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| Spring
2008 (All courses are 4 units unless otherwise noted.) |
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| Representing Queer Identities in Theater & Film (Cross-listed as Theater 1B, Section 1) | |
Film R1B, Sec 1 How have LGBTQ artists explored the construction and contestation of lesbian, gay, bisexual, transgender, and queer personhoods? How has the mainstream media explored (and exploited) queer identities? This R1B course explores the interplay between representation and identification via the rapidly developing fields of queer performance and media studies. Throughout, we will investigate the meaning of "queer," as well as its intersections among and across a wide range of identifications. We will consider the role of theater, film, television, and performance not only in the creation of queer histories, communities, and identities, but also as a challenge to structures of normativity. Central to this course will be a number of dramatic and filmic texts, including a handful of mandatory film screenings (Mondays, 3:30-5:30) during the semester. Methodologically, we will draw from both the rich traditions of performance and film theory as well as the theoretical demands of queer and feminist scholarship. Continuing from and expanding upon the skills acquired in R1A, this course will teach students a variety of research methods and skills. Ultimately students will engage in a sustained semester-long original research project, with additional possibilities for exploring class themes through performance practice and/or video making
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| Magic Realism: Genre Discontent | |
Film R1B, Sec 2 Sci-fi author Gene Wolfe was quoted as saying “magic realism is fantasy written in Spanish”. In this course, we will examine the amorphous, yet popular, genre of magic realism, starting with its appearance in the art world of the 1920s, through to the boom in Latin American magic realist literature in the 1960s, and through to the computer-generated landscapes of contemporary magic realist films. By following the curious trajectory of this category, we will also be grappling with issues of nation, self, sexuality, gender, and race, particularly as they are articulated in diasporic literature and film. We will also be looking at the question of what ‘real’ means in a post-modern world, and across various academic disciplines. The main focus of the class, however, will be developing further critical reading and writing skills from R1A, and, ultimately, the production of an individual research project.
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| Silent Film History(This course fulfills the film major lower division history requirement - Part One.) | |
Film 25A Film 25A is an advanced introduction to the history of the silent film, encompassing questions of film theory and film aesthetics. What is it about the film medium that is so congenial and absorbing to the human psyche? How can the medium be shaped, through techniques unique and specific to the film medium, to articulate a filmís narrative, social, psychological and ideological concerns? Through the study of the historical development of film techniques, with an emphasis on in-depth analyses of film sequences from the silent cinema, students acquire knowledge of the foundation of the cinematic practices of today. We begin with a study of the first films shown to a paying audience and how these films differed from the cinema as it has become institutionalized today. We then consider why the fiction film became dominant and the process by which the classical Hollywood narrative film evolved. Next we explore other film styles developed in the nineteen twenties that depart from the American style of filmmakingóthe revolutionary cinema of the Soviet Union; the Expressionist cinema of Germany during the Weimar Republic; the French Impressionist experiments in France; the ìrealistî cinema in early documentary, film comedy and Japanese films. What accounts for the diversity of forms and styles that flourished during the silent period of film history? The course concludes with a consideration of the initial impact of the coming of sound on cinematic technique. Course Requirements Five page Shot Analysis Essay based on an in-depth analysis of 25 consecutive shots from a silent film (25%). Mid-term Exam (25 %) Six to eight page final paper, including shot analysis data, comparing film styles in the silent era, the application of a film theory studied in class to a text, a consideration of the influence of silent films styles and techniques on current films, research on a silent film or film movement we did not cover in 25A. (25%) Optional (extra credit) video editing exercise. (Students work in groups to re-edit early narrative films and present the new version to the class). Extra credit for attending silent films screened at the Pacific Film Archive. Final exam (25%) In addition, students are expected to attend class regularly and respond actively and critically to the films screened and to the course readings. Texts David A. Cook, A History of Narrative Film, W.W. Norton,( Latest edition) 25A Course Reader (Availability to be Announced)
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| The History of Sound Cinema (This course fulfills the film major lower division history requirement - Part Two.) | |
| Film 25B As the second half of the 25A/25B series required for film majors, thiscourse surveys the history of film from the introduction of sound up untilthe present. We will move chronologically, beginning with the integration ofsound and the development of 'classical' Hollywood style, and ending withcontemporary cinema and the current proliferation of digital specialeffects. Along the way we will consider major genres, directors, movements,and national cinemas, while also tracing changing technologies and practicesof film production and exhibition. Assignments will consist of a midterm andfinal exam as well as written responses to the weekly screenings andreadings. Over the course of the semester, students will develop the abilityto produce close and critical film analyses, attending to both sound andimage in the complex relationships they construct between the film, thespectator, and the specific historical and cultural contexts both inhabit. Required Books: --David A Cook, A History of Narrative Film --Geiger and Rutsky, ed., Film Analysis, A Norton Reader
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| Documentary Film | |
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Film 28A This course surveys the history, theory and practice of the genre called Documentary Film. We will attempt to explore what this amorphous and vague term means and examine the ways its forms and ethics have changed since the beginning of cinema. We examine the major modes of documentary filmmaking including cinema verité, direct cinema, investigative documentary, ethnographic film, agit-prop and activist media, autobiography and the personal essay as well as recent post-modern forms that question relationships between fact and fiction such as the docudrama, the archival film, cine-recreations and "mockumentary." We will examine the "reality effects" of these works through formal analysis focusing on their narrative structures and the ways in which they make meaning. Through this, we explore some of the theoretical discourses and questions that constantly surround this most philosophical of film genres. We will ask: How do these films shape notions of truth, reality and personal experience? What are the ethics and politics of representation and who speaks for whom when we watch a documentary? What do documentaries make visible or conceal? What, if anything, constitutes objectivity? And by the way, just what is a document anyway? Course work will include short response papers, a midterm, and a final project.
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| Intoduction To Film for Non Majors | |
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Film 50 Film 50 is a rigorous introductory course designed for non-majors, members of the Berkeley community, and students considering the film major at Berkeley who want to explore the history and aesthetics of the film medium. The films chosen for screening illustrate distinctive directorial styles, film genres and/or national cinema styles. By concentrating on the historical development of filmic mise-en-scene, the photographic image, editing, cinematography, and the relation of sound to the image, students learn to view film as a complex picture language and to understand how the combination of sound and image articulate film’s narrative, psychological, social and ideological themes. The special focus of Film 50 2008 will be self-reflecting cinema, movies about movies. Lectures and screenings will take place at the Pacific Film Archive Theater at Bancroft and Bowditch on Wednesday afternoons from 3-6. Discussion sections meet on Fridays from 8-9:30; 9:30-11; 11:00-12:30; 12:30-2 and from 2-3:30; 3:30-5. in room 188 Dwinelle Required Text: David Bordwell and Kristin Thompson, Film Art: An Introduction Film 50 Course Reader: Availability TBA Recommended Reading: Marilyn Fabe, Closely Watched Films
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| Neorealism (Cross-listed as Italian 170) | |
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Film 108, Section 1 Based on a true story: Italian and other Realisms In this course we will examine Italian Neorealism, its context, antecendents, and the broad influence it has had on the subsequent development of Italian as well as World Cinema. We will read such films through the lens of discourse types such as Documentary Realism, Historical Realism, and notions of reality and its representation Ideological, Psychoanalytic, Cognitive, Philosophical, Physiological. Post-war Italian Cinema took on Realism[s] as the necessary next step in the evolution of its own cinema practice. This happened for a variety of reason: historical, moral, and practical. Some of these are the usual formative factors of Film Genre, some have to do with the extra emphasis that Neorealism places on the nature of reality and its representation. Neorealism, thus, is a filmmaking practice that throws light on questions of Genre, Mode, and the Representational Aparatus in ways often unusual. It is by now clear, for instance, that examining films recruited (some would say Shanghaied) under the banner of neorealism, in the name of their closeness to “really-real-reality,” is a dead end. Films studied for this purpose will be works well known outside Italy, as well as some less so. Among them: Paisa (R. Rossellini, 1946); La terra trema (L. Visconti, 1948); Riso amaro (G. De Santis, 1949); Bellissima (L. Visconti, 1951); Poveri ma belli (D. Risi, 1954); La dolce vita (F. Fellini, 1959), Accattone (PP. Pasolini, 1960), Prima della rivoluzione (B. Bertolucci, 1964), Io la conoscevo bene (A. Pietrangeli, 1965). The course will also expand the examination of films beholden to realist tradition[s] beyond the Italian peninsula We will thus look at Hollywood Naturalism and American Independents, German Neue Sachlichkeit, French Poetic Realism, New Wave and Cinéma Vérité, British Free Cinema, Brazilian Cinema Nôvo, and Danish Dogma95. Some of the films we may see: Grapes of Wrath (Ford 1940), Sullivan’s Travels (Sturges 1941), The Savage Eye (Meddows-Meyers-Strick 1960), Shadows (Cassavetes 1961), Medium Cool (Wexler 1969), Dog Day Afternoon (Lumet 1975) Quai des Brumes (Carné 1938), Le Jour se Lève (Carné 1939), A Bout de Souffle (Godard 1960), Le Jolie mai (Marker 1963), So ist das Leben (Junghans 1929), Kühle Wampe (Brecht/Düdow 1932), Alice in den Stadten (Wenders 1974), Berlin Alexanderplatz (Fassbinder 1980), A Kind of Loving (Schlessinger, 1962), Barravento (Rocha 1963), Celebration (Vinterberg 1998).
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| Musicals | |
Film 108, Section 2 In this class we will watch a film with our ears. We will begin with a question: do songs interrupt movies? If songs interrupt movies, then we need to ask why we are critical about such interruptions, and how cinema makes songs function productively. The course will think of songs as “juicy” spectacle, as ways of conveying emotion, as narrative tools and as methods of critical practice. Beginning with the Hollywood film musical and moving on to Indian popular cinema (“Bollywood”), the class will study the formal imperatives of song and dance sequences in cinema. Students will acquire an understanding of the film musical from the perspective of the history of film and the coming of sound, genre studies, issues of national identity, and avant-garde movements in cinema. Screenings include a wide variety of American and Indian “musicals” with a brief selection of European film. During the first phase of our course we will familiarize ourselves with major American examples such as The Jazz Singer and The MGM film musical. We will then move on to new articulations such as Singin’ in the Rain, West Side Story, Cabaret, Dirty Dancing and School Daze. In the second part of the course we will turn to films that have made a significant intervention in the song and dance tradition of Indian cinema: Saint Tukaram, Mughal-E-Azam/The Great Mughal, Pyaasa/Thirsty, Kabhi Kabhi/Sometimes, Dil to Paagal Hai/The Heart is Mad, and Metro. We will end with avant-garde filmmakers who have used songs as ways of questioning the dominant genre aesthetic: Mani Kaul’s Siddheswari (or an art film like Shyam Bengal’s Bhumika/Role), and Lars Von Trier’s Dancer in the Dark. Course Requirements: Students will be required to attend all screenings and discussions. Class assignments include a project on musicals. This could mean re-editing a musical sequence, or a five page short paper. There will be a take home mid-term exam. A ten page final paper or creative project will be due in the last week of class. Required Books: Rick Altman, The American Film Musical; Jane Feuer, The Hollywood Film Musical; Steve Cohan, ed. Hollywood Musicals: The Film Reader and a course reader (available from Zee Zee Copy, Sather Lane) Recommended Books: Nasreen Munni Kabir, Talking Songs: Conversations on Hindi Cinema With Javed Akhtar; Kay Dickinson, Movie Music: the Film Reader; Pamela Robertson Wojcik, ed. Soundtrack Available and James Buhler, ed. Music and Cinema
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| Sound | |
Film 140, Section 1 This course will explore the nature, evolution, use, and abuse of sound in cinema. From the first silent films, which weren’t presented in silence at all, to current ride films, the relation between sound and image will be analyzed in detail. While there is a high degree of visual sophistication in audiences and academic analysis, there is an almost equal naiveté when it comes to sound. Starting with the physics of sound, the neurophysiology of hearing, and how our perception influences our emotional reactions, we will consider the three main categories of film sound - dialogue, music, effects - from the perspectives of the writer, the director, and the audience, looking at the artistic and technical factors that guide and constrain the creative process, as well as how changes in presentation have affected audience response. Examples will be shown from foreign and domestic feature, documentary, and animated films. Depending on schedules, there will be several guest lectures by directors and editors currently working on the soundtracks of their films, as well as a field trip to Skywalker Sound in Marin, where the processes involved in creating a soundtrack for a feature will be demonstrated. This provides a unique opportunity to isolate the sonic elements presented in class, explore other alternatives to the finished product, and discuss why final choices were made. At the end of the course, students should be able to bring an increased sophistication and depth to their understanding of how sound contributes to (or diminishes!) the filmic experience. Requirements: Attendance and consciousness at class lectures and film screenings are mandatory. Midterm Exam, final exam, 2 quizzes, several short analyses of assigned films, and small group creation and presentation of audio scenes illustrating concepts covered in class.
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| Shakespeare in Film CANCELLED | |
Film 140, Section 2 Shakespeare is not merely a five hundred year old author today. As many scholars have argued, albeit somewhat romantically, Shakespeare is our contemporary. This is most poignantly (and factually) expressed in the numerous film adaptations Shakespeare's plays have had ever since the first days of the cinema as a medium of popular entertainment. Beginning from the era of silent cinema, most of Shakespeare's popular plays have been "shot" for the screen by numerous directors, some of them several times. This course will make an attempt first to briefly survey the history of Shakespeare on film and then examine some of the greatest Shakespeare films ever made, not only in English, but in many languages that even Shakespeare did not know anything about (for example, Japanese, Russian, and Hindi). We shall look at the work of directors like Laurence Olivier, Joseph L. Mankiewicz, Franco Zeffirelli, Roman Polanski, Kenneth Branagh, Peter Greenaway, Julie Taymor, in English and Grigory Kozintsev, Akira Kurosawa, et al, among many who have filmed Shakespeare in their own languages. In analyzing these films, the students will also explore to a certain extent theories of film adaptation and its cultural implications, especially in understanding what Shakespeare means to the contemporary world. Outside meeting twice each week, students in the class would also need to attend mandatory screening sessions on Fridays.
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| From Old World to Lost World: Yiddish Film and its Afterimages | |
Film 140, Section 3 This course will explore the on-going process of imagining Eastern European Jewish culture through film and other art forms including theatre, music, and literature from the early 20th century to the present. We will analyze pre- and post- WWII representations of this culture and the ways it figures the various tensions between tradition and modernism, isolation and cosmopolitanism and religion and secularism that marked 20th century culture and politics. Our starting point will be the now extinct Yiddish cinema and the ways this quintessentially modern art form of popular cinema at once constructed and questioned the image of traditional Jewish life. We will also explore the possible relationships between Yiddish cinema in Poland and the United States, to, on the one hand, the "high art" of modernist and avant-garde movements in visual art, literature and music, and on the other, popular culture from the Yiddish theatre and Borscht-belt comedy to Klezmer and Jazz music. We will then revisit these questions after the Holocaust through what might be called/ Post-Yiddish culture/ in the US, Europe, and Israel. We will explore the ways contemporary artists and filmmakers rise to the challenge of representing a 'lost' world and a traumatic past, in which memory and private and collective imagination overcome binaries of old/new, relevant/obsolete, dead/alive, us/them to create some of the most challenging contemporary cinema. Through weekly discussions, viewing and assigned texts.
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| The Anxiety of the Auteur: Cases of Influence and Inheritance among Scandinavian Directors (Cross-listed as Scandinavian 115) | |
Film 151, Section 1 A long tradition exists in Scandinavia of the “art film,” a film self-consciously created to reflect antecedents in literature, with serious artistic ambition and an “author” in the form of the director/writer. The notion of the art film finds further grounding in the relationship between directors – often Scandinavian film directors have shown clearly their debt to earlier Scandinavian directors, thus creating a regional art film tradition that helps to define the “Nordic” as a cultural concept. The title of the course, “The Anxiety of the Auteur,” draws on Harold Bloom’s critical text, “The Anxiety of Influence,” in which he examines the relationship of poets to their artistic heritage, in the form of work by earlier poets. In our course we will look at the whole notion of the film author (or auteur theory) and see how it is expressed in the Scandinavian film tradition through quotation, parody, and adaptation. We will think about film’s relationship to literature (as well as its departure from literature) and the ways in which a national or regional cinema is created. Course readings, collected in a reader, will include theoretical essays on cinematic authorship and on national cinema. Film authors to be discussed include Mauritz Stiller, Victor Sjöström, Carl Dreyer, Ingmar Bergman, Lars von Trier, Jørgen Leth, Roy Andersson, and Aki Kaurismäki. Films will include Tomas Graal’s Best Film, The Phantom Carriage, The Passion of Joan of Arc, The Seventh Seal, Wild Strawberries, Songs from the Second Floor, The Five Obstructions, and Man without a Past. Prerequisites: None.
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| Fellini (Cross-listed as English 166/3) | |
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Film 151, Section 2 The course, which satisfies the “auteur” requirement in the Film Program, centers on Federico Fellini, a figure who was at once the most spectacular auteur in the heyday of auteurs and, in one important sense, the most peculiar. His work—most explicitly, in that phase of it that produced La Dolce Vita and 8 1/2—takes up the very problem of “auteurship,” a problem induced, internally at any rate, when the auteur, no longer the veiled god behind his work, portrays himself as its depressed main character, depressed because, as a character, he can never be central enough. If the auteur-as-god always had “something to say” (La Dolce Vita, for example, threw a whole nation into debate over its message), the auteur-as-character has nothing to say, or at any rate nothing that could give his work the conceptual wholeness of a “masterpiece” (8 1/2). Fellini’s famous virtuosity—the spectacle of style “working it up”—would remedy this personal inadequacy, and render irrelevant the filmmaker’s failed self-positioning in the Marxist/Catholic/existentialist matrix that forms his social-intellectual field. PLEASE NOTE: This course will not begin until January 24, 2008.
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Non-Fiction Auteurs: Chris Marker, Harun Farocki, Errol Morris |
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Film 151, Section 3 Reflecting on the notion of “auteur” as developed and subsequently criticized in cinema studies; this course examines the relevance of such a concept for non-fiction film through the work of three major filmmakers. Chris Marker (France), Harun Farocki (Germany), and Errol Morris (USA) are each known for having a well-developed, distinctive style that pervades their extensive work. Extremely different one from the other in their approach to the “real,” they deal with some of the same crucial questions of non-fiction film in very distinct ways. Notions of witnessing, film’s relation to the political, the truth status of images, and question of address and authorial positioning surface in all of their work, but differently. Questions of film style in this course are therefore linked to an analysis of the vast and creative potential of documentary rhetoric, the ontology of the film image, and the epistemological stakes of non-fiction cinema. Work screened includes Marker’s The Koumiko Mystery, Sans Soleil, Level Five and Remembrance of Things to Come; Farocki’s Inextinguishable Fire, An Image, Images of the World and the Inscription of War, and War at a Distance; and Morris’ Gates of Heaven, The Thin Blue Line, Mr. Death, Fog of War and episodes from his television series First Person.
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| Directors and their Contexts: "Oshima Nagisa and His Interlocutors." (Cross-listed as East Asian Language 180) | |
Film 151, Section 4 Known for his visually striking compositions and an often shocking association of the sexual and the political, Oshima Nagisa was an acerbic critic of Japan's postwar humanism and of an older generation of filmmakers including Ozu Yasujiro and Kurosawa Akira. For Oshima, the aesthetic and socially melodramatic qualities of this generation meant that postwar Japan would miss the opportunity to probe the sources of its militarist history and its postwar complicity with American hegemony. This course examines Oshima's oeuvre, both within and against dominant understandings of auteur theory and international New Wave cinemas. In the selection of a single auteur, the course both demonstates and interrogates the value of an auteurist approach to film studies, a question that is especially appropriate given the importance that Japanese films and filmmakers played within the development of film "auteur" theory in France, Britain, and the United States. Complementing this auteurist approach, however, is a determination to understanding Oshima's work as part of an international circulating, politicized New Wave. In this respect, the course moves between both auteur and genre approaches to cinema studies. Prerequisites: Upper division or Graduate standing; or consent of instructor.
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| Japanese Film/National Cinema (Cross-listed as Japan 185) | |
Film 160 This course examines Japanese film, constantly questioning the ways in which it has been categorized as a national cinema. Issues examined include the transnational influences of modernist aesthetics on early cinema, the emergence of the Japanese studio system as rival and complement to Hollywood, Japanese films and global New Waves, the documentary tradition, and the political valence of contemporary cinema. We dedicate considerable attention to the three canonical directors of Japanese cinema—Ozu, Mizoguchi, and Kurosawa—to examine the different ways in which they are sutured within—as well as resist—the national cinema model. Also examined are central writers in English on Japanese film: Richie, Burch, Kirihara, Bordwell, and Yoshimoto as well as Cazdyn, Andrew, and Turim. All materials will be examined in historical, social, aesthetic, and political contexts. Required Books: •Donald Richie, A Hundred Years of Japanese Film, New York: Kodansha Int’l, 2002. •Mitsuhiro Yoshimoto, Kurosawa: Film Studies and Japanese Cinema, Durham, NC: Duke University Press, 2000.
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| Screenwritting | |
Film 180A Please note:Instructor approval is required. Preference is given to Film Studies and Art Practice Majors. Consent of instructor. This class is open to juniors and seniors; will accommodate students who are not Film Studies majors. Interested students should attend the first class session. Explores the art and craft of writing a feature length, narrative screenplay. Participants present three story ideas to the class, develop one concept into a detailed treatment and write the first act of the script in professional screenplay form. Focus is on rewriting, with regular presentations of outlines and scripts to fellow writers. Emphasis on story structure, character development and screenplay form. Includes in-class writing exercises. Required Texts Paul Lucey, Story Sense: Writing Story and Script for Feature Films and Telelvision; The Complete Guide to Standard Script Formats, Part I: The Screenplay (CMC Publishing); Syd Field, Four Screenplays: Studies in the American Screenplay BOOKS ARE AVAILABLE AT NED'S OR ON AMAZON.COM
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| Digital Video: Focus on the Narrative Short (Cross-listed as Art Practice C171, Section1) | |
Film C185 (Description Forthcoming)
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| Advanced Digital Video: Narrative Cinema & Production Practices (Cross-listed as Art Practice C174) | |
Film C187 Prerequisites: Completed 185 with a grade of A- or better, consent of instructor, and a great deal of independence and initiative. Students who have not taken FS185, and who have not done equivalent work, are expected to catch up, when relevant, on the reading and production exercises that were assigned to that course. This advanced studio course (very demanding and very labor intensive) is designed for students who have mastered basic skills and concepts involved in digital video production as taught in FS26 and FS185, and who are interested in further investigating critical, theoretical, and creative topics in digital video production. This semester the course will address the full production process of a short narrative film: from idea, to narrative premise, to treatment, to pre-production, to casting, to shooting-script, to directing the film, to crewing for each other, to post-production and, finally, to exhibition. Narrative should be understood, for the purposes of this class, in a broad sense. The final result (your film) can be, if not mainstream narrative, metanarrative, antinarrative, deconarrative, conceptnarrative, subvertgenrenarrative, and so on. For all of these alternatives to work, however, we must be clear about what narrative is assumed to be in its conventional form by our culture[s]. We will therefore look first of all, and very carefully, at the conventions and techniques of story development, clear communication, and engaging execution. We will do this before we explore the tangents that test the limits and contradictions of the shared traditional conventions of classic narrative cinema. We will focus, of course, on the craft. But just as much as technique, the course is built on the assumption that what needs to be at the core of good filmmaking is a distinct and individual voice that knows what it is about. We will thus explore what you need to master if you are to communicate your ideas, what it is that constitutes meaning, and how much all of this depends on knowing who you are. This class takes it for granted that the most important thing a filmmaker needs to learn from the outset (over and above technique) is what s/he is going to put into the film. Of course, you will need to master further the nuts & bolts of the filmmaking process. Yet we will keep our focus on the fact that the most difficult task for a filmmaker is to have something to say that is worth saying. It is hard to think of a campus as rich and as vital as ours in the lively exchange of ideas relevant to the contemporary world. Thus, Berkeley offers you the opportunity to enrich the foundations of your creative film work with intellectual substance, chosen from the vast variety of fields found on our campus. Here you can do it, moreover, shielded still for a short while longer from the din and demands of the film industry, independent as may be. Please look at the course webpage for a more detailed breakdown of the work we are going to do. http://studio.berkeley.edu/coursework/moses/courses/FS187Sp08/
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| Film Curating Internship | |
Film 197C First Meeting: Thursday, 4 - 5pm Meet in PFA's Research Screening Room at the Berkeley Art Museum, 2625 Durant Ave. Prerequisites: Declared film majors with at least 60 semester units completed; must have completed Avant Garde Film 28B. Professor approval required; enrollment limited. Experience "behind-the-scenes" at PFA! Interns will learn about film curating through creating a program of works by Bay Area film students to present at PFA the following Fall semester. Students will solicit films and videos, preview, and make a final selection as a group. Students will write short anlayses of local film exhibition programs and will do projects related to PFA's ongoing exhibition program.
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