Concordia University


MA Course Descriptions 2017-2018

Note: 600-level indicates MA, 800-level indicates PhD. Several courses are offered to both MA and PhD students.




FMST 600: Methods in Film Studies

FB 250   Monday 8:45 -12:45

Instructors: Haidee Wasson (Fall) and Masha Salazkina (Winter)

This is a mandatory course in the Film Studies MA Program. It is designed to help students develop researchwriting and presentation skills appropriate to the discipline of film studies. In addition to technical and practical matters, the course helps students develop productive and original research questions by examining notable issues in the field. Course materials examine the ways that film history, criticism, and textual analysis have been and can be written, encompassing a range of ways of seeing, interpreting and understanding cinema and the moving image. Written and oral assignments are designed to develop research and communication skills appropriate to the field. The course also works to facilitate an esprit de corps within the M.A. class.


FALL 2017


FMST 605/805: Canadian Cinema

Description TBA


FMST 620/820: Arab Revolutions

FB 250 Tuesday 13:15-17:15

Kay Dickinson

From 2011 onwards, our online repositories have been awash with filmed material detailing, debating and promoting the compulsions and tactics of insurrections in the Arab world. Yet this body of work stands as simply the latest in a long line of alliances within the region between the capacities of film production and broader revolutionary praxis. For instance, Layla – purportedly Egypt’s first ever feature film – erupted out of and fortified the feminist anti-colonial campaigns of the 1920s. Since then, a significant majority of Arab moviemaking has engrossed itself in similar struggles against injustice. This course seeks to acknowledge and analyze cultural-activist engagements with a history of revolt in countries like Egypt, Palestine, Algeria and Syria, alongside related exilic, diasporic and internationalist endeavours. More particularly, this class will ask: how have various revolutions been conceptualized and enacted, and what role has, and can, cinema play within them? The corpus of films onto which this course opens comprises everything from guerrilla ventures to state-sponsored industrial output.  In terms of reading matter, the meagre Film Studies writing on these topics will be supplemented with political treatises, historical accounts, poetry, and anti-colonial theory.


FMST 635/835: Digital Media Ethnography 

FB 6th floor lab Wednesday 13:15-17:15

Joshua Neves 

This research creation course combines audiovisual practice with critical approaches to digital media. Drawing on sensory ethnographysarai, and related projects, the course will both examine digital media practices and technologies, and consider how to use digital media to do media studies. Course meetings will combine seminar style reading, writing, and debate with auvdiovisual exercises and “crit” style workshops. We will examine research methodologies and interpretive frameworks from Cinema/Media Studies, Cultural Studies, Critical Theory, Anthropology, Urban Studies, and others, as well as genealogies of ethnographic and experimental media. Students will gain basic facility with video shooting, sound recording, editing, and online capture, develop site-specific digital ethnography projects, and make collaborative video essays. In short, this course is a practice-led introduction to the field of Digital Media Studies—including a focus on forms of emergent media that fall outside of current imaginations of technomodernity.


FMST 665/865: Managing Media

FB 250 Monday  13:15-17:15

Marc Steinberg

Management - on the surface it seems marginal to the films and television we care about; boring, even. Yet there is nothing more critically essential to understanding the process of how an idea for a film makes it to the big screen. This course will examine the mysterious middle realm of media management, from the production processes where film and television and novels get made, to the management of media franchises, star images and brands, to the managing of consumers through increasingly complex and arcane end-user license agreements (EULAs), apps, interfaces and retail environments. It will chart the multiple layers and levels at which media is managed, from platforms to hardware to ad agencies and talent agencies, and will analyze the many self-referential films and TV series that stage these management practices for our enjoyment. 




FMST 630/830 Christian Metz and The structuralist Moment in Film Theory

FB 250 Wednesday 13:15-17:15

Martin Lefebvre

The heyday of structuralism in film studies lasted roughly from 1964 to 1980. It corresponded to important and lasting changes in the study of cinema. Though it was not the sole factor involved, structuralism played a key role in the academic specialization of film studies. This course aims to provide students with an understanding of what structuralism meant in the history of film studies through reading and discussion of a number of key structuralist texts. There will be a focus on the work of Christian Metz (though the work of other theorists — Bellour, Kuntzel, etc. — will also be considered).


FMST 635/835 Cinema and the City

FB 250 Wednesday 18:00-22:00

Catherine Russell

The interpenetration of cities and cinemas takes place on many levels, and has shifted considerably over the 120 years of film and media history, from nickelodeons to digital displays. The study of cities and cinema is a means of better understanding the relations between the social world and cultural imagination, memory and the built environment. Themes of utopia and dystopia are pervasive, as well as themes of political activism and alienation; the analysis of visual style likewise extends to architecture and urban planning. This course will look at a wide range of filmmaking, including fiction, experimental, and documentary, to better understand the close affinities between urban space and film practice, spectatorship, and global film history. Screenings will include city “symphonies,” film noir, European art cinema, essay films, Asian cinema, science fiction, and web-based media art. Readings will include key works of modernity theory by Walter Benjamin and Siegfried Kracauer; cultural theorists such as Lefebvre and de Certeau, film theorists Giuliana Bruno and Edward Dimendberg, and a selection of contemporary urban theory. Students will be asked to oral presentations, and final papers in addition to participating in a class project that will produce a “landscapes of Montreal” archival screening.


FMST 640/840 Women and Film Culture

FB 250 Monday 13:15-17:15

Rosanna Maule

This seminar investigates women’s contributions to film culture in initiatives, publications, and events associated with cinema as an art, a form of entertainment, and an educational tool. Particular attention will be put on activities, texts, and services that explicitly advocate women’s cinema and on the role of women within film-related institutions such as archives, museums, schools, and universities. While offering a theoretical approach to film culture, the course will select specific historical periods and geocultural contexts and present them through a series of case studies. The final part of the course will consider women’s participation in cinema’s transition to global digital culture.


FMST 660/860: Approaches to Pasolini's Cinema

FB 250 Tuesday 18:00-22:00

Luca Caminati

This class will analyse Pier Paolo Pasolini’s cinema and its global legacy, as well as the different methodological and theoretical paradigms in the study of film and authorship. More specifically, this course will move chronologically through Pasolini’s filmmaking career (1960-1975) in the context of post-WWII European modernist cinema while, at the same time, it will allow students to interrogate the different scholarly approaches (auteur theory, Marxism, Semiotics, Postcolonial and Queer Theory, among others) which have been applied to this canonical director’s films. This class will also introduce students to “remakes” and visual ripostes of and to Pasolini’s work from filmmakers and artists the world-over, thus further interrogating the notion of cinematic legacy and impact.



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