Class
No. |
Course ID |
Title |
Credits |
Type |
Instructor(s) |
Days:Times |
Location |
Permission
Required |
Dist |
Qtr |
| 2182 |
FILM-175-01 |
Introduction to Recording Arts |
1.00 |
STU |
Swist, Christopher |
MW: 10:00AM-11:15AM |
TBA |
Y |
ART
|
|
| |
Enrollment limited to 15 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: MUSC-175-01 |
| |
NOTE: 5 seats reserved for film studies majors. |
| |
This is a course in the basics of recording and producing music. Students learn to use the basic tools of the production studio, including an exploration of recording techniques and standard practices encountered at professional facilities. The course also incorporates connections between listening to professional recordings and making technical decisions when capturing a musical performance. |
| 1222 |
FILM-201-01 |
Basic Filmmaking |
1.00 |
SEM |
Bemiss, Jeffrey |
TR: 9:25AM-10:40AM |
TBA |
Y |
ART
|
|
| |
Enrollment limited to 12 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
NOTE: 5 seats are reserved for first-year students and 4 seats are reserved for sophomore students |
| |
NOTE: For permission to enroll, please contact both the program director, Prakash Younger at James.Younger@trincoll.edu, and the instructor. |
| |
A hands-on introduction to filmmaking from the perspectives of the director and editor. By designing and executing a series of short, creative production projects, students will explore how moving image techniques are used to structure meaning. Topics include composition, videography, sound, continuity editing, montage, and dramatic structure. Cameras and software are provided, and significant collaborative work is required. |
| 1668 |
FILM-210-01 |
Film Aesthetics in Practice |
0.50 |
LEC |
Mason, John Michael |
M: 6:30PM-9:00PM |
TBA |
Y |
ART
|
|
| |
Enrollment limited to 19 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
NOTE: The instructor for this offering is John Michael Mason, Executive Director of Trinity Film Festival and Chair of the Board of Directors for Cinestudio. The practicum portion of this class will select the films for Trinity Film Festival 2026. The intensive screening period for film selection will run from approximately 3/31-4/8. Attendance at Trinity Film Festival in May 2026 is also required. |
| |
This course introduces principles of practical film criticism, film aesthetic, and film theory through weekly film screenings and post-screening discussions. Students workshop those principles in the latter half of the semester by undertaking the critical task of selecting films for a Film Festival. The primary goal of the course is to position students for effective and robust dialogue about film. The requirements for this 0.5 credit course are mandatory weekly film screenings, engaged participation in post-film discussions, written responses, and full participation during the intensive and time-critical festival selection screening process. |
| 1691 |
FILM-265-01 |
Intro to Film Studies |
1.00 |
LEC |
Younger, James |
MW: 1:30PM-2:45PM
M: 6:30PM-9:00PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 25 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: ENGL-265-01 |
| |
This course provides a general introduction to the study of film and focuses on the key terms and concepts used to describe and analyze the film experience. As we put this set of tools and methods in place, we will also explore different modes of film production (fictional narrative, documentary, experimental) and some of the critical issues and debates that have shaped the discipline of film studies (genre, auteurism, film aesthetics, ideology). |
| 2759 |
FILM-303-01 |
Principles of Documentary Film |
1.00 |
LEC |
Bemiss, Jeffrey |
TR: 10:50AM-12:05PM |
TBA |
|
ART
|
|
| |
Enrollment limited to 12 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Prerequisite: C- or better in Film 201, or permission of instructor. |
| |
An advanced filmmaking course where students will conceive, film and finish short documentary films. The course will emphasize study and analysis of the documentary form, research, production and editorial techniques, and strategies for building trust with protagonists. Documentary specific filming techniques will be explored such as vérité shooting, effective use of available light and multi-source field recording. Cameras and software are provided. |
| 2760 |
FILM-306-01 |
Art of Motion Picture Editing |
1.00 |
LEC |
Bemiss, Jeffrey |
TR: 1:30PM-2:45PM |
TBA |
|
ART
|
|
| |
Enrollment limited to 12 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Prerequisite: C- or better in Film 201, or permission of instructor. |
| |
Students will strengthen their visual narrative skills through the study and practice of the editor's role in filmic storytelling. The course will include analysis of editing theory and technique as used in contemporary films, as well as their application using digital editing software. |
| 3153 |
FILM-323-01 |
Cinematic Modernism |
1.00 |
SEM |
Cancelled
|
|
HUM
|
|
| |
Enrollment limited to 19 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: ENGL-323-01 |
| |
Prerequisite: C- or better in English 265 or Film 265. |
| |
The 30-year period from 1950-1980 is often regarded as the golden age of European cinema and World Cinema. Launched by the post-war epiphanies of Italian Neorealism, a new cinematic language, modernism, was forged by movements of young radicals and older directors eager to transcend their past achievements. Embraced by an expanding audience of cinephiles (self-educated film-lovers), modernist cinema became one of the most dynamic and significant phenomena of 20th century culture. This course offers an introduction to this essential area of film history and will situate key directors and movements within the exciting political and cultural contexts of the times. |
| 3154 |
FILM-325-01 |
Postmodernism in Film & Lit |
1.00 |
SEM |
Rosen, David |
M: 6:30PM-9:00PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: ENGL-325-01 |
| |
“Postmodern” is the term used most often to describe the unique features of global culture (art, architecture, philosophy, cinema, literature) since the 1970s. And yet there is practically no agreement about what those features might be: is postmodernism ironic or serious, flat or deep, real or hyper-real, alive or defunct? In this course we will examine competing and often contradictory views of postmodernism, with the goal of developing a historical perspective on the contemporary world we live in now. Texts will be divided evenly between philosophy/theory (Lyotard, Baudrillard, Jameson, Fukuyama, Hutcheon), cinema (possible films: Bladerunner) and literature (possible authors: Borges, Pynchon, Barthelme, Murakami, Foster Wallace). The seminar will culminate with a field trip to New York City. English 425 and English 825 are the same course. |
| 2695 |
FILM-350-01 |
Film Noir |
1.00 |
SEM |
Corber, Robert |
T: 6:30PM-9:10PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with ENGL |
Cross-listing: WMGS-345-01 |
| |
This course traces the development of film noir, a distinctive style of Hollywood filmmaking inspired by the hardboiled detective fiction of Dashiell Hammett, James Cain, and Raymond Chandler. It pays particular attention to the genre’s complicated gender and sexual politics. In addition to classic examples of film noir, the course also considers novels by Hammett, Cain, and Chandler. |
| 2858 |
FILM-361-01 |
World Cinema Auteurs |
1.00 |
SEM |
Younger, James |
MW: 11:30AM-12:45PM
W: 6:30PM-9:00PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: ENGL-361-01 |
| |
This advanced course offers an in-depth exploration of the work of major auteur-directors from the domain of World Cinema, cinema from countries other than the United States or Europe. Three or four auteurs grouped by country, region or culture (e.g. Japan, India, Iran, Brazil, West Africa, or the Three Chinas: PRC, Hong Kong, and Taiwan) will be examined in their aesthetic, cultural and geo-political dimensions using the cutting-edge new methodologies of comparative and experimental cinephilia. Note: This is an advanced undergraduate/graduate hybrid course - while not required, some prior experience with film analysis, film theory, or World Cinema is strongly recommended.This course fulfills the requirements of a post-1800 course, elective, or additional literature or film course. |
| 2697 |
FILM-373-01 |
Hitchcock |
1.00 |
SEM |
Corber, Robert |
W: 1:30PM-4:10PM |
TBA |
|
HUM
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
|
Cross-listing: WMGS-373-01 |
| |
Alfred Hitchcock was one of the most important and influential directors of the mid-twentieth century. Starting with his first American film, Rebecca (1940), this course traces his development as a director. It pays particular attention to his controversial treatment of gender and sexuality, as well as the significance of his films for feminist and queer approaches to Hollywood cinema. |
| 1856 |
FILM-466-01 |
Teaching Assistant |
0.50 - 1.00 |
IND |
TBA |
TBA |
TBA |
Y |
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Students may assist professors as teaching assistants, performing a variety of duties usually involving assisting students in conceiving or revising papers; reading and helping to evaluate papers, quizzes and exams; and other duties as determined by the student and instructor. See instructor of specific course for more information. Submission of the special registration form, available online, and the approval of the instructor are required for enrollment. Guidelines are available in the College Bulletin.
(0.5 - 1 course credit) |
| 2270 |
FILM-499-01 |
Senior Thesis Part 2 |
1.00 |
IND |
TBA |
TBA |
TBA |
Y |
WEB
|
|
| |
Enrollment limited to 15 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
This course is the second part of a two semester, two credit thesis. Submission of the special registration form and the approval of the thesis adviser and the director are required for enrollment. The registration form is required for each semester of this year-long thesis. |
| 2849 |
FREN-151-01 |
French Film Festival |
0.50 |
LEC |
Humphreys, Karen |
TBA |
TBA |
|
HUM
|
Q2 |
| |
Enrollment limited to 29 |
Waitlist available: N |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with FILM, LACS |
| |
NOTE: 5 seats reserved for first year students, 8 seats for sophomores, 8 seats for juniors, and 8 seats for seniors |
| |
A half-credit course offered in conjunction with the annual spring French Film Festival. Class meetings and film screenings will take place in March and April. Two mandatory workshops will take place prior to and following the festival at a time to be announced. Students are required to attend all film showings. Students taking the course for credit in French will be required to do all written work in French and to attend French language versions of the two supplemental workshops. Course may not be taken on a pass/fail basis. |
| 2484 |
PSYC-293-01 |
Perception |
1.00 |
LEC |
Grubb, Michael |
TR: 9:25AM-10:40AM |
TBA |
Y |
SOC
|
|
| |
Enrollment limited to 30 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with FILM, NESC |
| |
Prerequisite: C- or better in Psychology 101. |
| |
NOTE: 2 seats reserved for senior PSYC majors, 6 for junior PSYC majors, and 17 for sophomores. |
| |
With a simple opening of the eyes, a vividly colorful, object-filled world effortlessly appears before you. With remarkable ease, you recognize individual voices or unique melodies. And without even trying, you know immediately if you have over salted your food. But how does all of this happen? This foundational course will provide an introduction to our current scientific understanding of the psychology and neuroscience of perception. |
| 2231 |
THDN-103-01 |
Basic Acting |
1.00 |
STU |
Ong-Hendrick, Michelle |
MW: 10:00AM-12:00PM |
TBA |
|
ARTW
|
|
| |
Enrollment limited to 14 |
Waitlist available: Y |
Mode of Instruction: In Person |
|
| |
Also cross-referenced with FILM, WELL |
| |
NOTE: Seat reservations: 2 seniors, 2 juniors, 5 sophomores, 5 first years. |
| |
An introduction to the basic elements of acting. Students will work on releasing tension, developing their powers of concentration, promoting spontaneity through improvisation, and exploring a systematic approach to preparing a role for performance. This course is a prerequisite for all upper-level acting courses. |