Summer in New York City is hot, and we don’t mean the scorching temperatures.
The possibility of taking Tisch summer classes is a hot topic all throughout the year. Through emails and phone calls, prospective students from across the country to around the world contact Tisch Special Programs asking about their eligibility for not only for taking a Tisch summer course, but which course is right for them. We talk to domestic and international prospective students in all stages of life: high school students, college students, working professionals, and career-changers. Everyone has a different background and needs some guidance selecting a course to help them achieve their goals.
For the next week we’ll take you through the different crafts of study at Tisch and share some course highlights for summer 2015. The questions gathered represent just some of what we have heard from prospective students and the courses suggested by our departmental liaisons. Maybe you’ll find the right course for you, too!
First up: Cinema Studies
“I enjoy watching films of all different genres but I would like to develop a vocabulary to participate in more critical discussions. What course should I take?”
Close Analysis of Film, Kubrick, and Music Videos
“Which courses would introduce me to different directors?”
NYC on Film: Summer in the City, Music Videos, and Close Analysis
“I’m taking a film production class. Which course would pair well to inspire me aesthetically?”
Pedro Almodovar, Kubrick, Espionage of Film: Understand 007, and Close Analysis
Cinema Studies Course Highlights
The release of /Skyfall /in 2012 coincided with the fiftieth anniversary of the James Bond franchise. Ever since the release of /Dr. No /in 1962, this illustrious icon of western popular culture has captivated audiences across the globe, transgressing boundaries of ideology, nation, empire, gender, race, ethnicity, age, and generation in spite of its blatantly white, heterosexual, and Eurocentric worldview. Why is “the misogynist dinosaur from the Cold War” still so popular with female audiences today? How do we explain the success of the offensively orientalist /You Only Live Twice /in Japan? Why do queer audiences often favor Roger Moore’s raised eyebrow over Daniel Craig’s blue speedo? Chronicling the evolution of 007 over half a century of political, social, and cultural permutations, this summer course will examine the historical and theoretical dimensions and discrepancies of the James Bond phenomenon to understand its seemingly perpetual allure.
This class examines a small number of films in great detail with the intention of enhancing student comprehension of the multiple levels at which films are made and received. Among the films we will analyze are _Touch of Evil_ (1958), _Do the Right Thing_ (1989), _In the Mood For Love_ (2000), _Pan’s Labyrinth_ (2006), _Run, Lola, Run_ (1998), and _Gilda_ (1946). The course encourages the intensive, and comparative study of film, and concentrates on the formal analysis of the sound and image track, the segmentation of the scenario/narrative, techniques of stylistic analysis, and a consideration of a film’s surrounding documents, such as studio papers, posters, and critical reviews. Students will acquire vocabulary and tools through which to describe the textual patterns and forces by which a film produces its meanings and effects. As a key part of the course, each student will closely analyze an individual film they have chosen, for a final presentation.
This course examines New York City’s role as America’s second “movie capital” from the time of the invention of motion pictures right up through the mid-1980s. Topics covered include: New York’s centrality to the creation of the American film industry in the early silent period; the City’s role as an icon of modernity in Hollywood movies of the 1930s and ‘40s; and Manhattan’s emergence in the Postwar period as a center for alternate filmmaking practices, especially independent and exploitation features, “underground” experimental films, and early televisual forms such as “direct cinema” and live “anthology” dramas. In sum, the course analyzes a set of generic and formal practices intimately associated with Greater New York as well as offering an introduction to the City’s rich cultural history. Screenings include Dog Day Afternoon (1975), Escape from New York (1981), King Kong (1933), Breakfast at Tiffany’s (1961), Midnight Cowboy (1969) and Twelve Angry Men (1954).
Situated between art and advertisement, between television and experimental filmmaking, the music video sells much more than music. What used to be played on a loop on TV now gets millions of views online, making the music video a must-have for any singer or band. These 3 to 5 minutes of content can shape an artist’s career, launch a new dance or fashion trend, and even go viral like /Gangnam Style/, the /Harlem Shake/ and /Happy/. This course will examine the history and aesthetics of music videos from MTV to YouTube and consider their impact on popular culture. As we view videos from Michael Jackson, Madonna, Nirvana, Radiohead, Daft Punk, Bjork, Beyonce, Lady Gaga and many others, we will question the politics of representation at work. We will study auteur directors such as Spike Jonze, Michel Gondry and Chris Cunningham to question the relationship between music videos and cinema.