Film & Media Studies

In this studio course, students learn how to create visual narratives in sequential form. The emphasis is on visual narrative construction for the picture book, with some contextual history of the genre. Production aspects include analog and design techniques, continuity, and image and text relationships.

This course teaches a technical mastery of photography, the journalistic narrative through images, and the critical reading of photojournalism published in the press. It studies fundamental technical concepts (focal lengths, diaphragm, speed, sensitivity), the narrative structure of a photojournalistic story, the deontological discussion of the photo taking, the critical reading of image making, and the basics of digital image processing. The course provides the skills to create, develop, and tell critical journalistic stories using photography as a means of expression.

This course approaches historical and contemporary exoticism in European culture from an interdisciplinary perspective. It examines imaginations of the foreign in literature, from antiquity to the present; the visual arts; as well as various media such as film, opera, and architecture. The course also considers historical foci, such as the connection between exoticism and colonialism or exoticism and racism. In addition to approaches from art history, aesthetics, literary studies, film studies, media studies, and cultural studies, the course discusses methods from postcolonial studies, critical race studies, and intercultural studies in order to gain a theoretically trained view of imaginations of the non-European “Other” in art and culture. Course readings include excerpts and full texts from different periods by Western European and Northern American authors: Euripides, THE BACCHAE; Bernardin de Saint-Pierre, PAUL AND VIRGINIA; Thomas De Quincey, CONFESSIONS OF AN ENGLISH OPIUM EATER; Edgar Allen Poe, LIGEIA; Thomas Mann, DEATH IN VENICE; Karen Blixen, THE SUPPER AT ELSINORE; David Henry Hwang, M. BUTTERFLY. It also analyses paintings by Henri Rousseau, Paul Gauguin, and James Tissot, and studies operas by Mozart and Puccini.

This course engages students in discussions on multiculturalism as portrayed in the media and how this has been vital to shaping and reshaping the discourse on identity within Korean society. The following are addressed in the course: race; racism; representation; stereotype; identity; assimilation; nationalism; tolerance; citizenship, and right.

The Internship Workforce course provides students with an overview of working in the United Kingdom. The course looks at the changing organizational structures of work in Britain. It examines the social and economic changes that affect the workplace in the UK. Topics covered include: sociology of work, trade unions, oppression at work, generational changes at work, and the future of work. An internship while studying in London provides an opportunity to experience a “hands on” working situation and a different perspective on the workplace and working practices, while developing professional skills.

The course allows students to develop their natural gift for creative thinking.  To this end, students make films of poems - film poems. These cinematic works usually exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. In this course, students are shown how to make film poems using a combination of mobile phone technology and analysis of style, enabling them to produce novel cinematic interpretations of poetry.  Students learn how to conduct an authoritative stylistic analysis of a poem, using this as the basis for creating a screenplay which they film on their mobile phone (or other device), editing, and enhancing through their employment of freely available apps.  

Paris inscribes on every street corner a page of France's history. Its cobblestone streets record centuries of struggle, offering a narrative of this history. Writers, chroniclers, and later filmmakers have picked up these narratives and turned them into eternal works of art. The historian of today, retracing this past, has turned them into sites of memory. This course uses literary texts and films as well as historical texts to search for and reconstruct these sites of memory. From the French Revolution to the student revolt of May 1968, this course follows Parisians, exploring the ways in which cinematic representations and literary texts shape collective memory and are a particular historical/political representation of France. The course takes an interdisciplinary approach and compares and contrasts works of fiction with works of non-fiction, the written word with the visual representation, and includes site visits. Classes are broken up into specific themes each pertaining to a major event in the life of France.