An introduction to analyzing and thinking critically about film and other media. Students will learn to read and interpret the basic signs, syntaxes, and structures of cinematic language. Through direct analysis of selected films, television, and new media, students will evaluate and construct evidentiary arguments about the aesthetic strategies creators use to make meaning for audiences. In addition, this course will familiarize students with the historical and industrial dimensions of film and media, as well as the influence technology has on their development into the twenty-first century.

Honors version of FMS 100; honors expectations include rigorous assessment of student textual analysis of film and media along with higher level student breadth and leadership. An introduction to analyzing and thinking critically about film and other media. Students will learn to read and interpret the basic signs, syntaxes, and structures of cinematic language. Through direct analysis of selected films, television, and new media, students will argue about the aesthetic strategies filmmakers use to make meaning for audiences. In addition, this course will familiarize students with the historical and industrial dimensions of film and media, as well as the influence technology has on their development into the twenty-first century. Prerequisite: Only open to students admitted to the University Honors Program or permission of instructor.

A limited-enrollment, seminar course for first-time freshmen, addressing current issues in Film and Media Studies. Course is designed to meet the critical thinking learning outcome of the KU Core. First-Year Seminar topics are coordinated and approved by the Office of Academic Programs and Experiential Learning. Prerequisite: Open to Freshmen only (less than 30 hours).

An introduction to film and media aesthetics, including basic film/media theories and their practical applications. Students will be introduced to the concepts of time, space, composition, movement, editing, light, color, and sound. A key feature of the course will be a practical emphasis on learning how to see creatively by applying elements of design, camera lens and sound recording principles. Examples of these aspects of film and associated media will be examined and discussed in depth. Should be taken before or concurrently with FMS 275.

This course is designed for the study of special topics in Film at the freshman/sophomore level. Credit for coursework must be arranged through the Office of KU Study Abroad. May be repeated for credit if content varies.

An introduction to the craft and principles of screenwriting, from inspiration to writing a complete first act. Emphasis on factors relevant to the creation of a treatment and a screenplay. Prerequisite: Consent of instructor.

Theory and practice of video production with emphasis on preproduction planning, scripting, directing, lighting, camera operation and audio. Lecture-laboratory. Prerequisite: FMS 100, completion of or concurrent enrollment in FMS 200.

Course organized any given semester to examine a particular studies topic or to take advantage of special competence by an individual faculty member. Topics change as needs and resources develop. Class discussion, readings, and individual projects.

Course organized any given semester to study a particular production topic or to take advantage of special competence by an individual faculty member. Topics change as needs and resources develop. Class discussion, readings, and individual projects.

This course is designed for the study of special topics in Film at the junior/senior level. Credit for course work must be arranged through the Office of KU Study Abroad. May be repeated for credit if content varies.

Supervised study with an approved film/media company or project. May be repeated for credit. No more than six hours may be applied to the B.A. or B.G.S. degrees. Prerequisite: Consent of instructor and at least seven hours credit in the department.

A survey of the artistic, economic and sociological development of the narrative cinema with emphasis on the American studio system, German Expressionism, and Soviet Expressive Realism. Analysis of selected films.

A study of the artistic, economic, and sociological development of the American sound film with emphasis on the studio system, major directors, genres, and the impact of television. Analysis of selected films.

A survey of the artistic, economic, and sociological development of the international sound film 1929 to 1950. Emphasis on European National Cinemas.

A survey of the artistic, economic, and sociological development of the international sound film from 1950 to the present. Emphasis on Free Cinema, New Wave, and other emerging post-war cinemas.

A history and critical assessment of the diverse images of African-Americans in American cinema and the impact of those images on American society. Screenings of feature and independent films, including those by African-Americans.

This course surveys the major developments in and critical approaches to twentieth-century Japanese film. Focusing mostly on narrative films, the course introduces students to basic methodological issues in Japanese film history, especially questions of narrative, genre, stardom, and authorship. We examine Japanese cinema as an institution located within specific contexts focusing on the ways in which this institution shapes gender, race, class, ethnic and national identities. This course examines how patterns of distribution, exhibition, and reception have influenced film aesthetics and film style over the last century. Through secondary readings, lectures, and discussions students critically examine how Japanese cinema as an institution both responds to and intervenes in the social, cultural, and political history of twentieth century Japan. The course is offered at the 300 and 700 levels, with additional assignments at the 700 level. (Same as EALC 315.)

In this course we will examine the cinemas from a range of Latin American countries to explore similar themes and differences between them historically, politically, and culturally. Themes will include: representation of gender, ethnic and national identities; civil wars and political changes; local, regional and global cinema interactions; countercultures and migrations. Along with themes, we will analyze narrative cinematic styles and modes of production. Most films will be feature-length narrative, but a few documentaries will be shown. May be taken as FMS 716, but with additional requirements.

An overview and exploration of the history of anti-war film and media themes to show how attitudes regarding war and political policy can be affected by positive and negative depictions of conflict. Course includes analysis of selected films.

A comprehensive introduction to Soviet cinema and its legacies in post-Soviet Russia. The course will examine what distinguished Soviet film industry from those in other countries and the ways in which it impacted the development of cinema worldwide. Films are analyzed both as artistic works (with attention to formal qualities, cinematic styles, and influences) and as documents that provide insight into the socio-political contexts of the times when they were made. We will also discuss influential contributions by Soviet filmmakers to our understanding of what makes film unique as an art form. The course is offered at the undergraduate and graduate level, with additional assignments at the graduate level. (Same as SLAV 322.)

This course explores how the film industries of key East Asian nations have constructed, reimagined, debated, and commemoralized their experiences of the major wars fought during the 20th century (i.e. The Greater East Asian War, the Chinese Civil War, the Korean War, and the Vietnam War). We will examine the intersection of various historical, political, cultural, and economic factors with the production of mainstream commercial film to consider how individual and collective memories of wars in Asia have transformed over time in different contexts. Films are particularly useful for examining how the cultural memory of wars survives and is conveyed from one era to another with each new generation reinventing and superimposing new layers of memory on the original phenomenon from a range of multiple perspectives. A central goal of this course is to provide students with various historical perspectives, cultural contexts, and analytical methods to develop your ability to apply visual literacy and critical thinking skills to contemporary Asian films about the major wars of the last century.

A study of cinematic representations of daily life, diversity, urban landscape, and social and political issues in modern and contemporary Rome as presented in different genres. Taught in English. (Same as ITAL 330.)

This course investigates representations of the Italian mafia in Italian and American cinema since the 1960s, placing emphasis on conventions of the gangster genre and its evolution. We will examine films in relation to their socio-historical contexts and special attention will be dedicated to Italian films that deglamorize the Italian mafia and champion the anti-mafia struggle. Taught in English. (Same as ITAL 331.)

A study of significant moments in Italian film history, including analysis of themes, genres, stylistics, directors, and film culture. May be repeated for credit with departmental permission. (Same as ITAL 332.)

This course is an examination of how anime has become a globally influential art form and industry. We will explore the history of anime, its effects on Japanese culture, and its reception across other cultures. Students will learn to engage with anime in order to make inquiries of history, gender and sexuality, industry, national identity, fan cultures, and other topics.

Comprehensive examination of most significant theories and theorists of film. Organized around specific questions, e.g., what qualities make film art unique, and how is film related to other visual and literary arts? Class discussion, individual projects. Formerly known as FMS 530. Prerequisite: FMS 100 or equivalent (determined by instructor).

Seminar on the major developments in the contemporary (1980-present) Japanese film industry examining how filmmaking practices and film criticism have been influenced by such issues as transnationalism, postcolonialism, critical race theory, postmodernism, and new media. We survey recent industrial and stylistic trends as well as key critical debates. Class discussion, reports, and individual research papers. The course is offered at the 300 and 700 levels, with additional assignments at the 700 level. Formerly known as FMS 543/EALC 543. (Same as EALC 343.) Prerequisite: Junior status.

Students will be introduced to major themes and debates in digital media studies and apply critical approaches for understanding new media practices, technologies, and theories. In addition to readings and lectures, students will engage in a variety of digital activities and participate in research-oriented projects. By the end of this course students will gain a foundational understanding of historical and emerging relationships between new media (internet, cell phones, digital games, etc.) and society, acquire key research skills, and experience a variety of new media texts and services. This course is offered at the 300 and 700 levels, with additional assignments at the 700 level.

This course offers a survey of global Indigenous cultures, theory and aesthetics in cinema and digital media. It establishes an Indigenous media optics by examining media practices across a broad contemporary spectrum-including music videos and social media platforms, podcasting and video games. As the course moves geographically, students learn how media practices in diverse communities situate identity and experience in related but unique contexts. Through weekly readings, screenings and design workshops, students build the critical tools necessary for an examination of the wide range of practices that lend themselves to Indigenous media sovereignty. This course is offered at the 300 and 700 level with additional assignments at the 700 level. Not available to students with credit in FMS 750 or ISP 755. (Same as ISP 355.)

In this course, students will utilize digital tools and platforms to create online and mobile stories based on the theories and histories of interactive storytelling discussed in class. Through a survey of digital storytelling examples and concepts, students will create interactive projects to add to their portfolio and learn how to think critically and write analytically about digital media.

Emphasis on writing a full-length screenplay. Explores genre, character, dialogue, and the development of a personal writing style. Prerequisite: FMS 273 (students will be selected based on writing samples).

A survey that combines animation history, theory, and production by examining animated works of all kinds and exploring various styles utilizing both hands-on techniques and digital animation programs. Lecture-laboratory.

Theory and practice of longer-form video production with emphasis on scripting, talent coordination and editing in preproduction, production and postproduction. Lecture-laboratory. Prerequisite: FMS 275.

Theory and practice of cinematography, with emphasis on creation of film, video, and digital imagery. Prerequisite: FMS 275.

Students become familiar with techniques and processes in film and video post-production including, but not limited to, editing, sound, post-production management, marketing, and distribution. This course is offered at the 300 and 700 levels, with additional assignments at the 700 level. Prerequisite: FMS 275.

An interdisciplinary examination of popular cultural forms and their relationships with the social, political and economic dynamics of America, with emphasis on film, media, music, literature (including magazines and newspapers) and the graphic arts. The decade or other specific topic to be studied changes as needs and resources develop. May be repeated for credit for different decades or topics.

An historical and theoretical survey of that major genre of film and video typically termed "documentary." The course will trace the main historical developments from documentary's beginnings through contemporary innovations. Formerly known as FMS 592. Prerequisite: FMS 100 and FMS 310, FMS 311, or consent of instructor.

A history of experimental film and video through an examination of major artists, movements, theories, and films/tapes. Formerly known as FMS 593. Prerequisite: FMS 100 and FMS 310, or consent of instructor.

A study of cinematic representations of daily life, diversity, urban landscape, and social and political issues in modern and contemporary Rome as presented in different genres. Taught in English. (Same as ITAL 399.) Prerequisite: Membership in the University Honors Program or permission of the instructor.

This course examines the way in which diversity in the United States, including race, class, gender, and sexuality, are represented through visual culture, historically and in the present. The study of visual culture analyzes the way in which visual images communicate systems of beliefs, contribute to identity formation, and have an influence on our thinking about diversity. Course looks at United States visual objects (i.e., film, television, photography, art, advertisements, and theatre as well as visual practices, i.e., in public and private spaces.

This course examines films made by women around the world. Mainstream and independent fiction, documentary, and experimental works will be screened and discussed. The objectives of the course are: 1) to learn the variety of films made by women and the conditions of their production, distribution reception. 2) to interrogate the idea of women's cinema as `counter-cinema'. We will acquire tools for analyzing films in terms of economic, aesthetic, cultural, and political circumstance by women of different countries, classes, races, ethnicities, genders, and sexual preferences. Formerly known as FMS 620.

This course considers the ethics of telling stories with film and media. Using a framework of rhetorical criticism and postmodern ethics, the students will evaluate the ethical and social responsibility challenges of fiction and non-fiction writing, films, television and online projects from a variety of fields: anthropology, sociology, journalism, political rhetoric and documentary filmmaking. Through readings, case studies and application, students will explore the fundamentals of rhetorical ethics, and the questions raised my new and emerging forms of storytelling.

This course surveys the history and aesthetics of videogames and then provides a deep dive into the theory, design principles and techniques of game development on the Unity platform. Through assignments geared toward critical design, students gain the skills necessary for game-building in the areas of visual, narrative, game, level and sound design that comprise a typical development team. Although no prior coding experience is necessary, students may benefit from prior knowledge of C#, 3D modeling, or animation.

Special projects in video production, using both studio and remote locations. Prerequisite: FMS 375.

Students will study and produce film and video work with an emphasis on sound design theory and practice. Course projects consist of several short works in response to readings and screenings, which include a survey of sound in cinema, internet and radio. Students will also become conversant with related equipment, software and techniques. Prerequisite: FMS 275.

Students will produce experimental film and video projects, including installation art and performance art pieces, in both collaborative and a collaborative production modes. Practical production aspects of historical experimental works will be studied, with emphasis on creation of works inspired by these earlier artists and their work. Unorthodox video and film production concepts and modes will also be studied and used in the creation of original works. The incorporation of experimental elements in the creation of mainstream works, and the creation of such projects, will also be a key area of study and experimentation. By pushing their individual creative limits, students will gain an appreciation for the experimental film and video genre, as well as an expansion of their production skills. Prerequisite: FMS 275.

This course will cover elements of the history, aesthetics, and business of music video and music video production. Students will view and discuss many different types of music videos, and will learn how to classify and critique these videos in a professional manner. Students will gain familiarity with the genres, themes, forms, and iconography of music video; an understanding of the place of music video in media culture; an exploration of the ideological, cultural, and historical contexts of music video; and an ability to create or assist in the creation of professional-quality music videos. Prerequisite: FMS 275.

This course integrates the knowledge and skills acquired across the curriculum of Film & Media Studies including academic studies, but also production and other related disciplines to enable the student to demonstrate achievement through the production of a major creative research project. Formerly known as FMS 585. Prerequisite: Must be admitted to the Film and Media Studies B.A. or B.G.S. degree. Must have completed one FMS production course.

Study may be directed toward either (a) reading for integration of knowledge and insight in film and media, or (b) original research (i.e., investigation of a specific problem in film and media). Six hours maximum credit. Prerequisite: Consent of Departmental Honors Coordinator.

Investigation of a special topic or project selected by the student with advice, approval, and supervision by an instructor. Such study may take the form of directed reading or special research. Individual reports and conferences. A maximum of six hours credit may be counted toward a degree. Prerequisite: At least seven hours credit in the department and consent of instructor.

A critical study of Africa and its peoples as depicted in films. The aesthetic, cultural, economic, political, historical, and ideological aspects of African films are examined. (Same as AAAS 555.)

As a platform for new representational mediums, the digital computer operates on procedural interaction, a quality largely responsible for the unique aesthetic elements of video games. This course will provide a deep dive into player-centric design principles and techniques as well as the iterative processes and workflows of game development. Students will work in collaborative development teams with computer science and illustration students, in order to design, build and playtest a video game. Students in this course will have the opportunity to further learn and specialize in one of several areas: narrative design, level design, art design, and sound design and music for games. No prior courses are required, but courses in screenwriting, animation, cinematography and/or sound design will be particularly helpful in preparation. Prerequisite: FMS 474 or permission of instructor.

The principles of screenwriting are developed through scene writing and analysis culminating in the writing and structure of a full-length, three-act screenplay. In addition to the class sessions taught with FMS 273 Basic Screenwriting, separate consultations and specific research assignments for graduate students in FMS 673 are also required.

Theory and practice of single-camera video production with emphasis on preproduction planning, scripting, directing, lighting, camera operation and audio. In addition to the class sessions taught with FMS 275 Basic Video Production, separate consultations and specific research assignments for graduate students in FMS 675 are also required. Lecture-laboratory.

Course organized any given semester to study particular subject matter or to take advantage of special competency by an individual faculty member. Topics change as needs and resources develop. Class discussion, readings, and individual projects.

Study with an approved film or media company. Emphasis may be in one or all of the following areas: acting, directing, or promotion management. No more than six hours may be applied to an M.A. degree. Graded on a satisfactory/unsatisfactory basis. Prerequisite: Consent of instructor.

This course surveys the major developments in patterns of distribution, exhibition, and reception and their influence on film aesthetics in twentieth century Japanese film. Through secondary readings, lectures, and discussions students will examine how Japanese cinema, as an institution, responds to and intervenes in the social, cultural, and political history of twentieth century Japan. The course is offered at the 300 and 700 levels, with additional assignments at the 700 level. (Same as EALC 715.)

In this course we will examine the cinemas from a range of Latin American countries to explore similar themes and differences between them historically, politically, and culturally. Themes will include: representation of gender, ethnic and national identities; civil wars and political changes; local, regional and global cinema interactions; countercultures and migrations. Along with themes, we will analyze narrative cinematic styles and modes of production. Most films will be feature-length narrative, but a few documentaries will be shown. In addition to the lecture sessions taught in tandem with FMS 316, additional research component, lecture presentation, and class meeting are also required.

An overview and exploration of the history of the portrayal of anti-war film and media themes to show how anti-war attitudes and political policy can be affected by positive and negative depictions of conflict. Analysis of selected films. FMS 318 and FMS 718 will meet concurrently, though separate consultations and specific research assignments for FMS 718 are also required.

A comprehensive introduction to Soviet cinema and its legacies in post-Soviet Russia. The course will examine what distinguished Soviet film industry from those in other countries and the ways in which it impacted the development of cinema worldwide. Films are analyzed both as artistic works (with attention to formal qualities, cinematic styles, and influences) and as documents that provide insight into the socio-political contexts of the times when they were made. We will also discuss influential contributions by Soviet filmmakers to our understanding of what makes film unique as an art form. The course is offered at the undergraduate and graduate level, with additional assignments at the graduate level. Not open to students with credit in SLAV 322/FMS 322. (Same as SLAV 723.) Prerequisite: Graduate standing or instructor permission.

Seminar on the major developments in the contemporary (1980-present) Japanese film industry examining how filmmaking practices and film criticism have been influenced by such issues as transnationalism, postcolonialism, critical race theory, postmodernism, and new media. We will survey recent industrial and stylistic trends as well as key critical debates. Class includes discussion, reports, and individual research papers. This course is offered at the 300 and 700 levels, with additional assignments at the 700 level. Not open to students with credit in FMS 343/EALC 343. (Same as EALC 743.)

Students will be introduced to major themes and debates in digital media studies and apply critical approaches for understanding new media practices, technologies, and theories. In addition to readings and lectures, students will engage in a variety of digital activities and participate in production-oriented projects. By the end of this course students will gain a foundational understanding of historical and emerging relationships between new media (internet, cell phones, digital games, etc.) and society, acquire key digital skills, and experience a variety of new media texts and services. This course is offered at the 300 and 700 levels, with additional assignments at the 700 level.

This course offers a survey of global Indigenous cultures, theory and aesthetics in cinema and digital media. It establishes an Indigenous media optics by examining media practices across a broad contemporary spectrum-including music videos and social media platforms, podcasting and video games. As the course moves geographically, students learn how media practices in diverse communities situate identity and experience in related but unique contexts. Through weekly readings, screenings and design workshops, students build the critical tools necessary for an examination of the wide range of practices that lend themselves to Indigenous media sovereignty. This course is offered at the 300 and 700 level with additional assignments at the 700 level. Not available to students with credit in FMS 350 or ISP 355. (Same as ISP 755.)

The principles of screenwriting are developed through scene writing and analysis culminating in the writing and structuring of a full-length, three act screenplay. In addition to the class sessions taught with FMS 373 Intermediate Screenwriting, separate consultations and specific research assignments for graduate students in FMS 773 are also required.

Theory and practice of multiple-camera video production with emphasis on preproduction planning, scripting, directing, lighting, camera operation, and audio. In addition to the class sessions taught with FMS 375 Intermediate Video Production, separate consultations and specific research assignments for graduate students in FMS 775 are also required. Lecture-laboratory.

Theory and practice of cinematography, with emphasis on creation of film, video, and digital imagery. FMS 776 meets concurrently with FMS 376; students enrolled in the graduate-level course will have separate consultations and specific research assignments. Lecture-laboratory. Prerequisite: Consent of instructor and FMS 675.

Students will become familiar with techniques and processes in film and video post-production including, but not limited to, editing, sound, post-production management, marketing, and distribution. This course is offered at the 300 and 700 levels, with additional assignments at the 700 level. Prerequisite: Consent of instructor.

Major emphasis is placed upon the principles of research, bibliographical data, and research methods useful in film and television. The course should be taken at the beginning of the graduate student's program.

Preparation and training for faculty careers in film and related fields, including research skills and methods, responsible scholarship, teaching, and service. Other topics vary from semester to semester. May be repeated for credit.

Intensive study of the artistic, economic, and sociological development of the American sound film with emphasis on the studio system, major directors, genres, and the impact of television.

Intensive study of the artistic, economic, and sociological development of the international sound film with emphasis on the cinemas of England, France, Italy, Germany, Sweden, and Eastern Europe.

A history and critical assessment of the development of diverse images of African-Americans in American cinema and the impact of those images of American society. Screenings of feature and independent films, including those by African-Americans. In addition to the lecture/screening sessions taught in tandem with FMS 314, a separate discussion section and specific research assignments for graduate students enrolled in FMS 814 are also required.

This seminar will be primarily international in scope and will concentrate on the following: technological and production issues relating to the transition in 1927-1931 of silent to sound film; the constructions of national identity, including those of recently emerging cultures; a comparison and contrast of the censorial agencies in America and abroad; and current revisionist perspectives on received film and media history.

This seminar is a comprehensive survey of the major classical and contemporary film and media theories and theorists, such as Munsterberg, Eisenstein, Bazin, and Adorno. The course includes film and media theory since the 1970s, moving through structuralism and into the posts: -structuralism, -modernism, -colonialism, and beyond. Within these broad paradigms some of the theories examined in depth are cinesemiotics, Marxism, cinematic apparatus, feminist film theory, reception theory, new media and virtual reality.

Special projects in video production, using both studio and remote locations. In addition to the class sessions taught with FMS 475 Advanced Video Production, separate consultations and specific research assignments for graduate students in FMS 875 are also required. Prerequisite: FMS 775 or consent of instructor.

Intensive interdisciplinary examination of popular culture forms and their relationships with the social, political, and economic dynamics of America in a specific decade, with emphasis on film, broadcasting, theatre, music literature (including magazines and newspapers), and the graphic arts. Decade to be studied changes as resources and needs develop.

The student plans and executes an intensive special project which requires the professional skills of investigation and performance appropriate to radio, television and/or film. May be repeated for credit up to a maximum of six credit hours. (This seminar is to the special project program what "thesis" is to the traditional program.)

Various approaches to the illustration of principles of production in film and/or video through the supervision of laboratory exercises and subsequent evaluation by the Theatre and Film graduate faculty.

Directed research and experimentation in film or media. Limited to eight hours credit toward the Master's degree.

A graduate seminar devoted to selected historical, theoretical, or critical issues. Prerequisite: Consent of instructor.

This is a 6 week online course designed to identify what is unique about the KU Dance experience, and to introduce students to the requirements for a BA or BFA degree. The course examines issues of academic integrity, informs students about academic support available to them, familiarizes students with the expectations of a dance major and suggests career opportunities for dance majors. Students complete five modules: Getting Started, Programs and Degrees, Academic Integrity and Support, Expectations and Career Pathways to provide a foundation for academic success in the major.

Classical and modern approaches to the language of ballet for beginners. May be repeated for credit. Does not count toward the dance major requirements.

Dance technique for beginners based on elements of Latino, African, popular and classical jazz dance forms. May be repeated for credit. Does not count toward the dance major requirements.

The introductory-level course in a series of four composition courses (DANC 150, 250, 350 and 550). Includes basic exploration of improvisation: movement studies for solo figure, movement themes for duet, trio, and larger groups; and dances for non-traditional performing spaces both indoors and outdoors. Students will learn fundamental ingredients of dance (space, time, weight, and energy flow) and how to organize them into short compositional forms such as ABA, verse/refrain, or narrative. Prerequisite: Consent of instructor.

An introduction to the analysis and use of rhythms and the compositional forms of music for dance.

Classical and modern approaches to ballet technique for low intermediate dancers. May be repeated for credit. Counts toward the B.A. in Dance and Dance Minor requirements. Prerequisite: DANC 101 or consent of instructor.

Dance technique for low intermediate dancers with precedents in the movement vocabularies of classical modernists and contemporary choreographers of dance. May be repeated for credit. Counts toward the B.A. and the Minor in dance requirements. Prerequisite: Permission of instructor.

Dance technique for experienced beginners based on elements of Latino, African, popular and classical jazz dance forms. May be repeated for credit. Counts toward the B.A. and Minor in dance requirements. Prerequisite: DANC 105 or consent of instructor.

The intermediate course in a series of four composition courses (DANC 150, DANC 250, DANC 350 and DANC 550.) Includes more complex exploration of improvisation; movement studies for solo figure, movement themes for duet, trio, and larger groups; and dances for non-traditional performing spaces both indoors and outdoors. Students will further develop the ingredients of dance (space, time, weight, and energy flow) and how to organize them into studies including compositional forms such as ABA, verse/refrain, or narrative. Prerequisite: DANC 150 or consent of instructor.

This course focuses on the dance and movement vocabulary uniquely associated with musical theatre productions, as well as a variety of popular dance styles from the 1920s to the present. Performance techniques for the stage are emphasized.

The Sophomore Review of all majors in the BA program in Dance provides an assessment of student progress in the degree. Transfer students to the BA program participate in the year following their admission to KU. The review process consists of:verification that students are making academic progress: Students should have an overall GPA of 2.0; a self-evaluation composed of written responses to a series of questions about their own artistic, technical and discipline-specific academic progress in the program; a faculty evaluation comprised of written feedback on each students artistic, technical and discipline-specific academic progress in the program; and participation in at least one speedback session prior to the end of the second year. Speedback is a feedback process modeled on the speed dating format. All majors sit with faculty members for 5-minute intervals to receive individual feedback. Students engage with professors with whom they have been in technique class or rehearsal for the current year. There are no prerequisites for entry into the course. The completion of the course will be a prerequisite for enrollment in DANC 550 Senior Project.

Advanced level technique in classical and modern approaches to the language of ballet. May be repeated for credit. Prerequisite: Instructor consent.

Dance technique for intermediate/advanced dancers with precedents in the movement vocabularies of classical modernists and contemporary choreographers of dance. May be repeated for credit. Counts toward the B.A., B.F.A., and the Minor in dance requirements. Prerequisite: Consent of instructor.

Dance technique for intermediate dancers based on elements of Latino, African, popular and classical jazz dance forms. May be repeated for variable credit. Prerequisite: DANC 105 or consent of instructor.

Basic fundamentals of hip-hop dance. Students will learn basic steps for choreography and freestyle based on all urban street styles. They will learn the origins and history of the hip hop movement and all urban street styles through lectures and class participation.

Introduces the principles of tap dance including rhythm, clarity of sound, syncopation and weight shift. Emphasis is placed on proper execution of basic tap technique, step knowledge, weight distribution, and the development of basic rhythm and syncopation skills. The course will be based on "stomp tap" and "rhythm tap", working with/without the music to make clear patterned sounds.

A dance repertory, performance and production class. Emphasis is on the development of skills for performing and/or producing dance concerts. Admission by audition only. May be repeated for credit.

This course provides historical and cultural context for selected dance forms and how they relate to the times and cultures in which they evolved. Students explore dance as an art form, cultural practice, and meaning-making activity focusing on histories of race, gender, sexuality, class, and nation. Through readings, master classes, live performance, and video/film, students develop an understanding of dance studies research.

The advanced course in a series of four composition courses (DANC 150, DANC 250, DANC 350 and DANC 550.) Includes in-depth development of improvisation: movement studies for solo figure, movement themes for duet, trio, and larger groups; and dances for non-traditional performing spaces both indoors and outdoors. Students will develop increasingly complex studies of dance (space, time, weight, and energy flow) including compositional forms such as ABA, verse/refrain, or narrative. Prerequisite: DANC 250 or consent of instructor.

Basic concepts of neuromuscular and skeletal education through the use of specific imagery (ideokinesis). Based on the work of Mabel Todd, Lulu Sweigard, and Irmgard Bartenieff, the emphasis is on body connectedness and dynamic alignment. The aim is to realize full movement potential in the most efficient way through intrinsic body awareness. Injury prevention is addressed by introducing principles of conditioning (strength, flexibility, endurance) and factors leading to injury such as muscular imbalances or postural deviations.

Advanced level technique in classical and modern approaches to the language of ballet. Prerequisite: Consent of instructor.

Intermediate/advanced hip hop dance. Students will learn intermediate/advanced hip hop skills, combinations, and choreography. Greater focus will be placed on intermediate/advanced steps, isolations, and body control. Prerequisite: Hip Hop Fundamentals or permission of instructor.

Intermediate/advanced tap dance. A continuation of the principles introduced in Tap Fundamentals including rhythm, clarity of sound, syncopation and weight shift. Proper execution of intermediate/advanced tap technique including step knowledge, weight distribution, and the development of rhythm and syncopation skills is emphasized. Prerequisite: Tap Fundamentals or permission of instructor.

This is a hands-on course exploring digital video technology for dance. Students are introduced to video and website production as well as the time management skills necessary to engage the multi-faceted project that is dance video. We will cover video techniques for recording dance; video editing; collaborating with national and international sites and artists; and self-promotion and marketing strategies with video and websites. The final project will be the creation of a video website for each student. No previous video editing experience is required. Prerequisite: Basic computer literacy.

Classical East Indian dance has an extensive movement vocabulary that emphasizes the coordination of rhythmic foot patterns with intricate hand gestures. Students will learn the mudras (hand gestures) and their significance and integration within each dance. Readings will include excerpts from the Natya Sastra and other treatises of East Indian dance and culture.

Through research and reconstruction, students will examine major topics in dance history, such as the meaning and function of dance in pre-industrial societies, communal and court dance in Europe from the 14th to the19th centuries, and the transformation and development of dance as a theatre art in the modern world. Texts by dance historians and treatises by dancing masters will be supplemented by readings from fields, such as anthropology, philosophy, art history, and literature, that indicate the different ways of approaching the history of dance.

Designed to provide an overview of key areas in career preparation in the arts, including resume writing, audition skills, professional speaking, grant writing and development, publicity and marketing strategies, developing relationships with presenters and funders, and audience education. Through readings, class discussion, guest lectures with professionals, and projects based on real-life scenarios, students develop tools to further their careers in the arts. This focused study also provides individuals with the direction and means to employ their training in the field of performing arts administration and management at many different levels. This course prepares students for their entry into the professional arts marketplace.

Using the basic compas (rhythmic structures) of Flamenco, we will explore the different components of flamenco dance technique: floreo (spiraling fingers), brazeo (arm movements), palmas (rhythmic hand-clapping), marcaje (marking, or movement through space), vueltas (turns) and zapateado (footwork). We will cultivate an awareness of flamenco's unique posture, learn the structure of the different rhythmic forms and introduce the possibilities for personal expression and improvisation.

Investigation of a special topic or project in aesthetics, dance history, movement analysis, production, or a creative project. A maximum of six hours may be counted toward graduation. Prerequisite: At least seven hours of credit in dance courses.

Methods and materials designed to address the needs of teaching artists across genres of dance (ballet, modern/contemporary, jazz, creative movement) among children, adults and special populations. Lessons are prepared and tested in the classroom among peers. Prerequisite: Consent of Instructor.

Supervised experience in teaching beginning level dance technique in the styles of ballet, jazz, or modern dance. Different approaches are analyzed, discussed, and tested in the studio. Prerequisite: Intermediate level of dance technique in the style of the practicum.

Teaching ballet, modern, or jazz dance technique to children or adults with faculty supervision in an academic or community program. Prerequisite: Consent of instructor.

In-depth research project in dance theory or history, or choreography project involving the complete development and presentation of a dance idea. Prerequisite: Performance option: DANC 320, DANC 350, DANC 290 (for BA students only) and permission of the dance division. Research option: DANC 340, DANC 370, DANC 375, DANC 460, DANC 462, DANC 290 (for BA students only) and permission of the dance division.

A study of current developments in dance with an emphasis on performance or research. May be repeated for credit. Prerequisite: Junior or senior standing or consent of instructor.

Directed study in some aspect of aesthetics, dance history, movement analysis, production, or an advanced creative project. Prerequisite: Consent of instructor.

Designed to help students by means of experience with theatre as well as study about it to achieve an understanding of its cultural role in contemporary society, to develop a sensitive and informed appreciation of its art, and to make it an integral part of their cultural lives. Lectures, discussion groups, special interest groups, theatre attendance.

One crew assignment in a University Theatre & Dance production qualifies for 1 credit hour. May be repeated for credit.

Designed to free the beginning actor, develop creativity and imagination. Fundamentals of improvisation technique and skills through physical work, deep listening and focus. Ensemble building emphasized with exercises and games, the work will progress to sketch writing and performance.

This course examines fundamental techniques in acting. Students will learn terminology, use of actor’s instrument, analyze scripts and critically respond to performances.

This course introduces students to techniques in applications of make-up for specific characterizations. Study of bone and muscle structures to pertinent areas, corrective makeup, fantasy makeup, prosthetic and hair applications are all covered in this course.

Emphasis on drafting, model building, and presentational techniques for the theatrical designer or art director. Some work in computer drafting for the designer-technician. Lecture and laboratory periods.

This course offers a unique approach to public speaking grounded in theatre practice and performance studies. A combination of speech assignments and theatre exercises teaches students to integrate body and mind while speaking across social, cultural, and disciplinary boundaries.

One crew assignment in a University Theatre & Dance production qualifies for 1 credit hour. May be repeated for credit. Prerequisite: THR 101.

The study of roles and scenes from plays. Practice in character analysis, creation of roles, rehearsal of scenes, and ensemble work. Prerequisite: THR 106.

Beginning Studies in Musical Theatre Performance: practical application of voice, acting and movement techniques for musical theatre, solo and group performance.

This course provides an introduction of proper use, mechanics, and maintenance of the voice on stage. Students will learn to free their "natural voice" in order to perform on stage with vocal freedom, safety, and control. The chart of the International Phoenetic Alphabet (IPA) will be applied to training.

A foundational course in discovering ease and efficient use of the body in a performance context, developing non-verbal communication and partnering skills, and establishing the connection of movement to voice production. This course trains actors in proper warm-up technique, alignment and balance, and physical safety.

Conceptualization and visualization of the elements involved in creative design for theatre, dance, television, and film.

Introduction to the planning, construction, and mounting of scenery for theatre, television, and film. Concentration on the technical organization of scenic production. Lecture, discussion, and laboratory periods.

Introduction to techniques of costume construction, including study of fabrics, color, fundamentals of pattern making, and draping of costumes for theatre, television, and film. Concentration on the technical organization of costume production. Lecture, discussion, and laboratory periods.

Introduction to the planning and execution of lighting for theatre, television, and film. Concentration organized any given semester to study particular subject matter or to take advantage of special competence by an individual faculty member. Topics change as needs and resources develop. Class discussion, readings, and individual projects.

One crew assignment in a University Theatre & Dance production qualifies for 1 credit hour. May be repeated for credit. Prerequisite: THR 201.

Course organized any given semester to study a particular subject matter or to take advantage of special competence by an individual faculty member. Topics change as needs and resources develop. Class discussion, readings, and individual projects.

This course is designed for the study of special topics in Theatre at the junior/senior level. Credit for coursework must be arranged through the Office of KU Study Abroad. May be repeated for credit if content varies.

Advanced projects in acting. Character and scene analysis, scoring the role, rehearsal, and performance. Prerequisite: THR 206.

Supervised study with an approved theater company or project. May be repeated for credit. No more than six hours may be applied to the B.A. or B.G.S. degrees. Prerequisite: Consent of instructor and at least seven hours credit in the department.

This course introduces students to a range of practical strategies to conduct in-depth study of performance scripts. Students will analyze dramatic structure, content, and meaning as they are used in preparation for performing arts.

Intermediate Studies in Musical Theatre Performance: practical application of voice, acting and movement techniques for musical theatre, solo and group performance. Prerequisite: THR 106 and THR 210.

The study of diverse physical acting techniques, and an investigation into creating a character through manipulation of the acting instrument. Actor training in performance neutrality, mask work, age, and gender distinctions. Prerequisite: THR 213 and permission of instructor.

Stage Management is an introduction to the job and responsibilities of a professional stage manager. Through a general examination of what a stage manager does throughout the process of running a show, students gain basic knowledge of every facet of the skills needed from pre-production to final performance. Through a combination of integration and application, with a strong focus on problem solving, the course introduces students to much of the backstage logistical and otherwise unseen work that makes theater possible.

Study of scenic design process with beginning problems in textual analysis, style, historical research, and preliminary and finished methods of design presentation. Concentration on developing fundamental design skills and awareness. Prerequisite: THR 116 and THR 215, or permission of instructor.

Rendering for Designers is a beginner’s course that will take a student from beginning level to pre-professional manual rendering techniques. Upon the completion of this class, the student will have acquired a basic knowledge of figurative proportions, architectural scale, and will be able to demonstrate theatrical lighting needs in a drawing or painting.

Study of the costume design process with beginning problems in textual analysis, style, historical research, and preliminary and finished methods of design presentation. Concentration on developing fundamental design skills and awareness. Prerequisite: THR 215.

Study of the lighting design process with beginning problems in textual analysis, style, historical research, with preliminary and finished methods of design presentation. Concentration on developing fundamental design skills and awareness. Prerequisite: THR 116 and THR 215, or permission of instructor.

A study of the origin and development of continental African theatre and its affinity to the Levant. Traditional, colonial and contemporary dramatic theories and experiments will be examined in play selections. (Same as AAAS 355.)

A historical study of Black Theatre in the U.S.A. from its African genesis to its contemporary Americanness. Epochs in African-American dramaturgy will be critically examined. (Same as AAAS 356.)

An introduction to the general techniques of non-verbal theatrical conventions in African cultures. Practical training in movement vocabulary will be supplemented by lectures on the "text" of performance. (Same as AAAS 334.)

This seminar focuses on theatre art production under extreme situations. Do artists have a moral obligation to bear witness to genocide and war? Lectures, historical and theoretical readings, play texts, dance performance, and films provide students with a context within which to explore such issues as: the function of the performing arts under duress; the artist's role under and in response to atrocity; and how art aids us to explore the human condition. Class discussion, readings, and individual projects. This course is offered at the 300 and 600 level with additional assignments at the 600 level. Not open to students with credit in JWSH 645 or THR 645. (Same as JWSH 345.) Prerequisite: THR 308 or instructor permission.

This course provides an interdisciplinary examination of popular culture oriented around a specific genre or theme. Objects of study may include popular forms of live performance, as well as media-based performances. Specific topic to be studied changes as needs and resources develop. May be repeated for credit for different topics.

Majors are assigned to stage manage or assistant direct a University Theatre production, or to take related workshops in stage management or assistant directing. May be repeated for credit

This course prepares students for all types of audition experiences. It includes study in techniques of prepared auditions, cold readings, interviews, and the musical audition for actors. Emphasis is placed upon developing resumes and photo portfolios as well as concentrated study in professional contracts, unions, and agent acquisition. Prerequisite: THR 206.

This course is designed for the study of special topics in performance techniques involving advanced skills for the actor at the junior/senior level. Specific topic to be studied changes as needs and resources develop. May be repeated for credit for different topics. Prerequisite: THR 306. Theatre major or minor students.

This course involves close study of performance texts and source material, with an emphasis on dramaturgical praxis, including an overview of the history/theory of the dramaturg. This course is offered at the 400 and 800 level with additional assignments at the 800 level. Not open to students with credit in THR 808.

Advanced Studies in Musical Theatre Performance: practical application of voice, acting and movement techniques for musical theatre, solo and group performance. Prerequisite: THR 106, THR 210, and THR 310.

Study of the illusion of violence in a dramatic context and the special skills necessary for creating believable and safe stage fights. Actor training in armed and unarmed combat, including one or more of the following: rapier and dagger, broadsword, and quarter staff. Prerequisite: THR 313 and permission of instructor.

The course develops an understanding of the postcolonial concept and its different manifestations in theatre and drama across nations and cultures. It approaches postcolonialism as a way of reading theatre, and as a genre within theatre by exploring how the "colonial project" has reconfigured the concept, content, and context of theatre in both colonized and colonizing cultures. In addition to the study of postcolonial playwrights and their works, the course is also an introduction to postcolonial theory and its critics. (Same as AAAS 429.)

Individual creation of an original product that integrates theatre knowledge and skills. Selected in advance with advice, approval, and supervision by an instructor. Prerequisite: Consent of instructor, senior level status, and 3.5 GPA in Theatre and 3.25 GPA overall at the time of enrollment.

Individual creation of an original product that integrates theatre knowledge and skills. Selected in advance with advice, approval, and supervision by an instructor. Prerequisite: Consent of instructor and junior or senior level status.

A study of acting techniques appropriate to the requirements of the camera and rhythm of on-camera work. Topics include industry standard terminology, preparation and production practice. Prerequisite: Permission of instructor.

Offered as an initial approach to play directing, this course introduces students to practical and theoretical aspects of the craft of stage directing. Prerequisite: THR 308.

This is an advanced voice and speech course for actors aiming to further increase their command over tone, rhythm, pacing, and diction. Their range and power will be extended. Through discovery of the demands of a variety of classical texts, the actor will be challenged both in verse and in prose to develop the skills necessary to fully interpret that material. Prerequisite: THR 212.

Study of painting equipment, tools, pigments, binders, and vehicles, and their relationship to the surfaces to be painted. Instruction in basic painting techniques. Prerequisite: THR 116 and THR 215.

Study of new media in theatre and film/video production, primarily computer technologies and methods for the theatrical designer or art director. Emphasis on computer 3-D modeling and color rendering. Prerequisite: THR 116, THR 215, or permission of instructor.

Holistic production design, including lighting, scenery, and costumes, for classic theatre scripts. Contrasts historical styles of production with styles for contemporary spaces and audiences. Projects tailored to the needs and level of the students. This course is offered at the 500 and 700 level with additional assignments at the 700 level. Not open to students with credit in THR 720. Prerequisite: Consent of instructor.

This course concerns holistic production design, including lighting, scenery, and costumes, for modern and contemporary theatre scripts. The course examines modern and contemporary styles of production. Projects are tailored to the needs and levels of the students. This course is offered at the 500 and 700 level with additional assignments at the 700 level. Not open to students with credit in THR 721. Prerequisite: Consent of instructor.

A survey of Western style from ancient Egypt to the Restoration. Focus is placed on developing a comprehensive understanding of the stylistic relationships between art, architecture, clothing, decor, manners, and social and political history. Prerequisite: Nine hours in theatre/design/technical courses or consent of instructor.

Continuation of THR 520, from the Restoration to the present day. Prerequisite: Nine hours in theatre/design/technical courses or consent of instructor.

Study of developments in world theatre and drama from the ancient world to the eighteenth century. Prerequisite: THR 308.

Study of developments in world theatre and drama since the eighteenth century. Prerequisite: THR 308.

Historical approach to the development of theatre and performing arts in the United States. Prerequisite: THR 308.

Seniors collaborate as a theatre company to create an original production that integrates several of the following areas: improvisation, playwriting, acting, directing, dramaturgy, design, technical production, and stage management. Collaboration of group project approved in advance with advice, approval, and supervision by at least one instructor. Prerequisite: Senior level and consent of at least one instructor.

Individual studio activity. Course content to be determined by the student under the supervision of a faculty member. May be repeated for credit in subsequent semesters. Prerequisite: Permission of instructor.

Continuation of THR 517. Emphasis on computer-generated images as scenic media in production situations. Prerequisite: THR 517, or permission of instructor.

Holistic production design, including lighting, scenery, and costumes, for musical theatre, opera, and dance. Examines development and changes in design styles in the evolution of musical theatre, opera, and dance and the special requirements of these forms. Projects tailored to the needs and level of the students. This course is offered at the 600 and 800 level with additional assignments at the 800 level. Not open to students with credit in THR 820. Prerequisite: Consent of instructor.

Holistic production design, including lighting, scenery, and costumes, for contemporary scripts. Examines contemporary episodic scripts written for the stage that are based on a filmic structure, the special problems of these kinds of scripts, and the respective problems of designing for theatre and film. Projects tailored to the needs and level of the students. Prerequisite: Consent of instructor.

Holistic production design, including lighting, scenery, and costumes, for experimental scripts/scenarios. Examines experimental approaches to a variety of script/scenarios, including mixed-media production. Projects tailored to the needs and level of the students. This course is offered at the 600 and 800 level with additional assignments at the 800 level. Not open to students with credit in THR 822. Prerequisite: Consent of instructor.

This seminar focuses on theatre art production under extreme situations. Do artists have a moral obligation to bear witness to genocide and war? Lectures, historical and theoretical readings, play texts, dance performance, and films provide students with a context within which to explore such issues as: the function of the performing arts under duress; the artist's role under and in response to atrocity; and how art aids us to explore the human condition. Class discussion, readings, and individual projects. This course is offered at the 300 and 600 level with additional assignments at the 600 level. Not open to student with credit in JWSH 345 or THR 345. (Same as JWSH 645.) Prerequisite: THR 308 or graduate standing, or instructor permission.

Course organized any given semester to study particular subject matter or to take advantage of special competency by an individual faculty member. Topics change as needs and resources develop. Class discussion, readings, and individual projects.

Research reading and presentation of reports on specific subjects related to the students major area of specialization. May be repeated up to a total of six credits on petition. Prerequisite: Instructor Consent.

This course is designed for the study of special topics in Theatre. Credit for coursework must be arranged through the Office of KU Study Abroad. May be repeated for credit if content varies.

Study with an approved theatre company. Emphasis may be in one or all of the following areas: acting, directing, stage management, technical theatre, promotion management. No more than six hours may be applied to an M.A. degree. Graded on a satisfactory/unsatisfactory basis. Prerequisite: Consent of instructor.

Offered as an advanced course in play directing. Theory is combined with practical application to explore the craft of directing using a variety of styles in classic and contemporary theatre. Lecture and laboratory periods.

This course introduces graduate students to general concepts of teaching and teaching preparation as well as current methods and strategies that are specific to teaching drama, history, design, or performance techniques. Students learn through guided readings and practical application.

Individually supervised directing of theatre pieces for public presentation. In special cases, credit may be given for musical direction, dramaturgy, choreography, or stage management. Prerequisite: Consent of instructor.

To be taken by M.F.A. candidates during those semesters in which they are assigned to design one or more elements in a production to be mounted on one of our stages. Weekly critique and discussion of solutions to practical design problems from conception through execution. May be repeated for a total of no more than six hours credit. Prerequisite: Consent of instructor.

Holistic production design, including lighting, scenery, and costumes, for classic theatre scripts. Contrasts historical styles of production with styles for contemporary spaces and audiences. Projects tailored to the needs and level of the students. This course is offered at the 500 and 700 level with additional assignments at the 700 level. Not open to students with credit in THR 518. Prerequisite: Consent of the instructor.

This course concerns holistic production design, including lighting, scenery, and costumes, for modern and contemporary theatre scripts. The course examines modern and contemporary styles of production. Projects are tailored to the needs and levels of the students. This course is offered at the 500 and 700 level with additional assignments at the 700 level. Not open to students with credit in THR 519. Prerequisite: Consent of instructor.

A study of the development of Russian theatre and dramatic literature from 1898 to the present. Lectures and readings in English. (Same as SLAV 762.)

Major emphasis is placed upon the principles of research, bibliographical data, and research methods useful in theatre and performance studies. The course should be taken at the beginning of the graduate student's program.

Preparation for faculty careers in theatre and related fields, including issues of research, teaching, and service. At least three hours per semester will be devoted to training in responsible scholarship. May be repeated for credit.

This course involves close study of performance texts and source material, with an emphasis on dramaturgical praxis, including an overview of the history/theory of the dramaturg. This course is offered at the 400 and 800 level with additional assignments at the 800 level. Not open to students with credit in THR 408.

Individually supervised advanced directing of theatre pieces for public presentation. In special cases, credit may be given for musical direction, dramaturgy, choreography, or stage management. Prerequisite: Instructor consent.

Readings, lectures, discussions and papers on acting and directing theory; is concerned with the divergence between presentational and representational acting methods and the emergence of directing art.

Continuation of THR 719, but production design assignments will be more complex and larger in scope. May be repeated for maximum of six hours credit. Prerequisite: Six hours of THR 719 and consent of instructor.

Holistic production design, including lighting, scenery, and costumes, for musical theatre, opera, and dance. Examines developments and changes in design styles in the evolution of musical theatre, opera, and dance and the special requirements of these forms. Projects tailored to the needs and level of the students. This course is offered at the 600 and 800 level with additional assignments at the 800 level. Not open to students with credit in THR 618. Prerequisite: Consent of instructor.

Holistic production design, including lighting, scenery, and costumes, for experimental scripts/scenarios. Examines experimental approaches to a variety of script/scenarios, including mixed-media production. Projects tailored to the needs and level of the students. This course is offered at the 600 and 800 level with additional assignments at the 800 level. Not open to students with credit in THR 620. Prerequisite: Consent of instructor.