Film
Columbia University School of the Arts is home to one of the best film schools in the world. Faculty comprised of working professionals esteemed in both Hollywood and the independent film community offer summer courses in film history, production, and writing, providing a wide range of opportunities for students interested in the world of film and television.
We’ve established a simple application process for courses offered by the School of the Arts this summer, including courses in film. Please select the apply button above to get started.
Summer 2023 Session Information
SESSION A (First Half Term) courses are May 22–June 30, 2023
SESSION B (Second Half Term) courses are July 3–August 11, 2023
SESSION X (Full Term) courses are May 22–August 11, 2023
To learn more about Arts in the Summer courses, read professor bios, and see expanded course descriptions, please visit the School of the Arts website. Note: all Arts in the Summer applications must be submitted through SPS
Courses
NEW YORK CITY IN FILM
FILM1020X001 3 points.
This course will explore the representation of New York City in film. We will examine the way that film portrays social problems and either creates or responds to “social panics.” We will also examine the way in which film actively creates an idea of “New York” through cinematography, directing, acting and other aspects of filmmaking. Some topics to be considered are utopia/dystopia, race, ethnicity, class, gender, sexuality, art, immigration, houselessness, and gentrification. The course follows three main themes: 1. How the filmmaking process (camera movements, lighting, dialogue, acting, etc.) is used as a method to describe space (filmmaking as a geographic method). 2. How various genres of film have been used to portray the social geography of New York City (the geography of film). 3. The relationship between the viewer’s “place” and the places portrayed in the film (communication geography). Finally, we will also consider how our personal sense of place towards New York City has altered throughout the course.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM1020X001 | 001/00015 | Session B |
Mo 01:00 PM–04:10 PM We 01:00 PM–04:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Ross Hamilton |
3 |
Open for Enrollment (auto-fill Wait List) |
NEW YORK CITY IN FILM
FILM1020X002 3 points.
This course will explore the representation of New York City in film. We will examine the way that film portrays social problems and either creates or responds to “social panics.” We will also examine the way in which film actively creates an idea of “New York” through cinematography, directing, acting and other aspects of filmmaking. Some topics to be considered are utopia/dystopia, race, ethnicity, class, gender, sexuality, art, immigration, houselessness, and gentrification. The course follows three main themes: 1. How the filmmaking process (camera movements, lighting, dialogue, acting, etc.) is used as a method to describe space (filmmaking as a geographic method). 2. How various genres of film have been used to portray the social geography of New York City (the geography of film). 3. The relationship between the viewer’s “place” and the places portrayed in the film (communication geography). Finally, we will also consider how our personal sense of place towards New York City has altered throughout the course.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM1020X002 | 002/00060 | Session B |
Mo 01:00 PM–04:10 PM We 01:00 PM–04:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Ross Hamilton |
3 |
Open for Enrollment (auto-fill Wait List) |
WORLD CINEMA: MEXICO
FILM2295S001 3 points.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM2295S001 | 001/10076 | Session A |
Tu 09:30 AM–01:00 PM Th 09:30 AM–01:00 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Breixo Viejo Vinas |
3 |
Closed for Online Registration (no Adds or Drops) |
In-Person |
INTRO-STUDY AND THEORY OF FILM
FILM3001S001 3 points.
The nature of cinema as a technology, a business, a cultural product, an entertainment medium, and most especially an art form. Study of cinematic genres, stylistics, and nationalities; outstanding film artists and artisans; the relationship of cinema to other art forms and media, as well as to society.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM3001S001 | 001/10077 | Session B |
Tu 01:00 PM–04:10 PM Th 01:00 PM–04:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Jason LaRiviere |
3 |
Open for Enrollment (auto-fill Wait List) |
In-Person |
MAJOR WOMEN FILMMAKERS
FILM3702X001 3 points.
Traditional film history has consigned a multitude of cinema practices to an inferior position. By accepting Hollywood’s narrative model as central, film scholars have often relegated non-male, non-white, non-Western films to a secondary role. Often described as “marginal” or “peripheral” cinemas, the outcomes of these film practices have been systematically excluded from the canon. Yet… are these motion pictures really “secondary”? In relation to what? And according to whom? This course looks at major films by women filmmakers of the 20th Century within a tradition of political cinema that 1) directly confronts the hegemonic masculinity of the Hollywood film industry, and 2) relocates the so-called “alternative women’s cinema” at the core of film history. Unlike conventional feminist film courses, which tend to be contemporary and anglocentric, this class adopts a historical and worldwide perspective; rather than focusing on female directors working in America today, we trace the origins of women’s cinema in different cities of the world (Berlin, Paris, New York) during the silent period, and, from there, we move forward to study major works by international radical directors such as Lorenza Mazzetti, Agnès Varda, Forough Farrokhzad, Věra Chytilová, Chantal Akerman, Lina Wertmüller, Barbara Loden, Julie Dash, and Mira Nair. We analyse how these filmmakers have explored womanhood not only as a source of oppresion (critique of patriarchal phallocentrism, challenge to heteronormativity, etc) but, most importantly, as a source of empowerment (defense of matriarchy, equal rights, lesbian love, inter- and transexuality...). Required readings include seminal texts of feminist film theory by Claire Johnston, Laura Mulvey, Ann Kaplan, bell hooks, and Judith Butler. Among the films screened in the classroom are silent movies –Suspense (Lois Weber, 1913), The Seashell and the Clergyman (Germaine Dulac, 1928)—, early independent and experimental cinema –Girls in Uniform (Leontine Sagan, 1931), Ritual in Transfigured Time (Maya Deren, 1946)—, “new wave” films of the 1950s and 1960s –Cléo from 5 to 7 (Varda, 1962), Daisies (Chytilová, 1966)–, auteur cinema of the 1970s –Seven Beauties (Wertmüller, 1974), Jeanne Dielman (Akerman, 1975)–, and documentary films – Ellis Island (Monk, 1982) and Paris Is Burning (Livingston, 1990).
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM3702X001 | 001/00010 | Session A |
Mo 09:00 AM–12:10 PM We 09:00 AM–12:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Breixo Viejo Vinas |
3 |
Closed for Online Registration (no Adds or Drops) |
MAJOR WOMEN FILMMAKERS
FILM3702X002 3 points.
Traditional film history has consigned a multitude of cinema practices to an inferior position. By accepting Hollywood’s narrative model as central, film scholars have often relegated non-male, non-white, non-Western films to a secondary role. Often described as “marginal” or “peripheral” cinemas, the outcomes of these film practices have been systematically excluded from the canon. Yet… are these motion pictures really “secondary”? In relation to what? And according to whom? This course looks at major films by women filmmakers of the 20th Century within a tradition of political cinema that 1) directly confronts the hegemonic masculinity of the Hollywood film industry, and 2) relocates the so-called “alternative women’s cinema” at the core of film history. Unlike conventional feminist film courses, which tend to be contemporary and anglocentric, this class adopts a historical and worldwide perspective; rather than focusing on female directors working in America today, we trace the origins of women’s cinema in different cities of the world (Berlin, Paris, New York) during the silent period, and, from there, we move forward to study major works by international radical directors such as Lorenza Mazzetti, Agnès Varda, Forough Farrokhzad, Věra Chytilová, Chantal Akerman, Lina Wertmüller, Barbara Loden, Julie Dash, and Mira Nair. We analyse how these filmmakers have explored womanhood not only as a source of oppresion (critique of patriarchal phallocentrism, challenge to heteronormativity, etc) but, most importantly, as a source of empowerment (defense of matriarchy, equal rights, lesbian love, inter- and transexuality...). Required readings include seminal texts of feminist film theory by Claire Johnston, Laura Mulvey, Ann Kaplan, bell hooks, and Judith Butler. Among the films screened in the classroom are silent movies –Suspense (Lois Weber, 1913), The Seashell and the Clergyman (Germaine Dulac, 1928)—, early independent and experimental cinema –Girls in Uniform (Leontine Sagan, 1931), Ritual in Transfigured Time (Maya Deren, 1946)—, “new wave” films of the 1950s and 1960s –Cléo from 5 to 7 (Varda, 1962), Daisies (Chytilová, 1966)–, auteur cinema of the 1970s –Seven Beauties (Wertmüller, 1974), Jeanne Dielman (Akerman, 1975)–, and documentary films – Ellis Island (Monk, 1982) and Paris Is Burning (Livingston, 1990).
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM3702X002 | 002/00061 | Session A |
Mo 09:00 AM–12:10 PM We 09:00 AM–12:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Breixo Viejo Vinas |
3 |
Closed for Online Registration (no Adds or Drops) |
INDEPENDENT STUDY
FILM3810W001 3 points.
Faculty supervised independent study for undergraduate Film & Media Studies majors. Must have faculty approval prior to registration.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM3810W001 | 001/13176 | Session A |
|
|
Instructor | Points | Enrollment | Method of Instruction | |
Robert King |
3 |
Closed for Online Registration (no Adds or Drops) |
In-Person |
INDEPENDENT STUDY
FILM3810W002 3 points.
Faculty supervised independent study for undergraduate Film & Media Studies majors. Must have faculty approval prior to registration.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM3810W002 | 002/13177 | Session B |
|
|
Instructor | Points | Enrollment | Method of Instruction | |
Robert King |
3 |
Registration Block (no Adds) (self-man. Wait List) |
In-Person |
PRODUCING THE LOW BUDGET FILM
FILM3833S001 3 points.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM3833S001 | 001/10078 | Session B |
Tu 09:00 AM–12:10 PM Th 09:00 AM–12:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Joshua Troxler |
3 |
Open for Enrollment (auto-fill Wait List) |
In-Person |
TV WRITING
FILM4030S001 3 points.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM4030S001 | 001/10079 | Session B |
Tu 01:00 PM–04:10 PM Th 01:00 PM–04:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
James Tyler |
3 |
Open for Enrollment (auto-fill Wait List) |
In-Person |
SCREENWRITING I: INTRO
FILM4037S001 3 points.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM4037S001 | 001/10080 | Session A |
Tu 10:00 AM–01:10 PM Th 10:00 AM–01:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Loren-Paul Caplin |
3 |
Closed for Online Registration (no Adds or Drops) |
In-Person |
CONTEMPORARY GLOBAL DOCUMENTAR
FILM4215S001 3 points.
Documentaries are increasingly proliferating across small and large screens around the world. They circulate as market commodities, forms of entertainment, and vehicles for social change. In this seminar we will compare different national and regional contexts of contemporary documentary production, including projects created within the media industries of Mexico, Peru, India, China, Cambodia, and Israel. We will also examine how documentaries resonate locally, but can still transcend geographic borders and engage viewers across the globe. Crucial to our course will be the close analysis of how documentaries actively address civil rights struggles, oppressive government regimes, cultural trends, environmental crises, and progressive social movements to create more inclusive, equitable communities. So, too, will we examine emerging technologies (such as VR/AR), strategies of international co-production, star-studded film festivals, as well as the global reach and impact of mega studios such as Netflix and Wanda. This course fulfills the Global Core requirement.
Course Number | Section/Call Number | Session | Times/Location | |
---|---|---|---|---|
FILM4215S001 | 001/10081 | Session A |
Mo 01:00 PM–04:10 PM We 01:00 PM–04:10 PM |
|
Instructor | Points | Enrollment | Method of Instruction | |
Joshua Glick |
3 |
Closed for Online Registration (no Adds or Drops) |
In-Person |