REQUIREMENTS

CINE 101.601 - Film History
Cross-listed: ENGL 091.601, ARTH 108.601
This course is an introduction to the history of cinema from 1895 to the present. In demonstrating how history energizes and complicates the movies, we will examine numerous film cultures and historical periods, including early short films from Europe and the US, Hollywood silent cinema, Italian neo-realism, the French New Wave, New German Cinema, recent Iranian and Taiwanese cinema, and a variety of other film movements from different historical epochs and cultures. Our aim is to establish a broad historical and global foundation for the understanding of film as a complex exchange between art, technology, politics, and economics. Screenings are mandatory.
MW 5:00 - 8:00 | STIT B21
CHARNEY, Leo

CINE 102.401 - Film Analysis and Methods
Cross-listed: ENGL 092.401, ARTH 109.401
This course is an introduction to the analysis of film as both a textual practice and a cultural practice. We will examine a variety of films—from Fritz Lang's M (1931) to Julia Dash's Daughters of the Dust (1991)--in order to demonstrate the tools and skills of "close reading." We will concentrate on those specifically filmic features of the movies, such as mise-en-scene, cinematography, editing and sound strategies, as well as those larger organizational forms, such as narrative and non-narrative structures and movie genres. Because our responses to the movies always extend beyond the film frame, we will additionally do "close readings" of the complex business of film distribution, promotion, and exhibition to show how the less visible machinery of the movie business also shapes our understanding and enjoyment of particular films. Along the way, we will discuss some of the most influential and productive critical schools of thought informing film analysis today, including realism, auteurism, feminism, postmodernism, and others.
TR 9:00 - 10:30 | FBH 401
MAZAJ, Meta

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CINE 050.401 - Looking for Lola
Cross-listed: GERM 001.401
We all know about Eve and Mary, two names that readily designate opposite relations to masculinity and sexuality. But what about Lola? Beginning in the early twentieth century, the name of Lola has gripped the imagination of directors and screenwriters and launched a cinematic tradition. The name is certainly based on Lola Montez, a nineteenth-century British woman of humble origins who used her sexuality and prevaricating charm to rise to worldwide renown as an erotic dancer and the lover of composers (Lizst) and kings (Ludwig of Bavaria), leaving disaster in her wake. Ever since Marlene Dietrich's seductive role as Lola Lola, the risqué nightclub entertainer in Joseph Sternberg's scandalous Blue Angel (1930), the name Lola has specified the realm of the quintessential vamp. In this course we will explore the cinematic femininity, sexuality and gender associated with the name Lola (and its close cousins Lulu and Lolita). We will encounter Lolas of ambiguous, precocious, calculating, and irresistible sexuality: a Turkish-German transvestite, a sexual nymph, a schemer during Germany's economic miracle, and a man-killer eventually slain by Jack the Ripper. What is remarkable about the films associated with Lola is that each discovers her anew and contributes to a complex nexus of issues involving sexuality, pleasure, knowledge, and power, far more interesting, in the final analysis, than the alternatives of Mary and Eve.
TR 1:30 - 3:00 | FBH 23
RICHTER, Simon

CINE 115.601 - Stanley Kubrick
Cross-listed: ENGL 292.601
We will regard the work of Stanley Kubrick who in 40 years produced only 13 feature films, each remarkable. A perfectionist, Kubrick was known for his extensive research and meticulous filmmaking. We will trace Kubrick as his work evolved from photography to newsreel documentaries to a "cinema of the brain." We will explore whether Kubrick's work gained emotional charge as his philosophy and understanding of the medium matured. We will screen all of his feature length films: Fear and Desire (1953); Killers Kiss (1955), The Killing (1956), Paths of Glory (1957), Lolita (1962), Dr. Strangelove (1964), 2001: A Space Odyssey (1968); A Clockwork Orange (1971); Barry Lyndon (1975); The Shining (1980); Full Metal Jacket (1987) and the posthumous Eyes Wide Shut (1999). Pushing each idea, genre and filmmaking itself to its limits, Kubrick worked the divide between experimental non-narrative films and conventional plot-driven movies, creating experiences of breathtaking visual and aural expression, and innovating with music, cinematic point of view, and acting. Inarguably cerebral, Kubrick nonetheless made extraordinarily affecting films about his preoccupations: power, violence, cruelty, conformity. We will explore Kubrick through auteur and genre theory, film criticism and review, and formal analysis (editing, lighting, composition, mise-en-scene, acting), as well as consider how his work engages with particular historical, political, and cultural concerns, including the Holocaust, blacklisting, the cold war, youth culture, Vietnam, media and violence, and the nuclear family. Students are required to attend all classes; read assigned texts, write three short critical papers, a film outline and a partial screenplay; and collaborate on a film.
W 5:30 - 8:30 | FBH 201
ROSS, Valerie

CINE 118.401 - Iranian Cinema
Cross-listed: NELC 118.401
Post-Revolutionary Iranian cinema has gained exceptional international reception in the past two decades. In most major national and international festivals, Iranian films have taken numerous prizes for their outstanding representation of life and society, and their courage in defying censorship barriers. In this course, we will examine the distinct characteristics of the post-revolutionary Iranian cinema. Discussion will revolve around themes such as gender politics, family relationships and women's social, economic and
political roles, as well as the levels of representation and criticism of modern Iran's political and religious structure within the current boundaries. There will be a total of 12 films shown and will include works by Kiarostami, Makhmalbaf, Beizai, Milani, Bani-Etemad and Panahi, among others.
MW 2:00 - 3:30 | DRLB A6
MINUCHEHR, Pardis

CINE 150.402 - Television Studies
Cross-listed: ENGL 091.402
s a complex cultural product, television lends itself to a variety of critical approaches that build-on, parallel, or depart from film studies. This introductory course in television studies begins with an overview of the medium’s history and explores how technical and industrial changes correspond to developing conventions of genre, programming, and aesthetics. Along the way, we analyze key concepts and theoretical debates that shaped the field. In particular, we will focus on approaches to textual analysis in combination with industry research, and critical engagements with the political, social and cultural dimensions of television as popular culture.
TR 1:30 - 3:00 | FBH 401
BODDY, William

CINE 201.401 - Baaaad Cinema: Censorship, culture, and the American Cinema
Cross-listed: ENGL 291.401
Although often silently so, film censorship has been an important part of the history of American culture and more specifically of American cultural production. Most of the time, we view censorship as negative thing—and perhaps we should. Censors have removed material from many socially important texts (and sometimes banned them altogether) and often for no better reason than to preserve the status quo. However, Foucault’s repressive hypothesis reminds us that censorship is not only a repressive but a productive force. Using American film as an exemplar, this course explores the role of censorship in the history of American culture and its effects on our cultural imagination of not only sex and violence (the two themes that censorship is most widely associated with) (but also and more on the depictions of social problems and social groups) broadly, race, gender and sexuality. Although primarily a history course, this course will also challenge students to build their visual and aural analysis skills.
Although we will continue refining our definition of censorship throughout the course, early parts of the course will focus on developing student’s conceptual understandings of film censorship (linking it to concepts like morality, repression, protectionism) as well as their historical knowledge of the topic. In doing so we will touch on defining moments such as the 1908 New Years Eve theatre closings, the Mutual Decision (which opened the door for movie censorship deeming the movies “a business pure and simple”), the development of state and local censor boards, the Payne Fund Studies, the Miracle decision (which struck the first blow against movie censorship), the development of the MPAA Rating System, as well as more recent debates about representations of race and sexuality in the Year of the Dragon and Basic Instinct. I will also ask students to explore a variety of forms of film censorship, engaging the various practices that lead to repression.
Later parts of the course will focus on key film texts (among them Birth of a Nation, Gone with the Wind, Scarlet Street, Scarface, It Happened One Night, She Done Him Wrong, The Burning Cross, The Well and Bonnie and Clyde) that both provoked censors and sometimes legally challenged film censorship. In addition to focusing on those films which have incurred censorship, we will also spend time considering the cumulative effects of film censorship on the process of film production and, by extension, on cinematic texts. How did the threat of censorship become instituted into the system of production? And how, if at all did censorship push film texts to new meanings and forms of articulation?
Crucial as well to the success of this course is linking the process of censorship to the broader historical era in which censorship occurs. Although film censorship originated in the early years of the century and hailed from progressive era moral fears, by the 1950s it became entwined with McCarthyism. In the interim, in the 1940s with an increased expressive liberalism brought about by the atmosphere of war, a number of social problem films emerged that challenged censor boards and Hollywood’s Production Code. We will ask: how did the motivation for censorship shift with changes in national and local politics and ideology? These historical concerns will become an active part of our understanding of censorship.
Choosing from an exciting blend of historically important films and a unique collection of scholarly works hailing from history, cinema studies, and legal studies, we will explore the value of film censorship for understanding American expressive history, the history of American consciousness, and the history of American culture.
Class participation will form an important part of student’s grade. Written assignments for the course will include two papers and a mid-term exam.
W 5:00 - 8:00 | FBH 244
SCOTT, Ellen

CINE 202.401 - Contemporary International Film
Cross-listed: ENGL 292.401; ARTH 290.401
This is a course in contemporary international film cultures and national cinemas. We will examine the idea of world cinema and set up a model of how it can be explored by studying contemporary film in various countries. We will explore ways in which cinemas from around the globe have attempted to come to terms with Hollywood, and look at forces which lead many filmmakers to define themselves in opposition to Hollywood norms. We will also consider an equally powerful tendency in such films to explore the language of cinema independent of Hollywood influences, and we will keep this in mind as we see films which are distinctive in their style and their creativity. Finally, we will engage with the question of which films/cinemas get labeled as “world cinema” and what determines entry into the sphere of world cinema.
TR 12:00 - 1:30 | FBH 244
MAZAJ, Meta

CINE 203.401 - Introduction to Film: Form and Context
Cross-listed: COMM 140.401
Movies as a form of audio-visual communication: their formal "language," their relationship to other means of communication (music, stories, theater, pictures), their place in the media industry, their role in culture.
TR 3:00 - 4:30 | ANNS 109
MESSARIS, Paul

CINE 215.401 - Indian Cinema and Society
Cross-listed: SAST 213.401
This course provides a historical and thematic introduction to the variety of films that constitute a “national” cinema of “India,” with a particular focus on Hindi popular cinema. We will begin by considering the cultural backgrounds of Hindi cinema, including the translation of traditional forms through modern technology such as the mythological, and move on to exploring in the post-independence context: the genres of the national epic, the courtesan film, the historical, parallel film, the social, the masala, and the romance. We will also consider the relationship between particular regional cinemas and Bollywood. Finally, we will conclude by examining Hindi cinema within the context of globalization and changes that distribution, marketing, and thematic shifts herald by considering the roles that the diaspora, neo-liberal economic policy, consumerism, and trans-nationalism play in producing new genres such as Bombay noir and the new wave. Three themes will organize our study: the nation, the public, and gender, particularly as it is constitutive of the previous two. Our study will expose is to various theories of the study of culture but will emphasize methods which will fall under the rubric of cultural studies. By the end of this course, students should be able to write and analyze film critically and consider its role in relation to other contexts such as society.
TR 10:30 - 12:00 | TOWN 315
MAJITHIA, Sheetal

CINE 223.401 - Postwar Japanese Film & Art
Cross-listed: ARTH 210.401
Mizoguchi Kenji, Ozu Yasujirô, and Kurosawa Akira are recognized today as three of the most important and influential directors in Japanese cinema. In their films of the late 1940s and 1950s, these directors focused upon issues surrounding the human condition and the perception of truth, history, beauty, death and other issues of the postwar period. This course will place their films in period context, and will pay particular attention to connections to other visual media, such as painting, photography, and printmaking, as well as to the modern concepts of “art” and “history” in the cinematic context. How three directors of the 1980s and 1990s – Itami Jûzô, Takeshi Kitano, and Miyazaki Hayao – also took up these issues, and referred to the “big three” will be discussed at the end of the course.
TR 1:30 - 3:00 | JAFF 113
DAVIS, Julie

CINE 224.401 - Chinese Cinema
Cross-listed: EALC 225.401
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TR 4:30 - 6:00 | WILL 4
WANG, Xiaojue

CINE 245.401 - Masterpieces of French Cinema
Cross-listed: FREN 230.401
The purpose of this course is to provide an introduction to the history and scope of French cinema all the way to the present time through the analysis of key works of the French film canon. Particular attention will be paid to successive period styles (“poetic realism”, “French quality”, “the New Wave”, “le cinéma du look”, cinema de banlieue …) and a variety of critical lenses will be used (psychoanalysis, socio-historical and cultural context, politics, aesthetics, gender…) in an effort to better understand the specificities and complexities of French cinematic culture.
T 3:00 - 4:30 | TOWN 313
MET, Philippe

CINE 287.601 - Mexican Film: 19th Century to the Present (OFFERED IN SPANISH)
Cross-listed: SPAN 287.601
An overview of Mexican Cinema from its roots in the late 19th century to the present. Feature-length screenings include: Vámonos con Pancho Villa (Fernando de Fuentes, 1935), María Candelaria (Emilio Fernández, 1943), Los olvidados (Luis Buñuel, 1950), La pasión según Berenice (Jaime Humberto Hermosillo, 1975), El Topo (Alexandro Jodorowsky 1969) El lugar sin límites (Arturo Ripstein , 1977), Cronos (Guillermo del Toro 1992), Y tu mamá también (Alfonso Cuarón, 2001), Japón (Carlos Reygadas, 2003). Note: This course is taught in Spanish. Readings and required films are also in Spanish.
T 5:30 - 8:30 | MEYH B6
SOLOMON, Michael

CINE 296.401 - Television and Media: The Challenge of Digital Cinema
Cross-listed: ENGL 295.401
The ongoing shift from film-based to electronic platforms for the distribution and exhibition of theatrical motion pictures challenges traditional practices and power relations within the film and television industries. While some observers see digital cinema as an instrument of greater studio control, others envision an industry less dominated by the major studios, open to new exhibition venues and alternative programming in existing cinemas. Digital cinema has already encouraged the growth of in-cinema advertising and threatened the long-established practice of staggered release dates across the theatrical and domestic exhibition markets, and some in the motion picture industry fear that electronic cinema will collapse the distinct aesthetic forms and audience practices of domestic television and public cinema-going. This course will examine the surprisingly long history of electronic cinema and access its current prospects in the United States and elsewhere.
TR 10:30 - 12:00 | FBH 138
BODDY, William

CINE 310.401 - Postcolonial Mediations
Cross-listed: SAST 310.401
This course examines the multiple strategies postcolonial representations employ in staging encounters between racial, gender, sexual, class, ethnic, and religious difference in a global context, but with a particular focus on South Asia. How do questions of community, nation, identity, regionalism, diasporas, and the globalization of culture in general inform postcolonial aesthetics? How are the postcolonial terms of representation altered when we consider not only how the “West” regards the “East” but also how the empire looks back? Finally, how do vernacular and hybrid cultures influence the adaptation of oral, literary and other film texts? What sorts of new reading and viewing practices do these transtextual film adaptations engender? Students can look forward to viewing, discussing, and writing about postcoloniality and film.
R 3:00 - 6:00 | MCNB 103
MAJITHIA, Sheetal

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CINE 016.303 - African-American Women Writers and Filmmakers
Cross-listed: ENGL 016.303
This course seeks to examine the extraordinary and diverse landscape of twentieth-century African women's fiction and film. Despite the relatively recent commercial success of African-American women writers, only a handful of African-American women filmmakers have directed feature-length narrative films and/or had them produced by a major Hollywood studio. Ironically, many of the challenges that late nineteenth and early twentieth century African-American women writers had to confront—sexism, racism, and lack of financial support—now limit the output of black women filmmakers. In this class, we will consider how twentieth-century African-American women writers and filmmakers intersect the themes of race, culture, and sexuality in their texts, while we simultaneously interrogate how their historical contexts and different artistic mediums influence how they understand and depict black womanhood. Some of the writers we will look at are: Nella Larsen, Zora Neale Hurston, Toni Morrison, Alice Walker, Audre Lorde, Toni Cade Bambara, and Ntozake Shange, while the filmmakers include: Leslie Harris, Cheryl Dunye, Julie Dash, Kasi Lemmons, Darnell Martin, and Aishah Shahidah Simmons.
TR 9:00 - 10:30 | FBH 323
TILLET, Salamishah

CINE 106.401 - Mythology and the Movies
Cross-listed: ANTH 160.401
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TR 12:00 - 1:30 | MUSE B17
KRASNIEWICZ, Louise

CINE 225.601 - Immigration in Drama and Cinema
Cross-listed: THAR 275.601; ASAM 275.601
We will explore representations of immigration in performing arts and cinema, from West Side Story to Millennium Approaches, to what’s new on youtube.com, and more. With an emphasis on works relating to gender and society, the course will address perspectives of U.S. citizens, residents, and immigrants as students research, write about, and deliver presentations on plays and films. Topics may include the Trail of Tears, the Middle Passage, the Colonial Period, Irish and Italian immigration, Jewish women garment workers, plantation laborers in Hawai`i, Japanese internment during WWII, the Chicano movement, Asian American performance affiliated with websites like yolk.com, Middle Eastern immigrants before and after September 11, and even some international theatre and cinema. A focus of the course is how digital technology supports theatre, film, and video; in addition to completing traditional study projects, we will also engage with technology in creative ways, for instance, by designing our own website on immigration.
R 4:30 - 7:30
LAFFERTY, Mera

CINE 225.602 - American Musical Theatre
Cross-listed: THAR 271.602; ENGL 274.602
The American musical is an unapologetically popular art form, but many of the works that come from this tradition have had major impact on the broader history of theatre and film – and on our general culture.  From dramatic works like Show Boat and Porgy and Bess that addressed issues of race and class, to the Depression-era wish fulfillment of Top Hat; from the bitingly topical music and lyrics of Stephen Sondheim, Duncan Sheik and Steven Sater to the sentimental optimism of Rodgers and Hammerstein – musicals and their creators have, quite literally, set a tone for America.
In this course, we will analyze films and filmed theatre works, as well music, lyrics, scripts and documentary production evidence in pursuit of an understanding of the musical in its many forms.
Our survey will include the works of prominent artists in the musical theatre from the early ‘20s to the present, including Jerome Kern, Florenz Ziegfeld, Cole Porter, Richard Rodgers, Leonard Bernstein, Stephen Sondheim, Harold Prince, Jonathan Larson and others.  This course does not require the ability to read music.
W 4:30 - 7:30 | FBH 16
FOX, David

CINE 329.401 - The Holocaust in Israeli Literature and Film
Cross-listed: NELC 159.401
The momentous Holocaust narrative, “The Diary of Anne Frank”, appeared in 1947, one year prior to the establishment of the Jewish State. The Israeli psyche and therefore Israeli art, however, “waited” until the 1961 public indictment of a Nazi war-criminal to hesitantly begin to face the Jewish catastrophe. The Zionist wish to forge a “New Jew” was in part responsible for this suppression. Aharon Appelfeld’s understated short stories were the first to enter the modernist literary scene in the 1960s, followed in 1970 by the cryptic verse of Dan Pagis, a fellow child survivor.  Only in 1988 did the Second Generation of survivors reveal themselves. Indeed, two Israeli-born pop singers -- haunted children of survivors -- broke the continuous practice of concealing the past and its emotional aftermath in the watershed documentary “Because of That War." This course will follow and analyze the transformation of Israeli literature and cinema from instruments of suppression of the Holocaust into means for dealing with this historic national trauma. Although Israeli works constitute more than half of the course's material, other works of film and fiction will play comparative roles.
TR 1:30 - 3:00 | FBH 244
GOLD, Nili

CINE 340.401 - Topics in Italian Cinema: Travels, Diasporas, and Drifts (OFFERED IN ITALIAN)
Cross-listed: ITAL 380.401
The theme for this course is a semantic constellation that encompasses several aspects of displacement, between travels in Italy or abroad, examples of Italians’ diasporas abroad and of migrant writers in Italy, and drifts or wanderings in the Italian landscape, from North to South. The course will offer a wide selection of movies and literary reportages or erranze, from Rossellini, to Antonioni and Fellini, from Tondelli to Celati and Gadda. We will explore issues of identity, nomadic subjects, the road and the landscape, the urban space and the countryside, the Grand Tour and the new Italy, between modernity and postmodernity. The course will be taught in Italian.
MWF 1:00 - 2:00 | WILL 214
BENINI, Stefania

CINE 345.401 - French Identity Through Film (OFFERED IN FRENCH)
Cross-listed: FREN 301.401
The central theme guiding this exploration of identity in France is "place." Films, autobiographical narratives and socio-historical documents explore the two main foci of the course: the correlations between place and identity as determined by region, social milieu, ethnicity, gender, religion, political affililiation or cultural taste; the impact of dislocations effected through education, immigration, work, love and marriage. From the poignant to the broadly satirical, the variety of representations included complement objective analyses to understand why the question of place is--or has been--central to identity in France. The historic framework extends from the demise of the "Glorious Thirties" [1947-75] to the present.
Requirements: Papers, films screened outside of class. Conducted entirely in French. Recommended: at least two 200 level courses or equivalent.
Conducted entirely in French; French 226 and 227 recommended. Requirements include response papers to films coordinated with readings.
TR 1:30 - 3:00 | DRLB 3C4
RICHMAN, Michele

CINE 365.601 - Chekhov on Stage and Screen
Cross-listed: RUSS 426.601
"What's so funny, Mr. Chekhov?" This question is often asked by critics and directors who still are puzzled with Chekhov's definition of his four major plays as comedies. Traditionally, all of them are staged and directed as dramas, melodramas, or tragedies. Should we cry or should we laugh at Chekhovian characters who commit suicide, or are killed, or simply cannot move to a better place of living? Is the laughable synonymous to comedy and the comic? Should any fatal outcome be considered tragic? All these and other questions will be discussed during the course.
T 5:30 - 8:30 | VANP FLMCR
ZUBAREV, Vera

CINE 370.401 - Blacks in Americam Film and Television
Cross-listed: AFRC 400.401
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M 5:00 - 8:00
BOOGLE, D. | VANP FLMCR

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CINE 061 - Film Video I
Cross-listed: FNAR 061
This class offers film and video production as a means of personal expression. Students will be assisted in translating ideas into movies. Super-8 and/or digital video equipment will be provided; students must provide film stock, processing and/or video tapes.
401 | R 7:30 - 10:30 | ADDM 111 | BUCK, Paul
402 | M 2:00 - 5:00 | ADDM 207 | VAN CLEVE, Emory
403 | T 12:00 - 3:00 | ADDM 207 | VAN CLEVE, Emory
404 | T 4:00 - 7:00 | ADDM 207 | REYNOLDS, Ellen
405 | R 1:30 - 4:30 | ADDM 207 | REYNOLDS, Ellen
601 | R 4:30 - 7:30 | ADDM 111 | BUCK, Paul

CINE 062.401 - Film Video II
Cross-listed: FNAR 062.401
Film/Video II is a hands-on course in super 8mm and/or digital video moviemaking in which each student plans and creates three short productions. Techniques learned in FNAR 061 will be refined while exploring the role of sound and aesthetics in the filmmaking/video process. Auditors not permitted.
W 5:00 - 8:00 | ADDM 207
REYNOLDS, Ellen

CINE 063.401 - Documentary Video
Cross-listed: FNAR 063.401
A digital video course stressing concept development and the exploration of contemporary aesthetics of the digital realm, specifically in relation to the documentary form. Building on camera, sound and editing skills acquired in Film/Video I and II, students will produce a portfolio of short videos and one longer project over the course of the semester. Set assignments continue to investigate the formal qualities of image-making, the grammar of the moving image and advanced sound production issues within the documentary context.
M 5:00 - 8:00 | ADDM 207
HERIZA , A

CINE 065.401 - Cinema Production
Cross-listed: FNAR 065.401
This course focuses on the practice and theory of producing narrative based cinema. Members of the course will become the film crew and produce a short digital film. Workshops on producing, directing, lighting, camera, sound and editing will build skills necessary for the hands-on production shoots. Visiting lecturers will critically discuss the individual roles of production in the context of the history of film.
W 2:00 - 5:00 | VANP FLMCR
VAN CLEVE , Emory

CINE 116.401 - Screenwriting
Cross-listed: ENGL 116.401
This is a workshop-style course for those who have thought they had a terrific idea for a movie but didn't know where to begin. The class will focus on learning the basic tenets of classical dramatic structure and how this (ideally) will serve as the backbone for the screenplay of the aforementioned terrific idea. Each student should, by the end of the semester, have at least thirty pages of a screenplay completed. Classic and not-so-classic screenplays will be required reading for every class, and students will also become acquainted with how the business of selling and producing one's screenplay actually happens. Students will be admitted on the basis of an application by email briefly describing their interest in the course to <kathydemarco@writing.upenn.edu>.
T 1:30 - 4:30 | CPCW 111
DE MARCO, Kathleen

CINE 130.401 - Advanced Screenwriting
Cross-listed: ENGL 130.401
This is a workshop-style course for students who have completed a screenwriting class, or have a draft of a screenplay they wish to improve. Classes will consist of discussing student's work, as well as discussing relevant themes of the movie business and examining classic films and why they work as well as they do. Classic and not-so-classic screenplays will be required reading for every class in addition to some potentially useful texts like /What Makes Sammy Run?/ Students will be admitted on the basis of an application by email. Please send a writing sample (in screenplay form), a brief description of your interest in the course and your goals for your screenplay, and any relevant background or experience. Applications should be sent to <kathydemarco@writing.upenn.edu>.
M 2:00 - 5:00 | CPCW 111
DE MARCO, Kathleen

CINE 130.402 - Advanced Screenwriting
Cross-listed: ENGL 130.402
The Creative Writing Program in the Center for Programs in Contemporary Writing (CPCW) and the Cinema Studies Program are co-sponsoring a Fall 2007 advanced screenwriting workshop to be taught by screenwriter/director ANDY WOLK. Students will develop a screenplay in the course which will focus on the nuts-and-bolts of structure, plot, character and dialogue and how a story is told visually.
Wolk has written screenplays for every studio, and teleplays and pilots for every network including HBO'S Emmy-winning FROM THE EARTH TO THE MOON. He received the Writer's Guild Award for NATICA JACKSON starring Michelle Pfeiffer and was nominated for the Award for the movies CRIMINAL JUSTICE and DELIBERATE INTENT, each of which he also directed along with episodes of many shows including THE SOPRANOS, WITHOUT A TRACE and THE PRACTICE. He has served as a Creative Advisor and Artistic Director of the Sundance Institute's Screenwriting Labs.
Wolk lives and works in Los Angeles. He will make at least three extended visits to Penn. Students must be available for meetings on Thursday evening, all day Friday, and Saturday morning during these three periods which are tentatively set for:
September 6-8
October 25-27
November 29 - December 1
When Mr. Wolk is not at Penn, the class will meet Fridays with his teaching assistant and will confer with Mr. Wolk by phone/conference call. Mr. Wolk will also work individually with each student by email and phone.
Students will be admitted to this course by permission of the instructor. Applications should be sent to Mingo Reynolds at: mingo@writing.upenn.edu
The deadline for submitting applications is Friday, March 30. Students will be notified of their status by April 13.
Applications should include: a short note describing your interest and relevant experience (coursework and otherwise) and a brief (8 pages max.) sample of your writing. Those with resumes can send one also, but it is not required.
This is the fourth in a series of advanced screenwriting courses offered by eminent working screenwriters through a collaboration of Cinema Studies and Creative Writing. Generous funding for this project has been provided by Jon Avnet (C'71).
F 2:00 - 5:00 | KWH 202
WOLK, A.

CINE 261.401 - Computer Animation
Cross-listed: FNAR 267.401
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MW 4:00 - 7:00 | ADDM 106
MOSLEY, Joshua

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