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Professors: Jesse G. Kalin, James B. Steerman (Director of Film Studies and
Chair); Associate Professors: Sarah R. Kozloff, Kenneth M. Robinson; Assistant Professors: Gabrielle Cody, Christopher Grabowski, Denise Walen; Lecturers: Holly Hummel, William Miller.
Drama
Requirements for Concentration: 11 units. Drama 101, 102, 221-222, 390. 2 additional units in
dramatic literature or theater history from the following courses,
of which at least 1 must be at the 300 level: 201, 231, 317, 324,
335, 336, 337. 2 units from the following theater arts courses:
203, 205, 209, 213, 302, 304, 305, 307; 2 additional elective
units at the 200-level or above in drama, film, or dance.
Senior Year Requirement: Drama 390.
Note: a student may enroll in only one theater arts course each
semester. Such courses include Drama 102, 200, 203, 205, 209,
213, 302, 304, 305, 307, 391.
1. Introductory
101a or b. Introduction to Western Theater (1)
An introduction to the varied aspects of theater as practiced
in the Western world, including an overview of its historical,
theoretical, and practical dimensions. Special emphasis will be
placed on the cultural energy which produced specific aesthetic
movements as well as the physical forms of Western theater through
the ages from its ritual beginnings to the advent of performance
art and multimedia performance. Ms. Cody, Ms. Walen, Mr. Grabowski.
One 75-minute lecture and one 75-minute discussion period.
May not be taken concurrently with Drama 102.
102a or b. Introduction to Stagecraft (1)
Basic fundamentals of stagecraft, including scenic design communication
and the processes of flat and platform construction. Mr. Miller,
instructor to be announced.
Three 50-minute periods plus production laboratory.
May not be taken concurrently with Drama 101.
II. Intermediate
200a or b. Production Laboratory (1/2)
Participation in the performance, design, or technical aspects
of department productions. The department.
Prerequisites: Drama 101, 102, and permission of the department.
Unscheduled.
201b. Text and Performance (1)
The structural analysis of plays and its practical application
in theatrical production. Ms Cody, Mr. Grabowski.
Prerequisites: Drama 101, 102.
203a or b. The Actor's Craft (1)
The development of rehearsal techniques and strategies in preparation
for acting on the stage. Theory and approaches will be drawn from
the work of Stanislavsky, Meyerhold, Brecht, Suzuki, and Bogart,
among others. Instructor to be announced.
Prerequisites: Drama 101, 102, and permission of the instructor.
One 3-hour period plus production laboratory.
205a or b. The Actor's Voice (1)
Instruction, theory, and practice in the use of the voice for
the stage. Instructors to be announced.
Prerequisites: Drama 101, 102 and permission of the instructor.
One 3-hour period plus production laboratory.
209b. Topics in Production (1)
Concentrated study in one design area. May be repeated in another
area of design. Ms. Hummel, Mr. Miller.
Topics for 2000: Drafting and Draping (Hummel) or Sound Design (Miller).
Prerequisites: Drama 102 and permission of the instructor.
Unscheduled, plus production laboratory.
213a. Visual Elements of Design (1)
A study of the visual elements of design as they apply to scenic,
lighting, and costume design. Mr. Miller; instructors to be announced.
Prerequisites: Drama 101, 102.
One 3-hour period plus production laboratory.
221a-222b. Sources of World Drama (2)
A cross-cultural survey of important plays and nonliterary performance
traditions from the Greeks to the present, encompassing Europe,
Asia, and Africa. In addition to a historically based exploration
of world dramatic literatures, the course will explore why theater
emerges in a given culture and examine the implications of past
and present intercultural theatrical practice. Ms. Walen (a-semester),
Ms. Cody (b-semester).
Prerequisite: Drama 101.
Two 75-minute periods.
231b. History of Fashion for the Stage (1)
History of dress from the Egyptians through the nineteenth century
as seen in sculpture, painting, and illuminated manuscripts. Cultural
background investigated through the manners, customs, and styles
of movement in Western Europe. Ms. Hummel.
Permission of the instructor required.
[241b. Introduction to Black Drama in America] (1)
(Same as Africana Studies 241)
Not offered in 1999/00.
280a. Movement for Actors (1)
Training in stage movement for actors. Students learn to understand
neutral posture alignment and explore the dynamic and expressive
qualities of movement, as well as the methods of developing a
rich physicalization of character. Concepts from the Alexander
Technique, Laban Movement Analysis, experimental theatre, and
post-modern dance are used. Ms. Tacon.
Prerequisites: Drama 101, 102, and permission of the instructor.
One 3 hour period.
290a or b. Field Work (1/2 or 1)
To be elected in consultation with the adviser and the Office
of Field Work.
298a or b. Independent Work (1/2 or 1)
To be elected in consultation with the adviser.
III. Advanced
302a or b. Problems in Design (1)
Advanced study and portfolio development in the area of set, costume,
or lighting design. May be repeated in another area of design.
Instructor to be announced.
Prerequisites: Drama 213 and permission of the instructor.
One 3-hour period plus production laboratory.
304a or b. The Art of Acting (1)
Advanced scene study in which students will examine the challenges
of creating an entire acting role. Instructor to be announced.
Prerequisites: Drama 203, 205, 1 unit in dance or movement analysis,
and permission of the instructor.
One 3-hour period plus production laboratory.
305a. The Director's Art (1)
An exploration of the history of the stage director as well as
an intensive theoretical and practical examination of the visual
and aesthetic elements of directorial composition for the stage.
Mr. Grabowski.
Prerequisites: Drama 201 or 203, or 213, and permission of the
instructor.
One 3-hour period plus production laboratory.
307b. The Directorial Production Process (1)
An examination of the directorial aspects of realizing the theatrical
event, including preproduction research, structures and traditions
of collaboration, rehearsal strategy and techniques, and articulation
of directorial concept. Mr. Grabowski.
Prerequisites: Drama 201 or 203 or 213 and permission of the instructor.
One 3-hour period plus production laboratory.
317a or b. Dramatic Writing (1)
(Same as Film 317) Studies of dramatic construction, analysis
of, and practice in writing stage plays and/or screenplays. Mr.
Steerman.
Prerequisites: Drama 101 or Film 210 and permission of the instructor.
Open only to juniors and seniors.
One 2-hour period.
[324b. European and American Drama] (1)
Historical and critical study of European and American dramatic
literature, theory and criticism, playwrights, and/or aesthetic
movements. Topic changes each year. Ms. Walen.
Prerequisites: Drama 221-222 or permission of the instructor.
Not offered in 1999/00.
335a. Seminar in Western Theater and Drama (1)
Selected topics in Western theater design, dramatic literature,
and dramatic criticism. Ms. Cody.
Prerequisites: Drama 221-222 and permission of the instructor.
One 2-hour period.
[336b. Seminar in Performance Studies] (1)
Selected topics in Western and non-Western performance traditions
and literatures. Ms. Cody.
Prerequisites: Drama 221-222 and permission of the instructor.
One 2-hour period.
Not offered in 1999/00.
337b. Seminar in Para-theater (1)
Selected topics in "para-theatrical" genres from around the world,
such as fairs, festivals, street theater, vaudeville, cabaret,
circus arts, performance art, ordeal art, etc. Mr. Walen.
Prerequisites: Drama 221-222 and permission of the instructor.
One 2-hour period.
381b. The Alexander Technique (1)
Combining private lessons with small group study, this course
focuses on principles of the re-education of movement habits and
improved body use originated by F.M. Alexander. Once learned,
these principles are then applied to voice production and acting
techniques. Ms. Tacon.
Prerequisites: Drama 203, 205, and permission of the instructor.
One 3 hour period.
390a or b. Senior Project in Drama (1)
Each student will undertake a project in one of the following
areas: acting, directing, design, playwriting, research in dramatic
literature/theater history. Nature of project to be determined
in consultation with the department. The department. Enrollment
limited to senior drama majors.
Prerequisites: senior standing, 1 unit at the 300-level in the
project area, and permission of the department. In the case of
directing projects, students must also have completed Drama 213.
May not be taken concurrently with any other theatre arts course.
Unscheduled.
391a or b. Senior Production Laboratory (1)
Participation in the performance, design, or technical aspects
of department productions. The department.
Prerequisites: senior standing, 1 unit at the 300-level in a theater
arts course, and permission of the department.
May not be taken concurrently with Drama 390.
Unscheduled.
399 a or b. Senior Independent Work (1/2 or 1)
To be elected in consultation with the adviser.
Film
Requirements for Concentration: 11units. Film 210/211, 392. 4 additional elective units in film
from the following courses: Film 175, 212, 230, 238, 245, 246,
298, 317, 320-321, 325, 385-386, 387, 399. 1 unit from Film 300
or Film 301 or 2 units from Film 326/327. 2 (if electing 326/327
in the senior year) or 3 additional units from the department
approved elective list. No more than 4 units of film or video
production may be counted toward the concentration.
Senior-Year Requirements: Film 300 or 301 or 326/327, plus 392.
I. Introductory
175a or b. The Art of Film (1)
An introductory exploration of the central features of film and
film study, including the relation of film and literature, film
genre, silent film, formal and stylistic elements (color, lighting,
widescreen, etc.), abstract and nonnarrative film, and film theory.
Subjects will be treated topically rather than historically. Enrollment
limited to freshmen and sophomores who have not previously taken
film courses at Vassar. Mr. Kalin, instructor to be announced.
II. Intermediate
210a/211b. Film History and Theory I and II (1)
Film History I: an international history of film from its invention,
through the silent era and the coming of sound, to mid-century.
The course focuses on major directors, technological change, industrial
organization, the contributions of various national movements.
In addition to the historical survey, this course teaches the
terminology and concepts of film aesthetics, and introduces students
to the major issues of classical film theory. Mr. Steerman, Ms.
Kozloff, instructor to be announced.
Prerequisite: 4 units in the humanities or social sciences. Enrollment
limited. Permission of the instructor required.
Two 75-minute periods plus film screenings.
Film History II: an international history of film from mid-century
to the present day. The course focuses on major directors, technological
change, industrial organization, the contributions of various
national movements. In addition to the historical survey, this
course explores the major schools of contemporary film theory,
e.g., semiology, Marxist theory, feminism. Mr. Steerman, Ms. Kozloff,
instructor to be announced.
Prerequisite: Film 210. Enrollment limited. Permission of the
instructor required.
Two 75-minute periods plus film screenings.
212a. American Film (1)
This course concentrates on a major film genre, tracing its development
both in aesthetic terms and through its interaction with the changes
in American culture. Readings are drawn from genre theory, auteurist
studies of major directors, close-study of individual films, American
history. Because topic rotates, this course may be taken more
than once. Ms. Kozloff. Topic for 1999: Screwball Comedy.
Prerequisite: Film 210 and permission of the instructor.
Two 75-minute periods plus film screenings.
23Ob. Film and Culture (1)
An examination of the manner in which film reflects and/or influences
cultural ideology and practice, through the in depth study of
a given time period or topic. Because topic rotates, this course
may be taken more than once. Ms. Kozloff.
Topic for 2000: Film as an Agent of Propaganda or Social Change. A study of films which have been designed to influence their viewers,
including propaganda films, documentaries, and fiction films with
overt political messages. Films studied may include Birth of a Nation, The Plow that Broke the Plains, Triumph of
the Will, Battle of Algiers, Z, A Question of Silence, I Am a
Promise, Do the Right Thing, Philadelphia.
Prerequisite: Film 210 and permission of the instructor.
Two 75-minute periods plus film screenings.
238a. Music in Film (1)
(Same as Music 238a)
290a or b. Field Work (1/2 or 1)
To be elected in consultation with the adviser and the Office
of Field Work.
298a or b. Independent Work (1/2 or 1)
To be elected in consultation with the adviser.
III. Advanced
300a or b. Film Research Thesis (1)
Research leading to a thesis in film history or theory. Open only
to students electing the concentration in film. Senior status
required. Ms.Kozloff, instructor to be announced.
Prerequisites: Film 210/211 and permission of instructor.
Film 301a or b. Film Screenplay Thesis (1)
The creation of a feature-length original screenplay. Open only
to students electing the concentration in film. Senior status
required. Students wishing to write a screenplay instead of a
research thesis must have produced work of distinction in Film
317 (Dramatic Writing). Mr. Steerman.
Prerequsities: Film 210/211, Film 317 or Drama 317, and permission
of instructor.
317a or b. Dramatic Writing (1)
(Same as Drama 317a or b)
320a-321b. Filmmaking (1)
A-semester: theoretical and practical examination of the art of
visual communication in film. Individual projects emphasize developing,
visualizing and editing narratives from original ideas. B-semester:
exploration of a variety of narrative structures from original
ideas. Includes working in partnership to develop, visualize and
execute films. Emphasis is placed on writing and production planning,
as well as how lighting and sound contribute to the overall meaning
of films. Students must concurrently enroll in a 3-hour lab period
each semester. Fees: see section on fees. Mr. Robinson, Mr. Roques.
Prerequisites: Film 210/211 and permission of the instructor.
One 3-hour period, plus lab.
325a. Writing the Short Narrative Film (1/2)
Students learn the process of developing original, 10-12 minute
narrative screenplays. Scripts to be produced in Film 327 will
be selected from those created in Film 325. Must be taken concurrently
with Film 326. Mr. Robinson.
Prerequisites: Film 320-321 and permission of the instructor.
One 3-hour period.
326a/327b. Senior Film Workshop (1)
A-semester: Multiple individual video projects from developed
original ideas. Emphasis is placed on aesthetics and directing.
B-semester: Creation of films from original ideas. Students work
in teams, each member focusing on a specific area of production
or post-production to bring forth a completed sync-sound film.
Students must concurrently enroll in a 3-hour lab period each
semester. Open only tosenior film majors who have produced work
of distinction in Film 320a-321b. Mr.Robinson, Mr. Roques.
Prerequisites: Film 320a-321b and permission of the instructor.
One 3-hour period, plus lab.
[381b. Experimental Videomaking] (1)
An introduction to video production. Instruction in video theory
and the use of the video camera as a recording and editing tool.
Choosing from a menu of topics, students will create eight short
videos, all edited in camera. Enrollment limited to juniors and
seniors who have not taken and do not plan to take any other film
or video production course at Vassar. Limited enrollment. Mr.
Roques.
Prerequisites: 1 unit at the 200-level in Film, 1 unit at the
200-level in Art, and permission of instructor.
Not offered in 1999/00.
385a, 386b. Interactive Multi-media Production (1)
The theory and production of interactive multi-media. The final
project of this class will be the production of an interactive
multi-media environment which exists on both a website and as
a CD-Rom or DVDRom. A-semester: theoretical and practical examination
of interactive multi-media, research and development of the group
project. B-semester: writing, design, and programming of the project.
Open only to juniors and seniors. Enrollment limited. Mr. Roques.
Prerequisites: 2 units at the 200-level in film and permission
of instructor.
One 3-hour period plus lab.
387b. Shakespeare on Film (1)
(Same as English 387b)
392a or b. Research Seminar in Film History and Theory (1)
This course is designed as an in-depth exploration of either a
given auteur or a major theoretical topic. Students will contribute
to the class through research projects and oral presentations.
Their work will culminate in lengthy research papers. Because
the topic rotates, this course may be taken more than once.
Prerequisites: Film 210 and permission of instructor.
One 3-hour period plus film screenings.
A-semester topic: Adaptation. An examination of how narrative material is transformed from
their original media into cinema. Concentrates on formal issues
and on industrial factors such as censorship, commercialism, and
the star system. Texts to be studied may include: Death in Venice (Mann and Visconti), The Grapes of Wrath (Steinbeck and Ford), The Age of Innocence (Wharton and Scorsese), The Children's Hour (Hellman and Wyler). Ms Kozloff
B-semester topic: Baltic Light. An examination of Scandinavian Cinema, including its silent origins
(Carl Dreyer and Victor Sjostrom), its movie stars (Greta Garbo
and Ingrid Bergman), and its modern directors (Ingmar Bergman
Sweden, Lars von Trier and the Dogma 95 Group-Denmark, and Aki
Kaurismaki-Finland). Mr. Kalin.
399a, b. Senior Independent Work (1/2 or 1)
To be elected in consultation with the adviser.
Summer Study
245-246. Workshop in Screenwriting and 16mm Film Production (2)
The summer workshop offers an integrated study of both the conceptual
(screenwriting) and practical aspects of 16mm film production.
The program concentrates on the techniques needed to create effective
narrative films. Students develop their original ideas into screenplay
form and produce these scripts in 16mm film and/or video. Special
application required. Mr. Steerman, Mr.Robinson.
Five 3-hour meetings per week plus film screenings.
Tuition/room/board$3,100. Tuition/room only$2,500. Tuition only$2,200.
323-324. Advanced Workshop in Screenwriting and 16 mm Film/Video
(2) Production
An advanced workshop concentrating on the writing and production
of short synchronous sound films or videos. Special application
required. Offered only in case of sufficient demand. See Film
245-246 for general summer workshop details. Mr. Steerman, Mr.
Robinson.
Prerequisites: Film 245-246 or 320-321. |
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