Joe Dunn has been a college professor for over forty-eight years. He teaches courses on the Vietnam War, the Cold War, Middle East conflict, and Revolutions and Totalitarian Regimes. The number of wars has increased, and his courses address other areas of national security, terrorism, and political tyranny as well. The course discussed here had…

This article explains the importance of including critical media literacy practices in skills-based classrooms in film education. Students continue to use methods of filmmaking that are inherently biased because they continue to be taught an age-old set of skills that do not engage in critical analysis. With the convergence of contemporary film…

This syllabus, based on a genre approach to experimental works, focuses on exploring film both as a personal expression and as a medium, rather than as mass entertainment. (PD)

Explores reasons for the continued widespread resistance among academics to avant-garde film. Argues that reviewers, critics, and teachers involved with film history and film accomplishments should not neglect the various areas of the avant-garde film. (PD)

Presents a structure for a course that highlights the best cinemas of Eastern European countries, in order to acquaint students with cinematic traditions of the region. Discusses course activities, coursework and evaluation, and resources. Advocates structuring the course around the film of experience of Eastern Europe, and presents and discusses…

Using films, readings, and textual and intertextual analysis, the course covers the cinema of India, Egypt, Mexico, Argentina, Chile, Brazil, Cuba, and Senegal. (PD)

Describes a film history course available to elementary school students at P.S. 75 in New York. (RB)

Describes 10 units in a course on "film noir," a cinema that tells stories of alienation linked to issues of social and sexual power. Includes units on visual and narrative style, space, classic detective tradition, and emotional solitude.(PD)

Examines how movies have formed history by (1) analyzing theories of history; (2) comparing historical perspectives in certain films; and (3) exploring how film language and techniques reflect history. Focuses on films from the United States, Europe, Japan, or Brazil. (PD)

Outlines a course covering the history of film and televisual representations of the Vietnam War. Shows how to relate films to the social interests they serve, and describes how to relate form to function. Provides a list of recommended films, television shows, and readings for each of the course's 10 units. (MM)

This minicourse on film study can be a unit in English, in arts, or in the humanities. It can help to launch a film study course or complement an introduction to theater. Whatever form it takes, it helps to build a bridge to the student's media environment. Part one, the language of images, utilizes four films which demonstrate the basic elements…

Approaches the study of New German Cinema through a genre approach. Includes German history and political issues. (PD)

Provides a course description that emphasizes a structural and functional approach to the musical as genre film and as entertainment. Covers the history of the genre from 1929 to the present. (PD)

Reflects on the evolution of a British Film Institute course in avant-garde film. Discusses the historical development of the genre; production, distribution and exhibition of avant-garde film, as well as political relevance. (JMF)

The proposed project, mentioned in Vladimir Petric's articles "From Written Film History to Visual Film History," is a book intended as a teaching vehicle for college and university film courses and involving shot-by-shot analysis and evaluation of films as primary study material. Cinematic values are emphasized both because cinematic visual…