Page 128 of Boston College 2005-2006 University Catalog by Boston College University

Film Studies Undergraduate Course Offerings Note: Future course offerings and courses offered on a periodic basis are listed at http://www.bc.edu/courses/. FM 171 Filmmaking I (Fall/Spring: 3) How observations and visions are turned into images. How images are connected to form ideas. Projects in silent filmmaking, shooting, lighting and editing are included. The course is also about film as a form or expression and communication. A class for beginners. Equipment is provided. Michael Civille FM 202 Introduction to Film Art (Fall: 3) The basic course introduces essential concepts of film techniques, history, and criticism and supplies the background for more advanced work in film studies. It provides some familiarity with the artistic, economic, technological, and social factors that exerted an influence on the development of the medium and the industry to its present influential role in cultures today. Critical reading and historical research lead to active viewing and to precise written and oral evaluations of individual films. Richard Blake, S.J. FM 273 Filmmaking II (Fall/Spring: 3) Prerequisite: Filmmaking I or permission of the instructor Lab fee required This course is designed for students who want to make movies. Using state-of-art sound film cameras, students develop topics, shoot, and edit their own films. Emphasis is on demystifying the filmmaking process. Equipment is provided. The Department FM 274 Digital Non-Linear Editing (Fall/Spring: 3) Prerequisite: Departmental permission Cross Listed with CO 224 Limited to 10 students This course will provide the fundamental skills required for editing moving pictures as well as hands-on experience on the Avid nonlinear edit system. The Avid Media Composer is currently considered a standard tool in the video, television, and film industry. Using the system, students will learn the basics of pacing, continuity and electronic storytelling by producing and editing their own material. They will also master the latest techniques in digitizing, organizing bins and clips, building a timeline, saving sequences, and output to tape. Adam Bush Michael Civille Chris Schmidt FM 275 Final Cut Pro Editing (Fall: 3) Cross Listed with CO 275 Restricted to Majors See course description in the Communications Department. Kristoffer Brewer FM 280 American Film History I: Early Years (Fall: 3) A survey of the social, artistic, cultural, technological and economic foundations of the American motion picture industry serves as the background for the study of several of the most important directors of the silent era, like Chaplin, Griffith, Keaton and Flaherty, their audiences and the social impact of their work. The introduction of sound will include some early films of Frank Capra. Richard Blake, S.J. FM 281 American Film History II: Studio Years (Spring: 3) Satisfies Arts Core Requirement During the period from the introduction of sound until the 1950s, eight large corporations controlled Hollywood film production and national distribution. A study of the films of Ford, Hawks, Welles, Hitchcock and Huston investigates the emergence of these key individual artists within the corporate structure of the industry. Their films are viewed in their social context, as reflections of changing mores, the Depression, and World War I. Richard Blake, S.J. FM 283 History of European Cinema (Fall: 3) Satisfies Arts Core Requirement Using a survey approach, the course examines the principal movements of Expressionism in Germany, Neo-realism in Italy, and the New Wave in France with an occasional maverick film that becomes monumental in the history of cinema. John Michalczyk FM 297 Irish Political Film (Fall: 3) The recent Troubles, or the socio-political unrest in Northern Ireland from the civil rights movement of the Sixties to the promising Good Friday Accords of 1998, have been graphically captured in film. This course will offer a study of social, religious, and political issues with a focus on conflict resolution. From the post-World War I struggles of Michael Collins to the current return of the paramilitary prisoners into society, it will trace Irelands evolving socio-political history. John Michalczyk FM 301 Screenwriter (Fall/Spring: 3) This course explores the role of the screenwriter in the film making process, from original story idea to the finished screenplay and film. Students learn about each of the elements of screenwriting including: structure, creating character, the role of dialogue in film, theme and message, genre, and rule breaking. Both individually and as a classroom project, students will read screenplays and analyze films to gain a better understanding of how those elements work in combination and contribute to the final project. Drew Yanno FM 303 Advanced Screenwriting (Fall/Spring: 3) Prerequisite: FM 301 Limited to 15 students This course is for students interested in writing for film. Students will apply the knowledge gained in FM 301 to write their own screenplays. Film Studies majors and minors will be given preference in enrolling. Students will select an idea for a film and transform that idea into a story suitable for the screen. Students will examine critically each others ideas/stories and move on to outline their script. Drew Yanno FM 312 World Cinema (Spring: 3) Satisfies Cultural Diversity Core Requirement This course provides the opportunity for students to explore films from regions other than Europe and North America. Films of Asia, Africa or the Middle East, will serve as a focus for the course. Special attention is given to the social, economic, cultural, and political contexts from which these films arise, both in the country of origin and in the West. Bo Smith The Boston College Catalog 2005-2006 125 ARTS AND SCIENCES

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