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The
Designated Emphasis in Film Studies provides curricular and research
resources for students who want to concentrate on film within their
respective disciplines and have their work formally recognized. Designed
to bring together faculty and students from different departments,
the D.E. provides a unique context for rigorous cross-disciplinary
research. Students must take the Film Theory and Film Historiography
seminars and write dissertations with a significant film, or moving
image component. |
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Requirements
for Admission
Applications
to the Designated Emphasis program are accepted each spring semester
for admission in the following fall semester. Applicants must be
enrolled in a doctoral program at UC Berkeley and must have completed
the Film Theory seminar (Film Studies 200), offered each Fall Semester.
Only a limited number of students will be admitted.
Special
allowances will be made for current students who have fulfilled
all or most of the course requirements before the D.E. was officially
available, provided they have not yet completed their Qualifying
Exams.
Applications
are accepted during the Spring semester for admission to the following
Fall. The application deadline is April 1st. An application form
is attached, and additional forms are available from the Graduate
Assistant for Film Studies, Room 7408 Dwinelle Hall, #2670, UC Berkeley
Campus, 642-1416.
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Requirements
for the Designation
Students
admitted to the Designated Emphasis Program must complete the following
requirements before completion of their degree:
1. A minimum of three graduate seminars in Film Studies must
be taken at Berkeley:
--Film
Studies 200;
--Film Studies 201;
--Film Studies 240 or a graduate seminar cross-listed with Film
Studies.
Note: Independent study courses are not acceptable to fulfill
this requirement.
2. A member of the Graduate Group in Film Studies must be
a formal member of the Ph.D. Qualifying Examination committee. Under
most circumstances, the Film Graduate Group member in the student's
home department will serve in this function. A member of the Graduate
Group may also serve as the outside member of the qualifying exam
committee.
3. A Film Studies topic must be a subject on the Qualifying
Examination.
4. A member of the Graduate Group in Film Studies must be
a formal member of the dissertation committee.
5. The dissertation must contribute to the study of film.
Upon
completion of these requirement and the dissertation, the student
will receive a designation on their transcript to state that they
have completed a "Ph.D. in (...) with an Emphasis in Film Studies."
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Seminars:
Please
note that descriptions will vary according to the instructor. Additional
seminars with substantial film or visual culture components are
offered by various departments and listed in our Course Booklet
each semester.
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Film
Studies 200: Film Theory |
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This
course will provide an advanced introduction to the by-now substantial
field of film theory. Equal attention will be given to the classic
texts of early and of contemporary film theory, and to the theoretical
issues raised in each. It will not be the governing assumption of
this course that an implicit teleology underpins the development of
film theory, leading from primitive to ever more sophisticated formulations;
consequently, while we will of course read that discipline's founding
texts through the prism of the late twentieth century, we will also
complicate its contemporary debates through the work of figures like
Benjamin, Eisenstein and Kracauer. Although the theoretical category
to which we will most insistently return will be spectatorship, it
will be formally as well as narratively and ideologically specified,
and complicated through the related notions of "race," "gender," "class,"
"nation" and "history." We will read texts by Siegfried Kracauer,
Walter Benjamin, Bela Belazs, Andre Bazin, Sergei Eisenstein, Jean-Louis
Baudry, Christian Metz, Laura Mulvey, Stephen Heath, Linda Williams,
Thomas Elsaesser, Tom Gunning, Mary Ann Doane, Kaja Silverman, and
Gilles Deleuze. |
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Film Studies 201: Film Historiography |
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The seminar provides both a theoretical overview of film historiography
and an introduction to specific examples and methods of historically
oriented film research. One focus of the seminar will be an introduction
to methodological aspects to film-archival research. Students will
become familiar with campus libraries, film collections, and archival
resources, especially Pacific Film Archive. The seminar's theoretical
project will be to develop a repertoire of historiographical questions
that can help shape research information into historical narrative.
On the one hand, we will examine metahistorical writings on film history
from the past two decades for an understanding of the questions undergirding
various kinds of investigations. On the other, we will examine interesting
case-historical examples dealing with film technology, style, studio
history, exhibition, spectatorship, and cultural history. |
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Film
240: Special Topics (selected titles): |
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Silent
Film Comedy, Horror Film, Film Noir, The Courtroom Film, Racial Melodrama,
Griffith, Eisenstein, Resnais/Renoir, Fellini, The Dialectical Image,
Weimar Cinema, Italian Neo-Realism and Marxism, Caravaggio: Film and
Painting, Narrative Theory in Literature and Cinema, Film and Modernism,
Avant-garde, Psychoanalysis and the Socio-Political, Theory of Cultural
Studies, Feminist Film Theory, Cinema, Nation, Memory, Third Cinema |
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