44 courses with the subject FILM, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
FILM 171INTRODUCTION TO FILM4
An introduction to the art of narrative film and how dramatic and visual elements, including editing, cinematography, set design, sound, and performance, create meaning. Topics also covered include the materials and methods of film making, the major styles and genres of film, and film’s relationship to history. Open to first-year students. No prerequisite. Offered both terms. (AES, MOD, SMN)
FILM 175INTRODUCTION TO THE STUDY OF ARTS ADMINISTRATION4
What is happening behind the scenes at an art museum, an opera production, or a dance performance? This course explores the commonalities and peculiarities of the administration of various arts organizations through site visits, guest experts, and written projects such as grant proposals and strategic plans. Also listed and described as ART/DANC/MUS/THEA 175.
In this course, we will examine the form and politics of the horror film as well as consider its status as a self-referential genre that deconstructs both its own conventions and film spectatorship itself. Films under study may include Psycho, Halloween, The Shining, Scream, and Get Out, with readings from Carol Clover among others. Open to first-year students. No prerequisite.
This class examines how feminism has informed cinema, what it means to consider a film feminist, and how scholars have advocated for a feminist theory and practice of filmmaking. Drawing from American and international cinema, mainstream movies and the avant-garde, the Hollins University 2026–27 Undergraduate Catalog Page 258
FILM 250SPECIAL TOPIC: THE ART & DESIGN OF STAR WARS4
This course takes a critical look at Star Wars films and series through the lens of art direction and production design by following the evolution of the franchise's cinematic aesthetics from the original films of 1970's and 1980's to recent series of the 2020's. The course will also explore how art directors and production designers fundamentally support the storytelling process and the various methods and techniques they use to achieve their artistry. Open to first-year students. No prerequisite.
Like many industries, Hollywood has been convulsed by the rapid uptake of artificial intelligence (Al). In 2023, a historic strike by industry writers and actors was motivated in part to safeguard their jobs against generative Al tools. Yet long before the rise of Al became a pressing labor question, Hollywood has been telling stories about mischievous robots, sentient computers, and other unruly technological entities. This class examines how movies have explored the theme of Al in such films as 2001: A Space Odyssey, Blade Runner, The Terminator, WarGames, Her, Ex Machina, After Yang, and M3GAN.
The course is a basic introduction to cinema in the U.S. Viewing a broad range of films from classical Hollywood to the visionary experimental to socially dynamic documentaries and independent films, students will discover new ways of understanding how the terms of “American” and “cinema” define one another. Open to first-year students. No prerequisite. (AES, MOD)
This course is helpful to students interested in arts management as well as anyone anticipating a career in the nonprofit sector. The two major components of the course are the understanding of philanthropy in the U.S. and the attainment of skills necessary to obtain philanthropic gifts. Assignments may include grant writing, site visits, and oral presentations. No prerequisite. Also listed and described as ART/DANC/MUS/THEA 276.
This course introduces students to the key developments and debates that have shaped the field of film studies. Beginning with the emergence of cinema in the context of modernity and Hollins University 2026–27 Undergraduate Catalog Page 259
An introductory production course concentrating on the art of 16mm filmmaking. Students produce their own individual films, including a final project. The course consists of screenings, discussions, instruction, and critique. Students learn equipment usage, exposure, stock processing, lighting and cinematography, concept development, and the full range of editing modes. Open to first-year students. No prerequisite. (CRE, C&I) See Tuition and Fees table for course fee.
A comprehensive hands-on beginner’s course in digital video making. Students work on their own individual projects, including a final project. The class covers the basic skills for making a short digital narrative, documentary, or experimental from concept development to finished piece. Course format includes screenings, discussions, technical instruction, and critique. Open to first-year students. No prerequisite. Offered both terms. (BLI, CRE, C&I)
The process of recording and creating high quality sound is a critical skill to master when making films, videos, webcasts, and numerous other visual and performing arts. This course will broadly cover the methods, technology, and artistry of sound design while introducing students to the resources of the film department’s SoundCraft studio. Assignments include short production exercises and a final project. Also listed and described as THEA 282. Adobe Premiere experience preferred but not required. Open to first-year students. No prerequisite. (CRE, C&I)
An extensive introduction to the art of creating animation. Students work individually to produce a series of short, animated films, including a final project. Students learn both traditional and experimental techniques for the construction of motion from successive single- frame images. All basic aspects of multiple animated formats including 2D, cut-out, camera- Hollins University 2026–27 Undergraduate Catalog Page 260
Film studies course on animated media in the context of globalization, focusing primarily on animation produced outside the United States. Students acquire a framework for analyzing the aesthetics of animation, learn key concepts of globalization, and learn about global media industries. Case studies encompass a variety of world regions and may include films, television shows, web series, and video games. Open to first-year students. No prerequisite.
Film production class where students learn foundational principles of stop motion animation through a mix of screenings, short readings, and hands-on workshops. Class workshops allow students to explore a mixture of materials (clay, objects, cut-paper), expressive movement, abstractions, and puppet construction. Students will produce short exercises practicing specific principles and a final project of their own design. Open to first-year students. Prerequisite: FILM 280 or FILM 281 or FILM 285
Introduces the variety of film theoretical approaches, from both the classical (pre-1960) and contemporary (post-1960) eras of film theory. Theoretical approaches under investigation may include formalism, realism, auteur theory, feminist theory, Marxist theory, postmodern theory, narrative theory, critical race theory, queer film theory, and postcolonial theory, among others. Screenings will supplement the readings and discussions.
sophomore standing or permission of instructor. (AES, MOD)
FILM 318DAVID CRONENBERG4
From his low budget exploitation films of the 70s, through his sophisticated works of "body horror" in the 80s, to his current reputation as one of the world's most innovative and Hollins University 2026–27 Undergraduate Catalog Page 261
An introductory course in the art of writing screenplays—for beginners and for writers experienced in other genres (fiction, poetry, and creative nonfiction). Screenings, writing exercises, and workshop-style critiques comprise the course. Also listed and described as ENG 321. Prerequisite: sophomore standing or permission. (w, CRE)
An intermediate course in screenwriting in which students go through the various stages of developing and writing a feature-length film script, from outline to treatment to presentation and group critiques to finished screenplay, including the analysis of previously produced screenplays and films. Also listed and described as ENG 322. Prerequisite: ENG/FILM 321, ENG/FILM 323, or permission. (CRE)
This advanced film course concentrates on directing cameras, actors, and inspiring artistic leadership and vision. The course introduces methodologies that stimulate visual creativity and stress image as the fundamental element of cinematic expression. Students also learn analysis of script and character for the purposes of directing actors. Exercises include rehearsals, script breakdowns, blocking, casting, composition, and working on set.
FILM 280 or FILM 281 or permission. Offered every other year. (BLI)
FILM 341QUEER CINEMA4
What does it mean to speak of "queer cinema"? Are there specific forms, styles, narratives, or dispositions that can be called queer, and if so in what sense? In what ways have queer filmmakers challenged cinematic norms? In this course we will explore various ways cinema can be thought of as a queer practice or as itself a cultural form that can be queered. We will watch a selection of films that survey a diverse range of queer aesthetic practices made by a variety of artists, most (but not all) of whom identity as LGBTQ+. In conversation with readings drawn Hollins University 2026–27 Undergraduate Catalog Page 262
Film production class where students learn avant-garde approaches to moving image media. The focus is on exploration, process over result, and thinking beyond narrative. This class offers a survey of experimental film techniques, including cameraless animation on 16mm film, glitching, and first-person filmmaking. The format of the class balances analyzing film examples and hands-on production workshops.
FILM 280 or FILM 281. Prerequisite: sophomore (and above) standing or permission.
FILM 346SURREALISM AND CINEMA4
What is surrealism? In this film studies course, we investigate that question through a survey of the international surrealist movement and its relationship to cinema. Screenings include a mixture of films made by active surrealists, films stylistically labeled “surrealist,” and films about surrealists. Final project options include a traditional research project or a creative project like a film. FILM/ENG 350: BEFORE AND AFTER (FILM) NOIR (4) This course explores the origins, conventions, and legacies of noir across literature and film. Beginning with detective fiction by Edgar Allan Poe, the course examines classic film noir and its evolution into neo-noir. Students analyze works by authors such as Paul Auster and William Faulkner alongside films that expand noir through diverse perspectives.
An examination of the diverse representations of women in the movies throughout film history. Students also investigate how cinematic imagery shapes perceptions and expectations of women in real life. Topics include feminist film theory, the women’s movement, gender roles, identity, body politics, and other issues that stem from images of women in cinema. Also listed and described as GWS 372. Prerequisite: prior film course or permission. (AES, MOD)
An overview of the development of documentary film and a survey of documentary styles. Topics include the nature of propaganda, the social function of documentaries, and an examination of the rhetoric of visual communication. Hollins University 2026–27 Undergraduate Catalog Page 263
This course examines the theory and practice of criticism as it has informed cinema studies. Drawing from film theory, critical theory, philosophy, and popular criticism, the course investigates how, when, and where a critical operation takes place in writings about film—as well as how films themselves can propose a critique. We begin by questioning what the terms “criticism” and “critique” mean, exploring their historical genealogy, affective dispositions, and conceptual underpinnings, then proceed to explore key critical interventions in the field. Sophomore standing or permission.
Students will focus on raising their creative work to an intermediate level by enhancing cinematic and sound design skills learned in introductory production courses and paying closer attention to content. Students work individually or in small groups to produce one film or video over the course of the semester. Course format includes screenings, technical instruction, and critique.
Individual project at the advanced level in a specialized field of film research or production. Permission of department chair required prior to registration. Offered any term.
Students develop and complete a thesis project in either film production or studies. Potential projects may include a short film (narrative, documentary, animation, or experimental); analysis or research paper, screenplay, or series. Class meetings are structured by developing ideas, establishing a workflow plan, sharing work in progress, peer feedback, and collective discussion and critique. Required for all film majors in either Fall or Spring of senior year. Honors Theses enroll for Fall, J-Term, and Spring of senior year. Hollins University 2026–27 Undergraduate Catalog Page 264
Senior standing, all film major core and elective requirements completed.
FILM 480SENIOR PROJECT & SEMINAR4
Required for all film majors. Students produce a short film, write a major research paper, or write a screenplay (or series) that reflects advanced work in their concentration. Production students attend seminars throughout the semester for project development, progress, and critique. Film studies students meet regularly with a film studies professor throughout the research and writing process. Offered any term. Prerequisite: Senior standing.
Offered to qualified film majors. Students produce a short film, write a major research paper, or write a screenplay (or series) that reflects advanced work in their concentration. Production students attend seminars throughout the semester for project development, progress, and critique. Film studies students meet regularly with a film studies professor throughout the research and writing process. Thesis work begins Fall Term and continues in Short Term, and Spring Term. Prerequisite: Senior standing and permission.
FILM 500SCREENWRITING AND STORYTELLING FUNDAMENTALS4
Study and practice the fundamentals of narrative, the art of visual storytelling and the elements of dramatic writing for the screen. Strategies on narrative structure, pacing, setting, characterization, and dialogue will be honed via film/script analysis and writing exercises. Writers will develop and complete the first draft of an original feature script. Prerequisite for other screenwriting courses. Offered fall only.
FILM 502CREATIVE WRITING SEMINAR – FEATURE WRITING4
Workshop course in which students further develop skills in the writing and craft of narrative screenplays. Writers develop and complete the first draft of an original feature script. Designed for those with prior experience in screenwriting. Prerequisite: FILM 505. interchangeable with 506 Television Writing Seminar. Can be repeated for credit but may not be taken more than once per term. Offered fall, spring, summer.
Subject
FILM
Credits (min)
4
Credits (max)
4
Type
course
Repeatable
Can be repeated for credit but may not be taken more than once per term.
FILM 504CREATIVE WRITING SEMINAR – TELEVISION WRITING4
Workshop course in which class members further develop skills in the writing and craft of narrative TV writing. Writers compete the first draft of their pilot and a series pitch document (aka mini-bible). Designed for those with prior experience in screenwriting. Prerequisite: FILM 505. Interchangeable with 504 Feature Writing Seminar. Can be repeated for credit but may not be taken more than once per term. Offered fall, spring, summer.
Subject
FILM
Credits (min)
4
Credits (max)
4
Type
course
Repeatable
Can be repeated for credit but may not be taken more than once per term.
In part II of this two-part track, students will have the opportunity to act as both producer and writer, partnering to develop two projects from concept/IP to a full pitch. The course will culminate with writer/ producer teams pitching to a panel of industry professionals who will provide feedback and guidance on student projects. Prerequisite: FILM 508. Cannot be repeated for credit. Offered spring only.
A workshop course in which writers take the first draft of an original feature or TV pilot to a polished, submittable daft. Via table reads and notes sessions, participants receive feedback on their draft and provide feedback on colleagues’ work. In addition to a polished draft, the workshop will hone writers’ ability to give and receive constructive and collaborative feedback. Designed for those with prior experience in screenwriting. Prerequisite: FILM 507. Can be repeated for credit. Offered summer only.
FILM 530CRITICAL STUDIES: FILM STYLES AND GENRES – BLACKNESS ON WHITE4
SCREENS: THE AFRICAN AMERICAN IDENTITY FROM WHITE SUPREMACY TO BLACK SELF The class will trace the history of African American identity in film from its early racist beginnings with Birth of a Nation through the Civil Rights era, to the modern era of black filmmakers - Spike Lee, John Singleton and Jordan Peele. The course will explore in detail how white control of black identity on the big screen helped codify racial stereotypes about black people in America that has long lasting ramifications to this day.
Writers are taken through the process of identifying intellectual property worthy of cinematic adaption (can be a news article, true story, book, play etc.), or can choose to adapt their own IP in another format (novel, short story, play, etc.). Writers are taken through the unique process of breaking the story on an adaptation, and will then craft the pitch, work out a detailed beat outline, and complete the first draft of a feature or series.
Functioning as industry professionals, and selected on a case-by-case basis, interns will serve as development assistants for reputable production companies, producers or studios. Internships, for either 4 or 2 units, will range from 8-16 hours/week, aligning with what works best for both the candidate and the company. Interns will provide development support, including anything from script coverage to story notes and all manner of development assistant functions. Internships will primarily be done remotely. Maximum units allowed is 4, though course may be repeated with program director’s approval.
FILM 595ADVANCED SCREENWRITING INDEPENDENT STUDY (4 or 2,2)
Functioning as “professional writers”, students are mentored one-on-one by their IS advisor, who plays the role of producer/manager/agent in guiding the student to develop and write the first draft of a feature OR the fist draft of a TV pilot and a series pitch document (aka mini- bible). Prerequisite: FILM 502 or FILM 504, or with program director’s approval. Can be split into two, 2 unit courses, taken consecutively. Can be repeated for credit.
Functioning as “professional writers”, over the course of the fall and spring terms of their second year, students are mentored one-on-one by a thesis advisor, who guides the student to develop and write the first draft of a feature OR the first draft of a TV pilot and series pitch document (aka mini-bible.) Prior to starting, students must secure a second reader for an additional round of feedback on their completed draft. A completed thesis, which must be submitted prior to graduation, consists of a student’s thesis course project and one additional original feature project OR TV pilot and series pitch document (aka mini- bible) written in a Hollins course. Students begin their thesis course in fall term of their second year. 118
