Film & Media Studies

This course enriches students' culture by deconstructing many prejudices about a film genre that is often caricatured. It also provides a parallel view of the evolution of a young nation, and the main problems linked to its expansion. Working with films and documents emphasizes the importance of speaking out and constructing an argumentative discourse. Students also work on their writing skills through research projects.

This lesson help to students understand the basic concepts , the basic process of video editing, editing methods, effects compositing and output. We will learn and master the basic grammar non-linear editing commonly software in Avid Media Composer, and the use of early shooting equipment. We will understand master upload video clips, video editing, sound effects, subtitles, special effects, color correction, video output and other practical skills.

This course looks at the industrial, technological, and cultural changes in serial television and explore the themes, narratives, and aesthetics of contemporary long-form television. Students are introduced to key conceptual approaches to serial television as an artform and a production practice, examining seriality and long-form storytelling; notions of complexity; discourses of quality, taste, and cultural value; questions of authorship; innovations in visual style and sound design; the rise of streaming services such as Netflix; new viewing practices and habits (such as "binge-viewing"); and issues of gender equality and ethnic diversity on- and off-screen.

This course explores an appreciation of the unique aesthetics of fiction and non-fiction film from a holistic perspective.  The course looks at works from author-directors; documentaries, and anthropological films (also known as visual ethnography), which are categorized into different themes; the course them aims to see different expressions of the same theme in different films with a comparative discussion of films from other cultures.

The selected films are all Chinese language films, which means the class will enter the context of Chinese culture through the film text. It is not only the lines told in Chinese and the scenes taken on the ground in China, but the “the Chinese emotional presentation” and "the Chinese way of viewing.” 

The course also discusses a range of possibilities arising from the collision of film as an art form with the Chinese context.

This course offers an exploration of radical film and television in French Surrealism, Soviet Montage, Hollywood, and Third Cinema. It explores how cinema and television have provided a space for the representation of both radical ideas and radical aesthetics; introduces students to a wide range of radical texts from French Surrealism to Soviet Montage, from Hollywood to Third Cinema, analyzing feature films, documentaries, and television drama, and examines what is at stake in the attempt to challenge mainstream aesthetic norms and political ideologies.

This course introduces the diversity of crime fiction and film, with a dedicated focus on the linkages among different geographical regions and cultural traditions. By examining common or similar plot elements and artistic techniques, the course conveys how authors and filmmakers employ them in tales about crime to arouse audience interest. Students sample Western detective fiction and Chinese court-case fiction, as well as their adaptations in Japan and Latin America. The emphasis on grasping the tenets of adaptation will also be imparted through analyzing the relations between print media and moving images.

Through the study of this course, international students can go from scattered knowledge to targeted "liking" of Chinese films, and even through appreciating representative Chinese film masterpieces, they can have a deeper understanding of the direction and characteristics of Chinese history and culture, and the artistic achievements of Chinese films, thereby gaining a deeper understanding of China, the Chinese people and Chinese culture.

The course explores various aspects of cinema in Egypt and the Arab World in order to understand its history and determine the themes, styles, and character of this cinema which has been historically among the most influential in national world cinemas. It covers selected films by a number of auteurs from Egypt, Lebanon, and Palestine. Special attention is paid to form and style, as well as recurrent themes; for example, the civil war and Israeli invasions in the case of Lebanon, and the Israeli occupation in the case of Palestine. Additional topics include areas such as New Arab Cinemas, classical Egyptian cinema, the Arab film industry, and independent Arab cinema.

This course examines the evolving realities of the various media industries in Hong Kong, China, and beyond. The overarching questions to be discussed in the class include: How can one characterize the configuration of the contemporary media industries? What are the key trends underlying the transformation of the media industries? What are the implications of these transformations for “media workers”? What does it mean by working as a journalist, a creative content producer, an advertiser, etc. in the contemporary world and in the future? What are the communication practices involved in the various industries? What are the broader social, cultural, and political implications of the transformation of media work and media industries?

This course introduces students to key theoretical debates that have emerged in the study of Scotland’s relationship with the film and television industries. Important questions include: Who is responsible for constructing Scotland’s identity onscreen? How are Scotland and Scottishness depicted? Why do certain representations dominate over others? The course begins by exploring "Hollywood Scotland," concentrating on the commercial cinematic representation of Scotland and Scottishness found in Mel Gibson’s BRAVEHEART (1995). This is then contrasted with a more local construction of Scotland found in the long running television show TAGGART (ITV, 1983-2011). The class concludes by considering filmmaking in contemporary Scotland, first through contemplation of the importance of short films in the Scottish context, focusing in particular on the shorts and careers of Lynne Ramsay, Peter Mullan, and Morag McKinnon, and second through examination of the Scottish/Danish co-produced Advance Party initiative.