Students in the major may take CMN 394 or CMN 395 (when placement relates to the major) for credit. In order to take CMN 394, students must have completed the three communication core courses (CMN 101, CMN 102, CMN 103) two courses in the chosen major and have fulfilled internship program eligibility requirements.
Open elective credit also is required to meet the minimum graduation requirement of 192 hours.
MEDIA AND CULTURAL STUDIES (FORMERLY INTRODUCTION TO RADIO, TELEVISION, AND FILM)
This course provides students with a theoretical and methodological background in the interdisciplinary field of cultural studies, which considers media and culture as sites for the construction and contestation of race, class, gender, ethnicity, sexuality and nation. The course provides a foundation in critical cultural studies, ideology critique, critical race and gender studies, transnational media studies and active audience studies.
STORYTELLING & STYLE IN CINEMA (FORMERLY FILM/VIDEO ANALYSIS)
Course covers basic concepts and terminology of film and video as forms of art and mass culture. This course covers the aesthetic elements that constitute film and video texts: plot structures, sets, costumes and makeup, acting, lighting, cinematography, editing, and sound. By performing extensive textual analyses, students learn how the interaction of these elements produces meaning. Students also gain basics of how these concepts are practiced in film production. After mastering the aesthetic concepts, students also examine their use in three different modes of film: fiction, documentary, and the avant-garde. There is a required lab for film viewing. (Formerly Film/Video Analysis)
HISTORY OF CINEMA I, 1890 - 1945 (CROSS-LISTED WITH MCS 207 & DC 207)
This course examines the history of cinema as one of the most influential cultural forms of the 20th Century. We will study the aesthetic and technological developments of cinema during its first 50 years, as well as examine the social and economic factors shaping its history. Initially influenced by other art forms (theater, literature, painting) filmmaking quickly acquired its own formal system, language, and traditions. We will trace the changing styles, techniques, content, and methods of filmmaking as an art form, as popular culture, and as an industry. We will consider how cinema is bound to its social context via audience relations, economics, technology, and ideology. The limited scope of this course will cover primarily feature-length, narratives films as the dominant mode of filmmaking, although we will also look at the development of documentary and experimental filmmaking. The class will consist of lectures, screenings, and discussions. Cross-listed with MCS 207 & DC 207.
HISTORY OF CINEMA I, 1890-1945
This course examines the history of cinema as one of the most influential cultural forms of the 20th Century. We will study the aesthetic and technological developments of cinema during its first 50 years, as well as examine the social and economic factors shaping its history. Initially influenced by other art forms (theater, literature, painting) filmmaking quickly acquired its own formal system, language, and traditions. We will trace the changing styles, techniques, content, and methods of filmmaking as an art form, as popular culture, and as an industry. We will consider how cinema is bound to its social context via audience relations, economics, technology, and ideology. The limited scope of this course will cover primarily feature-length, narratives films as the dominant mode of filmmaking, although we will also look at the development of documentary and experimental filmmaking. The class will consist of lectures, screenings, and discussions.
HISTORY OF CINEMA II, 1945-1975
This course covers the continued rise and development of cinema from 1945 to 1975. The course will have a dual focus, looking simultaneously at both the American studio system and international cinemas. The lectures, screenings, and discussions place equal emphasis on charting the development of cinematic techniques as well as examining the growth of specific national cinemas. In addition, the course surveys international stylistic trends in narrative, documentary, and avant-garde film. Students will acquire a broad understanding of the institutional, social, technological, and aesthetic forces that have shaped the development of cinema during the mid-twentieth century. Lab for film viewing required.
HISTORY OF CINEMA III, 1975-PRESENT
This final course in the film history sequence is designed to introduce students to a sense of modern film history and the multiple permutations of cinema around the modern film history and the multiple permutations of cinema around the globe. It presents film history from a global perspective, concentrating primarily on the development of new national and transnational cinemas. The course continues to chart the development of the American studios since the mid-1970s while examining the effects of media consolidation and convergence. Moreover, the course seeks to examine how global cinemas have reacted to and dealt with the formal influence and economic domination of Hollywood filmmaking on international audiences. Class lectures, screenings, and discussions will consider how cinema has changed from a primarily national phenomenon to a transnational form of communication in the 21st century.
INTRODUCTION TO DOCUMENTARY STUDIES
This course examines the rise and growth of documentary forms, including audio, film, television, photography, literary journalism and ethnography. Students will study representative works from each documentary approach and learn to analyze the techniques of observation and representation at use in these pieces. Students will become familiar with major theoretical constructions of documentary and be able to use these analytical tools to critique documentary forms. Lab for film viewing required.
SPACES OF CINEMA IN ROME
This course examines the history and heritage of Italian cinema through an analysis of critically acclaimed films produced in Rome. Topics of focus include the comparison of Italian and Hollywood constructions of historical settings, and the cinematic organization of visual space. The course features visits to the Roman sites where films examined in the course were produced. The course's goal is the development of an understanding of filmmakers' artistic choices and the expectations that they set up for their audiences through setting. Offered in conjunction with the Rome Film Studies Program.
CONTEMPORARY ITALIAN CULTURE THROUGH FILM
This course provides an exploration of contemporary Italian culture through the medium of cinema. The course examines how cinema addresses complex social and political concerns in Italy. Topics and themes include health care; the transformation of the structure of the family; immigration and emigration; the perennial problem of organized crime; and the difficulties faced by the younger generations in their attempt to integrate into society. Italian film industry professionals and cultural historians will provide context and perspective on contemporary social issues facing Italy. Offered in conjunction with the Rome Film Studies Program.
MEDIA & CINEMA STUDIES WORKSHOP (VARIABLE TOPICS)
This course allows students to sample a range of hands on, practical offerings in media and cinema studies that can enhance their knowledge and expertise. Two types of workshop classes are offered: research and production. Examples of Research Workshop topics can include film criticism, Survey Design, and Academic Writing Bootcamp. Examples of Production Workshop topics include non-linear editing with Final Cut Pro, Multimedia Design, and Video Camera Basics. Students may take a maximum of 4 credit hours of MCS 290 in the major, and a total of 8 credit hours.
TOPICS IN DOCUMENTARY STUDIES
A rotating topics course that could focus on specific historical era or specific group of texts or documentarians from across film, television, audio, writing, and photography.
TOPICS IN RADIO STUDIES
Subjects rotate among several historical and conceptual topics, such as Rock Radio, Talk Radio, Gender and Radio, Radio and American Culture, etc. Students will have the opportunity to build upon the foundations of radio that are explored in other radio courses. Radio topics courses are considered advanced study in the subject area; therefore, students are encouraged to complete MCS 339 or MCS 342 prior to taking a radio topics course.
HISTORY OF TELEVISION & RADIO
A history of radio, television, and cable that examines their relations to other media industries including programming, economics, industrial structures, audiences, government and industry policies, and social effects. The course includes viewing, analysis and criticism of significant and representative programming.
Entertainment and social media dominate popular culture today in a way that begins to completely define American culture. In what ways do entertainment media impact society? As creators of media, what special responsibilities do we have? And as creators of entertainment media how can we use these ethical theories in our daily practice? This course will examine the underlying ethical theories used when we try to arrive at ethical judgments about right and wrong. This course will concentrate on analyzing the impact of digital entertainment on an individual and society. The issue of balancing individual creativity vs. cultural impact, particularly on children, will be addressed. The course will culminate with the formulation of elements of an ethical code of conduct for every electronic (social) media, television professional and movie creator.
TOPICS IN FILM GENRE
This course offers an historical examination of film genres, with a varying focus on one particular genre: film noir, musicals, melodrama, detective/gangster film, science fiction film, comedy, Western, animation, youth films. The course explores the relationship of genres to general social histories. Lab for film viewing required.
TOPICS IN FILM STUDIES
Examination of a particular era of film history or national cinema, film movements, or moments in social history and their relationship to film production. Topics currently in rotation include Film Sound Studies, American Films of the 1970s, War and Film, feminist film, Psychoanalysis and Cinema, etc. Lab for film viewing required.
TOPICS IN GLOBAL CINEMA
This course is designed as a critical study of global filmmakers and the issues surrounding cinema and its transnational circulation. The class will examine specific aspects of the growth and evolution of cinema and look at points of contact between different cultural discourses, national cinematic styles, genres, and reception. Artistic, social, political, and industrial issues will be examined to provide different models of cinematic creation and consumption. Recent topics have included Latin American Cinemas, Asian Cinemas, Transnational Cinema, New German Cinema, History of French Film, Contemporary Global Directors, etc. Lab for film viewing required.
TOPICS IN TELEVISION STUDIES
This course offers advanced study of television as a unique audio-visual culture with its own history and styles. This course presumes basic knowledge of television terms and methods of media analysis. Studies of a selected aspect of television history, television criticism, or national television are offered regularly. Recent topics have included Global Television, Reality TV, American TV of the 1950s, Television News, etc.
TOPICS IN NEW MEDIA
This course examines the effects of new and/or digital media on interpersonal communication, media industries, and/ or media culture. Depending on the specific focus of this variable elective course, it might focus on economic, social, political, or aesthetic implications of new media, including the Internet, interactive games, and other new media technologies and applications.
TOPICS IN MEDIA STUDIES
This is a rotating topics class for subjects that encompass a number of different media, including radio, television, film. Possible topics may include: Media and Politics, Contemporary News Media, Reception Studies, Fan Studies, etc.
TOPICS IN MASS MEDIA
This is a rotating topics class for subjects that span a broad range of media outlets, from radio, television, film, and new media to journalism, advertising, and public relations. Possible topics may include: Chinese Mass Media, Children's Media, Media and Censorship, Media Regulation, etc.
US TELEVISION AND SEXUALITY
This course will examine the continued negotiation of sex and sexuality on American television. Whether through their structuring absence, head-on attendance, or mere subtle implication, sex and sexuality have been omnipresent within the medium since its proliferation in the late 1940s. Through lenses of TV, social history, and gender/sexuality criticism, this course will examine various ways in which sexual issues such as the marriage bed, female sexual agency, GLBT visibility, teen sex, and rape have made their ways onto and been pushed off of the small screen. It will also interrogate how these broad categories interact with TV?s assumed social role, contemporary and historical notions of American values, and TV regulation.
TOPICS IN DOCUMENTARY PRODUCTION
The course will focus on developing skills in conceptualizing, directing, and editing various styles of documentary films. Students will explore the documentary filmmaking process by viewing a range of documentary films and deconstructing/ discussing their attributes, learning basic interview techniques and constructing narratives and stories. Emphasis will be placed on developing technical proficiencies in hand-held cinematography, location sound recording, and editing. Students will produce documentary projects in team groups throughout the term. Ultimately, the goal is for students to learn to define and interpret their own personal directorial approach to documentary filmmaking.
TOPICS IN TELEVISION PRODUCTION
This is a rotating topics class for developing skills in the conceptualization, direction, and editing of television programs. Students will explore techniques of television storytelling and style. Students will produce projects throughout the term.
FANDOM & PARTICIPATORY CULTURE
This course introduces students to the world of media fandom. Fans are people who hold an emotional attachment to media texts. By investigating the types of media texts people connect to, as well as the work fans do in their community, students encounter new ways of participating with media. Students not only examine fans as cultural "producers," who make media just as much as they consume it, but also examine media from the point of view of a fan. This course also looks at how participating in fandom can aid the development of diversity and positive social change.
COMMUNICATION, TECHNOLOGY AND SOCIETY
Survey of a variety of contemporary and historical issues related to the introduction and diffusion of communication technologies in society. Especially examines how new technologies, particularly the Internet, are transforming the communication landscape. Emphasis on issues of intellectual property, surveillance, privacy, regulation, message construction, and access will be central to this course.
LATINO/A TELEVISION AND MEDIA
Drawing from Latin American and U.S. television studies, this course explores the political, industrial and cultural dynamics that shape televisual representations in Latin American television and/or Spanish language Television in the US. More specifically, Spanish-language television and media will be examined from interdisciplinary frameworks, which include the cultural analysis of televisual modes, national and international regulations of media production and distribution, histories of production, and ethnographies of viewing.
LATIN AMERICAN CINEMA
This course examines the production, distribution and impact of cinema in the Latin American context. Transnational relations with other industries, such as Hollywood and the European film context will be considered. We will investigate how social, economic and political forces have shaped or are presently influencing and transforming national cinemas. Questions of identity and cultural difference, particularly in relation to immigration, diasporas, transnationalism, youth culture, class, gender, sexuality, race and ethnicity are central to the discussions. We will consider the diversity of styles and topics that are now redefining the cinema of the region.
TALKNG ABOUT FILM: THEORY & CRITICISM
This course is to familiarize students with a wide range of disciplines (film, art history, philosophy, psychology, etc.) and how these ideas both inflected the development of classical film theories as well as the evolution of cinema. Moreover, the scope of the course seeks to examine the overall process whereby theoretical discourse develops historically. Lab for film viewing required.
INTERNATIONAL/GLOBAL COMMUNICATION (Formerly CMNS 309)
Focuses on the world of international/global news flow and media systems in a comparative manner. Emphasizes changes that have followed the modernization of the media, the impact of globalization on individual countries, attempts to preserve the cultural character of domestic media content in the face of increased amounts of imported products, and the effects of new communication technologies, particularly the Internet. (Formerly CMNS 309)
ASIAN-AMERICAN MEDIA REPRESENTATIONS (Formerly CMNS 337)
The course takes an interdisciplinary approach in the analysis of the media images and explores issues of power, identity, race, gender, class, sexual orientation and the interaction of these factors in the representation of Asian Americans. (Formerly CMNS 337)
ADVANCED COMMUNICATION INTERNSHIP
This course is for communication majors and minors who meet eligibility requirements. Students will learn career planning skills, explore the organizations in which they work, gain an understanding of how they contributed to their organizations, and discuss societal and world issues, as they affect their workplaces. Students are required to work 10 hours per week while enrolled in the course. Students must cmplete the Communication Internship orientation workshop. Students registering for a hybrid section must also attend five 2-hour class meetings.
The overall objectives of this course are to familiarize students with the radio broadcasting industry, the history of the medium and current issues facing broadcasters. Furthermore, we will discuss matters such as indecency, deregulation, and the many challenges that terrestrial radio is likely to face from Internet and satellite broadcasters. Additionally, we will discuss job responsibilities in the radio industry as well the day-to-day operations at radio stations. Finally, it is expected that students will be well prepared for advanced radio production and radio and television internships as a result of succeeding in this course.
This course uses hands-on projects so that students can explore the steps in the process of creating an audio documentary. Through practical application students consider questions that surround the interpretation of cultural experience. Additionally, students analyze a variety of approaches to audio documentary in an effort to understand better this significant form of storytelling.
Students will learn radio broadcasting and audio production techniques. Students will work in a lab environment to complete broadcast quality production work. Though the emphasis of the course will be on broadcast writing, speech, and production techniques, students will have the opportunity to perform on-air shifts at DePaul's radio station and complete non-traditional production work, such as podcasts. MCS 286, Radio Practicum and MCS 339, Radio Broadcasting are recommended but not required courses.
TOPICS IN MEDIA PRODUCTION
This course is a rotating topic course in areas of media production and may include classes such as Podcasting, Advanced Radio Production, Advanced Audio Documentary, Radio News, Multimedia Production, etc. There may be a lab fee for the course.
This course is designed to help students develop an informed, critical and practical understanding of new communication media, including ways to read, write and produce in a digital environment. We will explore implications of these technologies and their uses in schools, communities, and workplaces. The course also focuses on practices involving current and future technologies that hold promise for the creation and distribution of all media. This course has an additional fee. Prerequisities: None
INTRODUCTION TO SCREENWRITING
This course is an introduction to and overview of the elements of theme, plot, character, and dialogue in dramatic writing for cinema. Emphasis is placed on telling a story in terms of action and the reality of characters. The difference between the literary and visual medium is explored through individual writing projects and group analysis. Development of synopsis and treatment for a short theatrical screen play: theme, plot, character, mise-en-scene and utilization of cinematic elements. PREREQUISITE(S): None.
DIGITAL CINEMA PRODUCTION I
This course is a beginning workshop in narrative film production. The course provides an introduction to the fundamentals of cinema, including camera and lens technology, composition, lighting, directing and sound recording. Utilizing digital technology, students will produce several films with an emphasis on visual storytelling and personal expression. This course has an additional fee. PREREQUISITE(S): DC 220
INTRODUCTION TO SOUND DESIGN
This course is an introduction to sound editing and sound design. The course examines the place of sound in cinema, both artistic and technological. The course will cover the basics of sound, microphones, and analogue-to-digital conversion. Lectures, readings, and film clips will be used to illustrate the language of film sound, as practiced by film directors, sound designers, and editors. Students will learn to edit sound assignments with Pro Tools and current technologies. This course has an additional fee. PREREQUISITE(S): None
Students analyze and assemble dramatic scenes under a variety of conditions and narrative strategies. Editing theories, techniques and procedures, issues of continuity, effects, movement and sound are examined as they relate to the fundamentals of cinematic montage and visual storytelling. This course has an additional fee. PREREQUISITE(S): NONE.
INTRODUCTION TO TELEVISION WRITING
The primary objective of this course is to learn how to write for television, for both network and cable, focusing on fiction and non-fiction TV programs including news, talk, documentaries, dramas and comedies. The course will assist students in improving their writing skills as well as help them understand the basic approaches and techniques in writing for television. Prerequisites: DC 201
This course is an intensive exploration of the craft, technologies and aesthetic principles of cinematography and lighting techniques. Lectures and in-class demonstrations will cover film and video formats, film stocks, film and digital cameras, exposure, lenses and optics, lighting units, lighting placement, lighting control, camera support, and camera movement. Class sessions will consist of lectures, demonstrations, hands on with cameras and lighting units, exercises, and screenings of selected film clips which demonstrate specific cinematography and lighting techniques. This course has an additional fee. PREREQUISITES: DC 210, DC 220
INTRODUCTION TO TELEVISION PRODUCTION
An introduction to the basic principles, procedures, and techniques of television production. The course heavily utilizes Digital Cinema's TV studio. Students are organized in teams and create various TV broadcasts. Students learn how to operate TV switchers, TV cameras, sound, and graphic equipment. The course covers the fundamentals of producing, scripting, directing, and editing for television. This course has an additional fee.
DIGITAL CINEMA PRODUCTION II
This course expands on topics covered in DC 210 Production I. Students will refine their skills in the areas of line-producing, pre-production, cinematography, lighting, sound recording, post production work flow. This course has an additional fee. PREREQUISITES: DC 210, DC 220, DC 275
ADVANCED SCREENWRITING I
In this course, students study, analyze and produced motion picture scripts. This course emphasizes the use of traditional storytelling, classic mythology and how these devices apply to contemporary screenplays. Students will move from concept/treatment to a completed first act of a feature length screenplay of their own. This script will be completed, revised, and polished in DC 302 and DC 303. PREREQUISITE(S):NONE
This course covers all phases of documentary filmmaking including interview techniques, storytelling with interviews and B roll, and documentary cinematography. For the final project each student will produce a completed documentary film. This course has an additional fee. PREREQUISITE(S): DC 210, DC 220
TOPICS IN TV PRODUCTION
This course is a hands-on experience in television production of news and public affairs programs. Students learn through theory and practice the role TV Producers and their teams play in creating various TV programs. This course has an additional fee.
PHOTOJOURNALISM (CROSS-LISTED AS ART 377)
Introduction to the theoretical and technical foundations of photography with exploration of the medium's aesthetic , documentary and narrative purposes. Cross-listed as ART 377.
ANIMATION FOR NON-MAJORS
Course introduces a variety of basic animation techniques for cinema and gaming, such as hand-drawn, cutout, stop-motion and (very basic) 3D, with an emphasis on the use of computer technology. Examples of diverse animation genres and styles (experimental, cartoon, anime, special effects, computer games) from different cultures will be screened and discussed. Students will explore the unique qualities of the medium through a series of hands-on projects that can be adapted to their own personal interests. They will learn about professional animation process (storyboard and animatic) during the production of a final project that encourages them to consider the role and potential of animation in our society.
INTRO TO VISUAL DESIGN
This course introduces the basic concepts of design for time-based digital media. Students study the principles of composition and color theory, and how these are affected by movement, duration and display. Vector and bitmap manipulation tools are explored in relation to game design, video and Internet production. PREREQUISITE(S): NONE
Exploration of photographic concepts and techniques used in artistic, journalistic and sociological documentation. Materials Fee.
ART 225 is a prerequisite for this class.
COMMUNICATION INTERNSHIP SPECIAL TOPICS
This course is for students who wish to receive academic credit for a second or third internship. Must be a Communication major or minor who has completed CMN 394 or ISP250 and meets eligibility requirements. Must be taken concurrently with an internship. Topics include building and managing a communication career, effective networking, and leadership development.
INTRODUCTION TO HUMAN COMMUNICATION
This course provides an introduction to the field of relational, group and organizational communication. Students become acquainted with the basic terms, concepts and theoretical perspectives used to examine communication in dyadic, group and organizational contexts.
INTRODUCTION TO MASS COMMUNICATION (CROSS-LISTED WITH ART 179)
This course offers students a broad overview of the mass media (print, film, video, recorded music, radio, television and the internet) with a particular focus on how these media impact our everyday lives. Students will develop critical frameworks for understanding how power operates across the media spheres of production, circulation, representation and reception. Attention is placed on how the social categories of race, class, gender, sexuality, ethnicity, age and nationality inform each of these media spheres. The course also considers how recent developments in digital technologies, media convergence and globalization have transformed our media culture.
Examines the role culture plays in interethnic and international communication. Explores differences and similarities in cultural values and communication behaviors between and among diverse cultures and develops intercultural competence. Critiques stereotypes and increases cultural sensitivity.