film and media studies at yale


A yearlong workshop designed primarily for majors in Art and in Film & Media Studies making senior projects. As an interdisciplinary program, Film and Media Studies draws on courses from Art to Comparative Literature to Slavic to American Studies, taught by a dedicated group of world-renowned faculty. See Film and Media Studies, under Non-Degree Granting Programs, Councils, and Research Institutes, in this bulletin. Privacy policy With our superb faculty and Yale’s extraordinary library and archival collections, the Program has taken its place … Forging a participatory, collaborative, critical practice of “seeing with companions,” it responds to provocations posed by the course materials to go beyond critique, to reconceive feminist and queer epistemologies and pedagogies, and to imagine different ways of being in the world. Screen cultures, screened images, post-cinema, theory and history of media. Film and Media Studies is an interdisciplinary field drawing on the study of the history of art, national cultures and literatures, literary theory, philosophy, anthropology, feminist and queer studies, race and representation, and other areas. See the Film and Media Studies webpage detailing this requirement. The President and Fellows of Yale University, The Administration of the Graduate School, Degree-​Granting Departments and Programs, Mechanical Engineering &​ Materials Science, Molecular, Cellular, and Developmental Biology, Non-​Degree-​Granting Programs, Councils, and Research Institutes. See Degree Requirements under Policies and Regulations. During the third year, two exams must be taken: A) one-hour Film and Media Studies canon examination covering key primary and secondary texts in Film and Media Studies, and administered by two members of the Film and Media Studies graduate committee; B) A two-hour joint French and Film and Media Studies oral qualifying exam to be held no later than the spring break. Later that year, students advance to candidacy by completing qualifying examinations and a dissertation prospectus. How do the predominant concerns shift with the passage of time and with changing media? Priority to majors in Art … Readings include recent works by Ariella Azoulay, Judith Butler, Saidiya Hartman, and Diana Taylor, as well as visual artworks, performances, and films by Regina José Galindo, Arthur Jafa, Simone Leigh, Doris Salcedo, and Kara Walker, among others. Every student selected for the combined program is subject to the supervision of the Film and Media Studies program and the relevant participating department. German expressionist cinema, Italian cinema, or world cinema) and one course in critical studies. By October 1 of the third year, all students must have fulfilled an assignment related to foundational texts and films. We also consider poetry, photography, and art.M 1:30pm-3:20pm, FILM 880b / EALL 872b, Theories Popular Cult In Japan: TV  Aaron Gerow, Exploration of postwar theories of popular culture and subculture in Japan, particularly focusing on the intellectual debates over television and new media.M 1:30pm-3:20pm, FILM 973a / ENGL 973a, Modernity and the Time of Literature  John Williams, This course examines transformations in temporality that occurred in the sciences and arts during the twentieth century. Semiotics’s foundational goal consisted in retracing how meaning emerges and circulates in connection with a variety of objects, from literary works to social rituals, from natural phenomena to artificial languages. of film? Students work within a Public Humanities framework to make a documentary that draws on their disciplinary fields of study. Ongoing questions include community, democracy, power, race, gender, ideology, culture, industry, technics, cybernetics, embodiment, modernity, and space and time.W 9:25am-11:15am, FILM 653b / AMST 653b, Studies in Documentary Film  Charles Musser, This course examines key works, crucial texts, and fundamental concepts in the critical study of nonfiction cinema, exploring the participant-observer dialectic, the performative, and changing ideas of truth in documentary forms.M 1:30pm-3:20pm, U 7pm-10pm, FILM 735a and FILM 736b / AMST 832a and AMST 833b, Documentary Film Workshop  Charles Musser, This workshop in audiovisual scholarship explores ways to present research through the moving image. Myth of a Colorblind France examines the ways that racism has plagued not... From 1968 to 1973, the public television variety show SOUL!, guided by the... Oksana Chefranova, Associate Research Scholar in the Film & Media... Thomas Allen Harris is a featured commentator for film: Myth of a Colorblind France. How is the category of nation constructed and contested within the narratives themselves? with a concentration in Public Humanities.W 10:30am-1:20pm, FILM 755b / CPLT 935b / FREN 752b, French Cinema through the New Wave  Dudley Andrew, This seminar uses a sample of twenty films (with clips from many others) to survey four decades of the tradition of French cinema crowned by the privileged moment of the New Wave. Diaries and memoirs by Victor Klemperer, Anne Frank, Sarah Kofman. Students normally teach in years three and four. See the Film and Media Studies webpage detailing this … In addition to the midterm contribution, graduate students write a substantial term paper.Th 9:25am-11:15am, FILM 761a / GMAN 595a, German Film from 1945 to the Present  Fatima Naqvi, We look at a variety of German-language feature films from 1945 to the present in order to focus on issues of trauma, guilt, remembrance (and its counterpart: amnesia), gender, Heimat or “homeland,” national and transnational self-fashioning, terrorism, and ethics. These close readings will imply the collective work of the whole class.T 11am-12:50pm, FILM 855b / CPLT 937b, Aesthetics, Hermeneutics, and History in Literature and Film  Dudley Andrew, In 1976 the paired concepts “Ideology and Utopia” appeared in the bibliographies of both Paul Ricoeur and Fredric Jameson, two towering intellectuals with exceptionally long careers. 216, 203.436.4668 M.Phil., Ph.D. Director of Graduate Studies To revamp semiotics’s main tasks, the seminar discusses three issues: the structure of semiotic objects, in particular their internal organization and their ideological connotations; the narrative strategies that semiotic objects display, with their capacity to establish a subtle parallel with a theory of human action; and the process of semiosis, and the ways in which a semiotic object becomes “meaningful” in the framework of a culture. Sampling key moments of their vast output, we also interpret fiction and images as they would have us do, i.e., as extended metaphors or allegories. Lanzmann’s Shoah must also be confronted. Concepts to be studied include the unconscious, the ego, identification, the drive, the death drive, repetition, the imaginary, the symbolic, the real, and jouissance. What was the “End of History”?M 7pm-8:50pm, Accessibility at Yale The Certificate in Film and Media Studies is open to students already enrolled in a Ph.D. program at Yale. These new temporalities were as scientifically and philosophically vexing as they were rife with spiritual and aesthetic possibility—a dynamic reflected in the literary and artistic forms that were central to these transformations. We may elect to hold a weekly screening, as a kind of cine-club running to the side of the seminar.W 1:30pm-3:20pm, FILM 861a / CPLT 632a, Literature and Film of World War II: Homefront Narratives  Katie Trumpener, Taking a pan-European perspective, the course examines quotidian, civilian experiences of war during a conflict of unusual scope and duration. 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