In this course students will learn the basic operation of the camera as it is used in the studio and on location. There will be lectures, demonstrations, and screenings, in addition to practical work with the camera and editing equipment.
THTR 131-3 Acting for the Camera (4,0,0)
This is an introductory course in the basic techniques of acting for the camera. There will be lectures, demonstrations, and screening, and students will be required to participate in class scene work as well as in rehearsals outside of class to prepare taped scene for evaluation.
FINA 150-3 Introduction to Visual Culture (3,0,0)
This class offers an introduction to the basic study of film theory, history and structure within the general context of popular imagery, visual arts and mass media.
This course examines significant trends and events within the journalism profession as depicted on film. The course examines the evolution of contemporary journalism by tracing cinematic perceptions of the profession since the 1930's.
FILM 210 examines significant trends and events in film
between 1890-1938 by exploring the following: film genres, film theory, national
cinemas, Hollywood and cultural socialization, and film criticism.
Prerequisite: 2nd year standing
FILM 215-3 Selected Topics in Cinema (3,0,0)
i. FILM 215 explores specific areas of film studies. Offered every semester, the course enables students to examine selected areas of film selected by faculty within the program. Topical areas include Australian Cinema, The Films of Stanley Kubrick, Sand and Sandal Epics, and the Middle Ages in Film.
FILM 220 examines significant trends and events in film
between 1930 and 2000 by exploring the following: film genres, film theory,
national cinemas, Hollywood and cultural socialization, and film criticism.
Prerequisite: 2nd year standing
PHIL 238-3 Philosophy of Pop Culture (3,0,0)
A critical examination of various aspects in ethics, metaphysics, epistemology and socio-political philosophy using popular cultural elements and including film, television, books, comics, etc.
Canadian Literature on Film
In addition to appealing to students specializing in Canadian Studies, this introductory course should attract English majors and minors, and those with an interest in theatre, journalism, contemporary culture, and film. CNST 242 will involve the student in a comparative study of the filmed and written forms of selected Canadian novels, short stories, poems, scripts, and plays. Both our literature and our feature film have been experiencing ever-increasing acclaim since the 1960's; therefore, we will focus on relatively recent work.
A series of questions will shape our discussion. What is lost and gained in the move from page to screen? Is simplification inevitable in the
adaptation process? Are other models besides evaluation possible when one examines works in the two distinct media? Why is Canada recognized internationally for its "high culture" rather than its popular culture? Has the documentary tradition with which Canadian film has identified and been identified almost from the beginning of film history shaped contemporary feature film?
Our reading and viewing will reflect the variety in our literature and film. We will study canonical work such as The Apprenticeship of Duddy
Kravitz and The Hockey Sweater as well as less mainstream work such as Unidentified Human Remains and The True Nature of Love, Hard Core Logo, and Le Polygraphe.
GERM 312-3 The New German Cinema (3,1,0)
This third-year cultural studies course, offered in English, views the Nazi era through the lenses of post-war German film. After 1945, German filmmakers used the power of moving images to focus on the political and moral threads that made up the shroud covering a seemingly collective German conscience during the Hitler years. To date, North American audiences have only had access to the more prominent of the films that address this dark period in recent German history. While some of these will be shown, lesser known films, all produced between 1946 and 1990 in both the Federal Republic and the former GDR, will also be screened to afford students the opportunity to engage in a critical analysis of a fascist regime.
ENGL 316-3 Studies in Literature and the Other Arts (3,0,0)
Ways in which writers and artists in other media deal with common themes; problems in formal and stylistic relationships between literature and other arts. Specific topics will be announced each year.
FREN/CNST/FILM 325-3 Quebec Cinema In Translation (3,1,0)
. This course will provide an introduction to issues and theories relevant to Quebec cinema and will focus on the representation of Quebec culture and society in major films from 1960 to the present. All films will be subtitled or dubbed in English. No prior knowledge of French is required.
PHIL 339-3 Philosophy of Art (3,0,0)
This course has a short section on film. Readings include: Plato, Allegory of the Cave, from Republic Noel Carroll, The Power of Movies Laura Mulvey, Woman as Image, Man as Bearer of the Look Alexander Sesonske, Space, Time and Motion in Film.
ENGL 366-3 Studies in Shakespeare (3,0,0)
Study of Shakespeare and late twentieth-century film.
FILM 385-3 Film Theory (3,0,0)
FILM 385 explores the study of cinema by
examining a number of theoretical approaches that have contributed to the
understanding of film studies. Film theory, by its very nature, is polemic and
this course will examine a variety of theoretical arguments, both historical and
contemporary, that have been put forth by film scholars. This will include
feminist film theory, Ideology, auteur theory, and cinematic film scores.
FILM 405-3 Film Noir (3,0,0)
Film 405 examines the evolution of Film Noir as a cinematic genre. Film Historian Andrew Spicer (2002) captures the highly visual style of the Noir canon: "Film Noir designates a cycle of films that share a similar iconography, visual style [and] narrative stratagies...their iconography or repeated visual patterning consists of images of the dark, night-time city, and streets damp with rain." Film 405 will examine films from the Classical Noir period (1940-1959), as well as Neo and Postmodern Noir selections.
FILM 410-3 The
American Frontier in Film, Television, and Literature (3,0,0)
Writers, visual artists, and historians such as Jane Tompkins, Richard White, and Ken Burns have written extensively on the language and symbolism associated with the Western psyche, particularly the translation of frontier values and myths to the television and silver screen. Many of these visual images of the West have emanated from historical and literary accounts associated with frontier settlement. Such transformations raise the question: What happens to historical and literary accounts of The West when the language of the frontier is converted into a screen-based experience? Historian Richard Schickel observes: "the most easily dismissed movie genre may actually have been the medium's highest form, depending more fully on genuine experience, authentic recall, than any other for its power."
FILM 414-3 Films of the Cold War (3,0,0)
The objective of the course is to help students develop an understanding of the Cold War period and its impact on society following WW II. Social and political historians have generally viewed the Cold War as a period that lasted from the end of WW II until 1991 with the dismantling of the Berlin Wall. Issues associated with the Cold War still tend to linger on in contemporary society whether it is in the fear of new forms of nationalisms or in local and municipal issues such as water fluoridation. The Cold War also had a dramatic impact on the popular culture of the period, particularly on film. Students will be able to view selected films that have become symbolic of the fear and paranoia associated with Cold War Politics.
CanFilm | Essays | FAQ | History of NFB | Images | Links | Film Festivals | Resources | Reviews | TRU Film Courses
Contact: firstname.lastname@example.org email@example.com
Last update Sep
Hosted by The Thompson Rivers University