papers, regular meetings with the instructor, weekly reflections, and 150 work hours in an office under the guidance of media professionals, not in a remote or virtual setting. It is available to rising seniors, juniors, and sophomores. You do not have to be a FMS/FMS major or minor to enroll. All internships are graded Pass/Fail. FMS 164 Children and Mass Media Julie Dobrow TH 1:30 to 4 p.m. (Cross-listed with CD 267) Children have long been considered a "special" audience by broadcasters, advertisers, politicians, educators and researchers. This course will introduce you to the logic behind this designation, through a careful and critical examination of the theory and research on children's mass media use, and the influence of media on children. We will explore the relationship between media use and developmental issues, discuss patterns of children's media consumption, and look at both the content and context of children's media, including television, films/videos, advertising, games and websites. We will examine the empirical evidence that has attempted to assess the media's effects on children in a variety of areas, including gender and ethnic stereotyping, explicitly sexual and violent content in both entertainment and news, and also the educational or "pro-social" effects of media. We'll talk about the wall-to-wall advertising to which children are exposed, and look at the claims that advertising and media use have led to an increase in childhood obesity. And we will discuss the technologically saturated world of iPods, iPads, e-books, cell phones and computers that enable communication and social networking sites like Facebook and MySpace, to see what kinds of effects these technologies might be having on children at different developmental points. We will also critically assess the various regulations that have governed both advertising and programming for children in this country, talk about contemporary regulatory issues and how changes in media ownership rules might affect children's media content. We'll also discuss how technology such as TiVo, the television ratings system, voluntary Internet ratings system and access to the Inter-net affect children, pay some attention to the hot issue of cyberbullying, and will discuss the roles that parent and citizen activist groups play as watchdogs of children's media and the ways in which they can - and do - apply political pressure that results in change. For each topic we cover, we'll be looking both at the theoretical issues that undergird them, and also at the empirical ones that have attempted to assess, test or analyze them. The centerpiece of the class, however, will be your own work. You will have an opportunity to develop a proposal for a significant piece of research in an area of children and media that most interests you. It's my hope that this is research that you will subsequently carry out and ultimately publish, either as part of your MA or PhD program, or as a piece of applied research.

FMS 194-01 Film Representation in Latin America Nina Gerassi-Navarro MW 3 to 4:15 p.m. (Cross-listed with SPN 191) How do films tell stories? What do they chose to represent and how do they represent those stories? This course explores different ways recent Latin American films have dealt with the issue of representation. Focusing on a number of topics such as political unrest, sexuality, and immigration among others, we analyze the effect camera techniques, editing and acting have in the stories conveyed, both in documentaries as well as in fiction films. Films from Argentina, Brazil, Chile, Peru, and Uruguay. Prerequisite: Two 30 level courses or consent. (This course counts toward the Humanities distribution requirement.) FMS 194-02 Advanced Filmmaking Howard Woolf By arrangement Based on a directed study model, this course is for students who can demonstrate -- through course-work or personal experience -- that they are ready to go to the next level in their training as filmmakers. Students who initially qualify will present a business plan for their project and, if accepted, will receive credit, access to production and editing equipment, and a supervised context within which to work. Students will watch a negotiated number of source films, keep a Producer's Log, and write a final assessment, taking into account both the process they went through to produce their film and their reaction to the film once it is done. FMS 195 Directed Study Julie Dobrow, Malcolm Turvey By arrangement Independent work under the supervision of a faculty member on research or creative topic in film or media studies. FMS 198 Senior Colloquium (formerly FMS 29) Julie Dobrow F 9 to 11:30 a.m. Jennifer Burton TH 1:30 to 4 p.m. First course in the two credit/course FMS capstone option, followed by FMS 0199 Senior Honors Thesis/Senior Project. Preparation for senior honors theses or projects in film or media for interdisciplinary majors in Film and Media Studies. Emphasis on defining the topic, articulating research questions or a creative focus, developing the significance of the project, planning and writing a research review, working out a methodology or diary for executing the project, establishing a reasonable timetable. See FMS website for more detailed information and requirements. (This course is a required for all FMS majors, during their senior year, taking a two-semester Senior Thesis/Project capstone.)

FMS Major Requirements

The Film and Media Studies major requires the completion of 12 courses:

THREE required core courses

SEVEN or EIGHT elective courses

ONE- or TWO-course capstone

Required Core Courses (THREE courses) The three required core courses impart analytical skills, historical background, and theoretical underpinnings, providing a coherent knowledge base and consistent language among FMS students. The three required core courses are:

FMS20 Art of the Moving Image

FMS21 Global History of Cinema

FMS22 Media Literacy OR SOC40/FMS23 Media and Society

We strongly encourage students to take these courses early in their program of study. Elective Courses Students must take either seven or eight elective courses (depending on whether they take a one- or two-course capstone) from the list of FMS-approved courses. The majority of electives taken must have FMS numbers (four if seven electives are taken; five if eight electives are taken). Of these:

One must be a theory course

One must be an introductory film or media practice course

One must be a non-U.S. film or media course

One must be an upper level course or seminar

Capstone Requirement (one or two courses)

FMS majors are required to complete a one- or two-credit/semester capstone in the senior year. Only a two-credit capstone

qualifies a student to receive honors in FMS.

One-Credit/Semester Capstone Options

FMS majors may fulfill the capstone requirement through one of the following one credit/semester options:

A Directed Study (FMS 195) in which a student undertakes an independent scholarly or creative project un-

der the supervision of a faculty member

An upper level course in which a student completes a scholarly paper of at least 15 pages (this is in addition to

the FMS upper level elective requirement)

Teach a course on a film or media topic through the Experimental College’s Perspectives program (EXP 0090)

FMS majors pursuing the one credit/semester capstone must also take an eighth elective.

Two Credit/Semester Capstone Options

FMS majors may fulfill the capstone requirement through a two-credit/semester Senior Honors Thesis or Senior Project,

which allows students to do in-depth, self-directed work as scholars and/or artists.

Register for the FMS Senior Colloquium (FMS 29) during first semester of senior year, which assists majors in

developing and preparing the thesis/project.

Register for the FMS Senior Honors Thesis/Senior Project (FMS 191) during the second semester of senior year,

which assists students in completing the thesis/project under the guidance of a faculty committee of at least

two members, and which concludes with a defense of the completed thesis/project.

Only FMS majors who have been on the Dean’s List at least twice and have a GPA of at least 3.4 are eligible to do a Senior

Honor Thesis. All FMS majors are eligible to do a Senior Project.

FMS Minor Requirements

FMS Minor Requirements

The Film and Media Studies minor requires the completion of six courses:

ONE required core course — FMS20 Art of the Moving Image

ONE film/media practice course

FOUR elective courses

Anderson Cooper (right) was the featured guest for FMS’

Edward R. Murrow Forum on Issues in Journalism

FMS Affiliated Faculty

Gail Bambrick, Lecturer, Film and Media Studies media culture; social marketing; public relations and communication; marketing theory, history, and practice Nancy Bauer, Professor, Philosophy philosophy and film, feminism Amahl Bishara, Associate Professor, Anthropology journalism, media and social movements, documentary Jennifer Burton, Professor of the Practice, Drama and Dance film production: producing, directing; film studies: fairy tales and film, women and film Alessandra Campana, Associate Professor, Music interfaces of sound and vision in theatre, film and video Jay Cantor, Professor, English screenwriting Julie Dobrow, Senior Lecturer, Eliot-Pearson Department of Child Study and Human Development children and media, ethnicity/gender and media, adolescents and media use Lee C. Edelman, Professor, English cinema and cultural studies (including psychoanalysis, queer theory, and ideological critique) Nina Gerassi-Navarro, Associate Professor, Romance Languages Latin American film and literature Charles Shiro Inouye, Professor, German Russian Asian Languages and Literatures Japanese literature and visual culture Vida T. Johnson, Professor, German Russian Asian Languages and Literatures Russian film Khary Jones, Lecturer, Drama and Dance film production: screenwriting, editing Elizabeth B. Lemons, Senior Lecturer, Religion religion and film Scarlet Marquette, Lecturer, German Russian Asian Languages and Literatures film theory Jeremy Melius, Assistant Professor, Art and Art History photography, visual studies, critical theory and aesthetics, theories of the moving image, histories of sexuality Ning Ma, Assistant Professor, German Russian Asian languages and literatures Chinese film

Affiliated Faculty (cont.)

Noe Montez, Assistant Professor, Drama and Dance US Latina/o film and Latin American film Susan Napier, Professor, German Russian Asian Languages and Literatures Japanese film, animation Monica White Ndounou, Associate Professor, Drama and Dance African-American film and theater Kamran Rastegar, Associate Professor, German Russian Asian Languages and Literatures film studies, film theory, cinema and cultural memory, colonial and postcolonial cinema, Iranian cinema, cinemas of the Arab world Christiane Zehl Romero, Professor, German Russian Asian Languages and Literatures German Film: the Weimar period including theoreticians like Kracauer and Bálazs, Leni Riefenstahl, literature and film, the influence of film on modernist literature, New German cinema, film and politics Joel Rosenberg, Associate Professor, German Russian Asian Languages and Literatures world cinema, Judaic studies Don Schechter, Lecturer, Film and Media Studies film and television production Claire Schub, Lecturer, Romance Languages French film Laurence Senelick, Professor, Drama and Dance silent cinema, gay and lesbian film, comedy, world cinema Sarah Sobieraj, Associate Professor, Sociology mass media (especially political media), political sociology, civil society and the public sphere, sociology of culture, social movements, and gender Jacob Stewart-Halevy, Assistant Professor, Art and Art History media theory, video, and digital media Malcolm Turvey, Professor, Art and Art History/Film and Media Studies modernist and avant-garde film, comedy, horror, French film, film theory, film and philosophy Stephen White, Professor, Philosophy aesthetics, film theory, experimental film production Howard S. Woolf, Professor of the Practice, Ex College film production Xueping Zhong, Professor, German Russian Asian Languages and Literatures Chinese cinemas (Mainland China, Hong Kong, Taiwan)

Film and media

studies

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