The Graduate Calendar lists all of the courses in the program, please note that not all courses are offered every year.
2018-19 Graduate Courses
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. Barbara Shannon, our Graduate Administrator, will be able to advise you on all administrative matters.
- FILM 5002 Special Topic: Media & Emotion - Fall term
- Instructor: Aubrey Anable
- This graduate seminar will consider the ways that feelings and emotion figure in theoretical and historical accounts of film and 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.
- Many of the readings for the course will cover the contemporary “affective turn” in theory, its debates, and its critics.
- FILM 5010 Film Theory, History, and Critical Methodologies I - Fall term
- Instructor: Laura Horak
- 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.
- Learning Objectives
- By the end of this term, students are expected to be able to:
- Perform a close analysis of an audiovisual text, paying close attention to sound as well as visual elements.
- Make inventive arguments about films using evidence and a logical chain of reasoning.
- Use multiple methods to track down primary and secondary sources, evaluate the strengths and weaknesses of these methods, and assess critically the material they find.
- Conduct original archival research, engaging with the unique collections of Ottawa-area institutions.
- Describe the genealogy of key concepts in Film Studies, such as national cinema, genre, and authorship.
- Use drafts, feedback, and thoughtful revisions to improve their writing.
- Create a persuasive research project proposal.
- Course readings will be available online through Ares and cuLearn. I also recommend the following books, which are on reserve at MacOdrum library and available online for purchase. These books are not required.
- Booth, Wayne C., Gregory G. Colomb, and Joseph M. Williams. The Craft of Research. 3rd ed. Chicago: University of Chicago Press, 2011. (Available online thru the library)
- Rosenwasser, David, and Jill Stephen. Writing Analytically. 7th ed. Stamford, CT: Cengage Learning, 2015. (Available on cuLearn)
- Peters, Robert L. Getting What You Came For: The Smart Student’s Guide to Earning a Master’s or a Ph. D. New York: Noonday Press, 1997. (On 2-hr reserve at the library)
- Grades will be calculated as follows:
- Leading Class Discussion 10%
- Close Analysis Essay 15%
- Archival Object Project 30%
- Proposal 45%
- FILM 5020 Film Theory, History, and Critical Methodologies II - Winter term
- Instructor: Aubrey Anable
- Building on FILM 5010, this course continues a rigorous orientation to the discipline of Film Studies. We will think critically about and practice key methodologies of the discipline. During the winter term, we will participate in the on-going theoretical conversations of the discipline, reading both foundational and newer work. These conversations include: What is the nature and purpose of film? How do film and other audiovisual media shape individuals and societies? Does it make a difference whether something is shot on and projected from celluloid film vs. digital technologies? What happens to us when we watch movies? Students will also explore the genealogies of key concepts in Film Studies and work on their analytic, reading, writing, research, teaching, and communication skills.
- FILM 5107 Topics in Film History: Music and Sound - Winter term
- Instructor: Charles O’Brien
- Also cross-listed as MUSI 5200
- Course description: The familiar characterization of cinema as a visual art has enabled a neglect of the cinema’s sonic dimension that endures into the present day, when key aspects of film sound continue to receive minimal attention from scholars of film and media. Such aspects provide the focus of this course, which examines film history from the standpoint of the role in cinema of music and sound. Topics covered include: major turning points in the history of the technology and aesthetics of film music and sound; the function on movie soundtracks of music relative to dialogue and ambient noise; sound’s role in the filmic representation of social difference, including gender and race; how popular songs function as film accompaniment in contrast to orchestral music; the treatment of sound in silent films versus sound; the history of film-theoretical reflection on music and sound; the history of cinema’s interface with cognate media such as recorded music, radio, television, and the internet; and the virtues and limitations of specific critical methods for film-soundtrack analysis.
- The main course requirements are likely to include the following: reading the weekly assignments and attending all lectures and screenings; completing an exam; submitting one or two papers; giving two short class presentations; and completing short, ungraded in-class writings.
- FILM 5203 Issues in World Cinema: Film and the World - Winter term
- Instructor: Malini Guha
- This interdisciplinary course will examine the relationships between cinema and ‘the world’. Topics to be explored in the course include: ‘the world as picture’, ‘world cinema’, ‘the worlding of film and media’, ‘queer cinema in the world’ as well as ‘film and globalization’.
- FILM 5500 Advanced Film Analysis - Fall term
- Instructor: Marc Furstenau
- Topic: Film Theory and the Philosophy of Art
- cross-listed with FILM 4501
- Description: This course will consider the history of debates in film theory about the aesthetic status of the cinema. One of the very first questions to be asked about the new medium of film was whether it could be art. The cinema emerged at a time when the very concept of art – its status, its value, its significance – was being questioned by philosophers and critics, and being redefined by artists experimenting with new forms and materials. We will consider the effect that the emergence of the cinema had on these debates, reading representative essays in film theory and in the philosophy of art.
- METHOD OF EVALUATION: Reading Reports, Essay
- READINGS: Readings will be available through the on-line reserve system of the Carleton University library (ARES).
- FILM 5506 Transgender Cinema - Winter term
- Instructor: Laura Horak
- cross-listed with FILM 4002
- This course will explore histories and theories of transgender cinema, with a focus on films and videos made by trans, nonbinary, Two Spirit, and gender nonconforming people in North America and Europe from the 1990s through today. Topics may include: trans spectatorship, YouTube videos, web series, documentary, experimental film, activism, and Black and Indigenous film authorship.
- Course readings will be available online through Ares and cuLearn.
- FILM 5601 Studies in Genre - Fall term
- Instructor: Aboubakar Sanogo
- 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, alongside such newer figures as Dieudo Hamadi, Naomi Kawase, John Akomfrah, Harun Farocki and Ari Folman.
- Evaluation: Discussion leading, position paper, research paper.
- Required textbook: TBA
- Important Note: Possible attendance of the Montreal International Documentary Festival (RIDM) in November (to be confirmed)