Students are responsible for insuring that your selected courses meet the program requirements stated in the Calendar. If, however, you feel that you need additional information or guidance please contact us. Our Graduate Administrator (kristopher.waddell@carleton.ca), will be able to advise you on all administrative matters.
Fall 2024/Winter 2025
- FILM 5002F Special Topics - Fall Term
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- PROFESSOR:
- DESCRIPTION:
- METHOD OF EVALUATION: TBA
- FILM 5002F Special Topics: Media and Emotions - Fall Term
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- PROFESSOR: Aubrey Anable
- DESCRIPTION: This graduate seminar will consider the ways that emotion figures in theoretical and historical accounts of film and related audio-visual media. Questions about emotion and “affect” are at the root of contemporary debates about identity, subjectivity, politics, and representation. Yet, the body—its sensual capacities and vulnerabilities—is often figured as that which media technologies and those who study them must overcome or entirely deny. Our primary concern will be tracing this intellectual history and the ways contemporary media culture and recent theoretical shifts reframe the relationship between media and emotion. We will use screenings and readings as materials to think (and feel) with.
- METHOD OF EVALUATION: TBA
- READINGS: TBA
- Cross-listed with: CLMD 6105F
- FILM 5010F Film Theory, Historiography and Critical Methodologies - Fall Term
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- PROFESSOR: Laura Horak
- DESCRIPTION: This course offers a rigorous orientation to the discipline of Film Studies. We will think critically about and practice key methodologies of the discipline, ranging from interpretation and close analysis, to building arguments (both written and audiovisual) conducting archival and online research, and formulating original research project proposals. We will also explore the genealogies of key concepts in Film Studies, including national cinema, genre, and authorship. In the course, students will work on their analytic, writing, research, and communication skills.
- METHOD OF EVALUATION: Tentative: Leading class discussion (10%), Close analysis essay (15%), Archival object project (30%), Final project (45%)
- READINGS: Online readings
- FILM 5020W Film Theory, Historiography and Critical Methodologies II - WinterTerm
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- PROFESSOR: Kester Dyer
- DESCRIPTION: This course builds on the skills and knowledge acquired in FILM 5010. It introduces and expands on key debates in the field of Film Studies, and places a particular focus on anticolonial, postcolonial, and decolonial approaches to cinema. It describes the historical trajectory of such debates and addresses more recent developments as they pertain to the discipline. It tackles key thinkers associated with major concepts like Orientalism, subalternity, hybridity and mimicry, representation, refusal, and visual sovereignty, as well as important movements like Third and Fourth Cinema. As part of their assignments, and based on their proposals from FILM 5010, students will either develop a final essay or a literature review for a thesis or major research paper.
- METHOD OF EVALUATION: TBA
- READINGS: All course readings will be provided free of charge via Brightspace.
- FILM 5020F Film Theory, History, and Critical Methodologies II - Winter Term
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- PROFESSOR: Malini Guha
- DESCRIPTION: This course continues where FILM 5010 left off in offering an advanced orientation to some of the longstanding debates in the discipline of film studies in an Anglophone context while also introducing students to more contemporary methods of analysis. Topics to be studied in this course include: film’s enduring relationship to reality; the question of how we might disrupt the Western-centric nature of the discipline; revisiting and rethinking the gaze; interdisciplinary methods of analysis.
- METHOD OF EVALUATION: TBA
- READINGS: Readings will be available via Brightspace.
- FILM 5107F Topics in Film History: Cine-Archival Theory, History and Practice - Winter
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- PROFESSOR: Aboubakar Sanogo
- DESCRIPTION: The archive has, in recent years, become one of the most exciting and dynamic fields of inquiry in the humanities and social sciences. Taking this into account, this interdisciplinary seminar will explore theories, histories and practices pertaining to the archival, with the moving image as its point of entry and focus, while in conversation with other relevant media and fields concerned with the archival (museum studies, library and information sciences, philosophy, political science, history, heritage and memory studies, the hard sciences, etc.). It will revisit some of the most important theories of the archival along with lesser-known ones. It will also critically retrace the history of the moving image archival movement from its inception to the present. In addition, it will explore the major debates and issues pertaining to archival practice including safeguarding, preservation, restoration, heritage, collecting, cataloguing, access, curating and programming, policy, the analog vs digital, the status of film-related materials, as well as examine the significance of such identity formations as race, gender, sexuality, the national, etc. for a reimagining and reconfiguration of the archive.
Past contributors to the course have included both Canadian and international archival institutions, organizations and projects: Library and Archives Canada, the International Federation of Film Archives (FIAF) and affiliates, the Media Ecology Project (MEP), the Film Heritage Foundation (FHF), as well as filmmakers, academics, curators and critics and film preservationists from around the world. - METHOD OF EVALUATION: TBA
- READINGS: TBA
- Cross-listed with: FILM 4901
- FILM 5506F Topics in Culture, Identity, and Representation – Fall
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- PROFESSOR:
- DESCRIPTION:
- METHOD OF EVALUATION:
- READINGS:
- FILM 5506W Graduate Documentary Seminar – Winter
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- PROFESSOR: Aboubakar Sanogo
- DESCRIPTION: Film 5506-4002-Graduate Documentary Seminar-Winter 2025
“All great fiction films tend toward documentary, just as all great documentaries tend toward fiction . . . He who opts wholeheartedly for one necessarily finds the other at the end of his journey.” Jean-Luc Godard
“Every time you are getting ready to make a shot in a documentary film, you are asking yourself questions about your cinematographic approach. You are approaching the truth, but the image is never the truth itself.” Rithy Panh“I began to feel that the drama of the truth that is in the moment and in the past is richer and more interesting than the drama of Hollywood movies. So, I began looking at documentary films.”- Ken Burns
“Documentary film is the one place that our people can speak for themselves. I feel that the documentaries that I’ve been working on have been very valuable for the people, for our people to look at ourselves, at the situations, really facing it, and through that being able to make changes that really count for the future of our children to come.” Alanis Obomsawin
These quotes very much embody some of the multiple stakes, debates, paradoxes and profoundly inspiring dimensions of the inaugural film form known as the documentary (indeed, the cinema was arguably born twice, first as documentary and then as fiction).
This course will explore the theory, history and aesthetics of the documentary mode of filmmaking. As such it will examine major theoretical debates related to the very nature of documentary, and its relationship to larger debates such as truth, reality, fiction, representation, memory, history, identity, subjectivity, among other things. The history of the documentary form will also be examined through such canonic figures, schools and movements as the Lumiere brothers, Thomas Edison, Robert Flaherty, John Grierson, Dziga Vertov, Joris Ivens, Jean Rouch, Chris Marker, Trinh T. Minh-ha, Fernando Solanas, alongside such more recent figures as Dieudo Hamadi, Joshua Oppenheimer, Wu Tsang, Katy Lena Ndiaye, John Akomfrah, Ari Folman, among many others - METHOD OF EVALUATION: TBA
- READINGS: TBA
Previous Years
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