Film & Media Studies

Through watching Chinese films, the students would learn Chinese culture, understand Chinese society and enhance their Chinese language (advanced Chinese level).

This courses examines a widespread phenomenon in the history of narrative that deals with the fantastic. Taking a transcultural and transmedia approach to the study of the fantastic, this course investigates its expressions in literary and cinematic narratives from a variety of historical periods and cultural traditions, in association with genres as diverse as fairy tales, science fiction, gothic romances, psychological thrillers, legends, love stories, and so on. This expansive view not only allows us to appreciate the adaptability of the fantastic as a discursive narrative mode, but also creates opportunities for us to understand its varying connections with its native cultures, as it migrates across cultural boundaries.

This course examines techniques of video shooting and editing. During the course, students produce short news stories. The emphasis is on the mechanics of shooting and editing for TV news.

This course further enables students to understand the relationship between the media and social change, so as to use of knowledge of communication and journalism in a better way. 

Advertsing planning and creativity is a basic course for undergraduates majoring in advertising. The teacher will be combined with professional features of the class to design the course, including theoretical lectures, after-school exercises and layout arrangements for the group and guidance from the teacher. Courses using multimedia teaching, guide students study in the unique context of contemporary advertising creativity in China, such as the creative and copy in the advertising practice, advertising and creative industries, creative thinking and its expression, to lead the students to research thinking.

This course is an opportunity to watch, discuss, understand, evaluate, and develop audiovisual narratives around brands. This course entices students to amplify their vision of the advertising film industry, its history, current best practices, and new challenges. From the 30/60-seconds-ads to the social media video content, students work on the storytelling behind campaigns and have the opportunity to produce audiovisual ads for clients chosen by the students. This course covers advertising and cinematographic language; creation, production and evaluations of advertising films; format and content transformations along history; and current audiovisual advertising practices.

This course includes the production of short films created within small groups. It covers adaptation of scripts for filming, casting and rehearsals with the actors; location scouting and choice of sets; technical choices for filming and sound recording; and organization of a shoot. 

This course covers Cuban cinema since the creation of the film institute (ICAIC) in 1959. The course considers films by Cuban directors, and representations of Cuba by foreign filmmakers and Cuban filmmakers in exile, thus focusing on screenings of Cuba and Cuban topics from multiple viewpoints. Specific aesthetics are studied to contextualize applications of Cuban theoretical texts in relation to imperfect cinema, and the viewer's dialectics. Students explore the effects of non-chronological sequencing and distancing in film; black humor, subjectivity, and alterity; allegorical interpretations leading to censorship; the self and the State, with particular attention to gender and sexuality in relation to law; film autobiography as a genre; auteur cinema; revolution and the creation of the "new man"; revolutionary national identity and marginality; and diaspora, exile and inner exile, among other topics. Overall, the course studies film as a political medium across modern and postmodern contexts, using theoretical texts and key films to illustrate pivotal turning points in socio-historical contexts specific to Cuba and the impact of its 1959 revolution on all aspects of public and private life.

This course offers an analysis of films made by authors from different French-speaking areas (sub-Saharan Africa, Maghreb, Middle East, Canada, Belgium, France) dealing with issues of contemporary society (the human in the metropolis, identity, intercultural relations, the intergenerational). It presents the films and cinematographic excerpts in authentic cinematographic conditions. The courses focuses on the theme of vulnerabilities in the face of exclusion and inclusion. There are many films of French-language cinema that highlight the problem of inclusion and exclusion by questioning fragility, normality, identity, otherness and the whole system of values in which contemporary societies evolve with diversity.