Arts & Sciences
|
Communication Arts & Sciences |
|
Programs: Film Studies | |||||||||||||||||||||||||||||||||||||||||||||
Introduction Film Studies at Calvin College encourages the intensive exploration of the moving image arts, through critical and historical study as well as learning production skills. We teach film as an art form, a cultural force, a commercial product of the entertainment industry, and a constantly-evolving technology.
We believe that Christians ought to become involved in the study and practice of film. Doing so will develop critical thinking and discernment, interdisciplinary learning, and practical skills useful for lives of service. Film Studies is one of the most popular and fastest-growing fields at Calvin College. FILM STUDIES CURRICULUM 145 Introduction to Film (3). A study of film as an art form and cultural phenomenon, including dramatic, visual, and sonic elements, theme and focus, acting, and directorial style. Topics covered include the materials and methods of filmmaking, the major styles and genres of film to American and world culture. Course work includes a mandatory weekly screening (lab) and readings in the history, theory, and criticism of film. 190 Introduction to Video Production (4). An introductory course in film-style production in the medium of digital video, with instruction in all of the elements of production, including scriptwriting, videography, sound, lighting and editing. Students will produce a series of exercises and a short finished video. All equipment is provided. 281 American Film (4). The study of American film as an art form, including technology, industry, and the system of representation and communication from the silent era to the present. This course investigates how Hollywood films work technically, artistically, and culturally to affirm and challenge images of America. Films considered represent major expressions of the classical Hollywood style and diversions from that style. Topics include film technique and style, narrative conventions and genres, the Hollywood studio and star systems, directors, and ideologies. 282 World Cinema (4). An introduction to significant film movements outside the United States. Topics include the early history and development of basic cinematic principles, the differences between the “Hollywood style” and the narrative forms developed in Europe, Asia, and elsewhere, and the response of various film industries to the dominance of the American cinema. 284 Critical Approaches to Film (4). An introduction to the key concepts and cultural paradigms employed in the study of film. Students are introduced to the diverse ways in which films are examined and critiqued, central theoretical, ethical, and critical issues surrounding the study of film, and major film theories based on cognitive, psychoanalytical, ideological, semiotic, structural, and feminist perspectives. Various schools of film criticism (e.g., formalist, auteur, genre, humanist, and religious) are considered. Prerequisite: CAS 251, 281, or permission of the instructor. 290 Video Production II (3). An intermediate- level course in video production. Course includes further development of technical and creative skills, with special emphasis on the writing, design and production of documentaries and narrative videos. Prerequisite: CAS 190 or permission of instructor. 296 Film as a Narrative Art (3). F. In-depth examination of the art of narrative film, focusing each semester on one or more directors, genres, or styles of filmmaking. The course pays particular attention to narration and narrative structure, characterization, conflict, setting, and point of view and also acquaints students with literary adaptation and with the contribution of film image and sound to narrative development. The course emphasizes the development of student skills in writing about film. Cross listed with ENG 296. 352 Communication Ethics (3). This course examines the moral dimensions of human communication, exploring dilemmas in interpersonal, group, and mediated communication, with special reference to problems encountered in communications professions. While wrestling with cases and controversies, students also review and apply historic criteria for coming to reasoned moral judgment, including the contemporary voices of feminist, determinist, post-modern, and naturalist ethicists. Major Christian positions are reviewed and applied. Case studies are the focus of the class, with a variety of learning opportunities and encouragement for students to pursue personal learning objectives. Prerequisites: Biblical Foundations I, Developing a Christian Mind, and Philosophical Foundations. 383 Film Theory and Aesthetics (3). An advanced study in film form and its implications, including narrative structure, editing and sound, acting, cinematography, production design, and their influence on viewers. The course also examines basic theoretical issues such as the relationships between film and reality, the nature of film as an art, adaptation, identification, and elicitation of emotional response. Prerequisites: CAS 284 and course work in the applied knowledge category, or permission of instructor. A FEW POSSIBLE ELECTIVES 218 Principles of Acting (3). An introduction to the art of acting. Through readings, discussions, and numerous in-class exercises the students will become acquainted with major acting theories. The course is for students interested in theatre-related professions, as well as for students wishing to deepen their understanding of theatre and dramatic literature. Prerequisite: CAS 217 or permission of the instructor. 219 Principles of Production Design (3). An introductory study of the basic principles, theories, and applications of technical production and design for theatre, television, and film. Includes lectures, lab demonstrations, and contextual readings, and seeks to introduce students to all aspects of the craft, including scenic, property, costume, make-up, sound and lighting production, while comparing the distinct visual media of theatre, television, and film. Prerequisite: CAS 217. 222 Calvin Media Company (1). Students will participate in film, radio and television productions. Students may participate more than one semester, but no more than four semester hours may be applied toward major or graduation requirements. Permission of instructor required. 248 Writing for the Media (3). An introduction to the content, styles, and formats of media scripts. The course emphasizes the differences in media writing compared with more familiar forms of writing, the role of the script as text in producing media programs, the styles of writing used (journalistic, dramatic, polemical, and emotive), and the technical requirements for scripts used to focus the work of directors, actors, camera, and sound technicians, editors and mixers in creating a media product. 249 Audio Design and Aesthetics (3). An introduction to the aesthetic principles that govern the production of media programs, focusing on sound. Students produce a variety of short audio programs in lab situations. The course also introduces students to the process by which media programs are produced, the aesthetic and ethical challenges that this process demands, and how Christians could respond to such demands. 250 Multi-Camera Production (3). An introduction to the theory and practice of studio-based video production. Various program formats are discussed and evaluated in light of particular communication principles and needs. Students gain experience with stationary video cameras, recorders, switchers and related technologies. Performance for the camera, studio lighting, audio recording and mixing principles are analyzed and demonstrated. Prerequisite: CAS 190 or permission of the instructor. 254 Media Criticism (3). The theory and practice of media criticism. This course develops a Reformed lens for consumers and producers of media to evaluate mass media on behalf of church and society. Students write audience-focused reviews and evaluate others' criticism of media such as television, radio, popular music, and new media technologies (including the Internet, digital music, video games, and blogs). Prerequisites: ENGL 101 and CAS 140 or permission of the instructor . 255 Documentary Film and Television (4). An examination of the history, aesthetics, ethics and cultural and institutional functions of documentary film and television. Course includes a mandatory weekly screening (lab). 305 Persuasion and Propaganda (3). The theory and practice of persuasive communication. Topics include theory and research of persuasion, improving personal persuasive abilities, recognizing and resisting persuasive strategies, and the role of propaganda in modern society. Examples for analysis are taken from advertising, religion, sales, political campaigns, and democratic and totalitarian propaganda. 316 Principles of Directing (4). An introduction to the theory of directing. Through readings, play attendance, discussions, and exercises, the students will develop a basic understanding of the directing process and an appreciation for the art of directing. This course is for students interested in theatre-related professions as well as for students wishing to deepen their understanding of theatre and dramatic structure. Prerequisites: CAS 217 and 218, or permission of the instructor. 319 Topics in Advanced Production Design (3). An advanced study of the principles of production design for the theatre, television and film. This rotating topics course (scenic design/art direction, lighting design, and costume design) builds on concepts from CAS 219. Includes lectures, workshops, discussions, demonstrations, play reading and design projects, with special attention to the visual communication of design ideas in the form of written concept descriptions, drawing, rendering, painting, drafting and modeling. The course may be repeated for credit for each of the three topics. Prerequisite: CAS 219, or permission of the instructor. 323 Scene Studies for Actors and Directors (3). An advanced study of the principles of acting and directing for the theatre and television. Through lectures, demonstrations, readings, rehearsals, and exercises, students will develop competence in the aesthetic processes of acting and directing. Students are required to produce performance quality work for both stage and camera. Prerequisites: CAS 218 and 316. 346 Internship in Communication (4). Students work in profit or non-profit communication under the supervision of a professional. Typical placements include public relations or advertising agencies, broadcast or cable stations, video production companies and the like. A journal and seminar participation are required. Grading is based on the professional’s evaluation, the student’s daily journal, and seminar participation. Prerequisites: Junior or senior status and permission of the department. 351 Advanced Media Production (3). The intensive study and production of video in a particular style or genre. The course focus, designated by a subtitle, will alternate between documentary, narrative and other styles and genres of video and television, and may include field and/or studio production and multimedia. The style or genre will be thoroughly investigated, with emphasis on its creative, ethical, and technical requirements and skills. Students will produce their own work in a digital video format. May be repeated for credit when course focus varies. Prerequisite: CAS 250 or CAS 290 or consent of the instructor. 399 Senior Seminar (3). This capstone course examines the application of a Reformed worldview to understanding communication and culture, especially communication-related vocations. It concentrates on the relationships between the Christian faith and professional communication and focuses on the ways in which communication-related professions define professional activity and on the responsibilities that Christians have to work in and through professions. It also examines a Christian view of success, the importance of understanding one’s gifts, finding and using mentors, committing to a location, mastering persuasive, honest interviewing and resume-writing, networking with reciprocity, overcoming Christian tribalism in a world economy, and being patiently flexible in the face of economic and cultural changes. Prerequisites: Biblical Foundations I or Theological Foundations I, Developing a Christian Mind, and Philosophical Foundations. See the Calvin College Catalog for a listing of all courses. Titles for Some Recent CAS Interim Courses The Totalitarian Temptation A CHRISTIAN PERSPECTIVE ON FILM STUDIES
AT CALVIN COLLEGE Unfortunately, much of what has come to be thought of as a "Christian" approach to film is distinguished by either a purely "confessional" concern (does the movie make a statement of Christian belief, exhort believers to faithful living, or attempt to evangelize nonbelievers?) or a narrowly "moralistic" one (e.g., merely determining levels of profanity, sex, and violence). Film Studies at Calvin College is designed to help students develop a fair and rigorous Christian approach to film in a liberal arts context so that they can distinguish redemptive aspects, determine appropriate Christian participation, and develop tools for constructive criticism. To that end, Calvin's Film Studies curriculum is based on three interrelated issues: 1) the role of film as contemporary art 2) the matter of perspective in production and criticism 3) the making of motion pictures. Films show us what people believe and value — their attitudes, questions, preoccupations, their hopes and dreams, fears and anxieties, heroes and villains. By addressing ordinary life — e.g., love and romance, family joys and conflicts, business and politics, wealth and economic hardship, failure and forgiveness, faith and disbelief — as well as historical and contemporary events, motion pictures join the other arts in giving people insight into the human condition and human beings' place in the cosmos. Communicating cultural ideals and values, offering social and cultural criticism, providing social unity and contributing to the collective memory are all good purposes that God brought into existence for the arts. Christians cannot ignore these purposes if they want the cinema to serve God, the church and the larger human community. Christians should investigate the social, cultural, judicial, and religious forces and events that shaped and changed the roles of the cinema throughout the Twentieth Century. Similarly, they should examine the establishment and transformation of film genres as affirmations or challenges to the dominant culture. As a means of cultural communication, films represent cultural values and beliefs. In that sense, they can reveal a worldview, for films are not reality, but an artistic vision of reality. Regardless of the artists' faith convictions, films examine life in a fallen world that is at once hostile to and in search of God. Christians can appreciate and evaluate films by asking what kind of perspective a motion picture offers on the matters of life it addresses. How does this vision measure up to a Christian one? Focusing on the vision of the film heightens awareness of the existence of that vision and how the filmmaker presents it to the audience. It leads Christians to ask questions both about the nature of that vision and about the artistic qualities that enhance communication. Among the goals of courses like World Cinema, Critical Approaches to Film and Film Theory and Aesthetics is to help students become more knowledgeable and adept at interpreting perspectives in films. A worldview usually does not appear in a film in the form of direct statements or contemplation about culture. Rather, filmmakers present a life vision in their work by communicating in narrative form particular cultural ideals, beliefs, attitudes, values and assumptions. These aspects of culture inform the story, characterization, themes, images, and even artistic style. And it is through these aesthetic elements that films transform the external world in ways that engage audiences' reason, memory, emotions and imagination. It is important then, to understand and appreciate how a film is constructed. How do artistic or textual elements — representations, plot, characters, dialogue, lighting, sound, instrumentation, editing, costuming, use of rhetoric and narrative structure, metaphors and symbols, point of view, the relation of style to content — work together to create representations of life, people and events? How do they play with our emotions and thoughts and get us to transfer interpretations to the real world? Narrative features themselves can provoke moral and ethical judgments. Suspense, for example, involves uncertainty, but suspense also generates concern for what is morally right. We want and expect a certain resolution based on a system of ethical beliefs. For further information, contact Professors Carl Plantinga or William Romanowski. For a self-guided tour of the DeVos Communication Center, including media production facilities, click on the photos at the top of the CAS Home Page. Back to top |
||||||||||||||||||||||||||||||||||||||||||||||
 |
|
|
|
|
||||||||||||||||||||||||||||||||||||||||||
 |
||||
|
Apply Financial Aid Visit Campus Request Info. |
About Calvin Giving to Calvin Hekman Library Contact Calvin |
Majors & Minors A-Z Index People at Calvin Calvin's website |
Send us feedback |
The
study of film can serve as an excellent focal point for a strong liberal
arts education. Film is one of the dominant art forms and entertainment
media of our time, and students must become acquainted with its forms,
techniques, significant movements, and great directors. Students explore
film as a cultural force, learning how films intersect with religion,
politics, race, gender, and morality, and can influence us in many ways,
for good and for ill. Students also learn how, as part of the entertainment
industry, film plays an important role in consumer culture and globalization.
We also teach film as a medium of personal and cultural expression, and
students learn the techniques of good production.