Film Studies is an interdisciplinary field of knowledge and inquiry devoted to the study of the significance of moving images in global society. Students explore the use of images and words by studying the terminology of film production, the aesthetic elements of cinema, and film theories. They also examine cinema's historical development as an artistic and social force. Courses offered within the interdisciplinary film studies program include specific genres, major directors, national cinemas, and literary adaptation.

Professor Eleanor Salotto directs the Film Studies Program at Sweet Briar College. Click here to view her credentials, and here to send her e-mail.

Film

Note: The English courses shown on this website are only those that are being offered in the 2007-2008 academic year. Consult the course catalog for full listing.

 

Course Number
Name

Gen. Eds

Description
Credits

ANTH 281

Visual Anthropology
V5
This course explores images of the cultural other, as seen in ethnographic and documentary photographs, films, museums and other visual media. How do photographs, art, exhibits an museums reinforce stereotypes of "the primitive" and "the exotic?" In what ways are visual media used to create ethnographic texts and representations? The course will address these topics through a series of films, visual media, and readings.
3

ASIA 218

Chinese Cinema
V4
A historical survey of Chinese cinema from 1900 to the present. Emphasis will be placed on the social, cultural and political contexts of filmmaking in the 20th century, the relationship between film and literary movements and the transition from film as an indigenous tool for entertainment and social engineering to film as globalized art form. Special emphasis will be placed on how Chinese filmmakers adapt global filmmaking techniques through six generations of directors/filmmakers. This course may be taken on a P/CR/NC grading option.
3

ENGL 149

Introduction to Film Studies
IIIW, V6a
Students will become familiar with the aesthetic elements of cinema (visual style, sound, narrative and formal structure), the terminology of film production, and film theories relating to formalism, psychoanalysis and feminism. Films will be discussed from aesthetic, historical, and social perspectives.
3

ENGL 248*

Topics in Film Studies
V6a

An exploration of a specific area in film history or film theory. Topic will vary by semester. This course may be repeated for credit when content changes.

3

GRMN 254

German Culture Through German Films
V1, V6a

In this course students will view and discuss both older and more recent German films. Emphasis will be placed on the image these films portray of German society during the Weimar Period, the time of National Socialism, life in East and West Germany during the Cold War and Germany since the reunification. This course is taught in English with a special discussion session in German. May be counted towards the majors in German and German studies or minor in German for those who elect the German discussion session and do all written work in German.

3

HNRS 189

Women, Sports, & Film: Issues/Images
IIIO, V5

The mythical Amazons removed a breast to make shooting a bow easier. Is this a heroic gesture, or a reinforcement of societal values dictating that powerful women are less feminine? We will examine films featuring women and sport and relate images to social boundaries facing women. What values do we place on female athleticism? Why are athletic norms defined in masculine terms? May be counted toward the minor in film studies.

3

PHIL 204

Philosophy and Film
V6a
This course offers an in-depth examination of various philosophical themes using contemporary and classical films to supplement traditional readings. Films will be approached as "texts" and will be used both to raise philosophical questions and to critically evaluate certain philosophical presuppositions. Among the themes and philosophers to be discussed are epistemology, ethics, aesthetics, existentialism, and political philosophy; and Deleuze, Zizek, Kaja Silverman, and Stanley Cavell.
3
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