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.