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Emily Anderson

Associate Professor of English and Chair of Film Studies

2 East South Street

Galesburg, IL 61401-4999



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Ford Center for the Fine Arts

FILM 124 Introduction to Film

This course introduces students to film as a distinct art form with its own language. Films selected represent a variety of cinematic movements or technical advances and are studied from historical, theoretical, and formal perspectives. HUM; Cross Listing: ENG 124; IC; R. Smith; E. Anderson

FILM 125 Masterpieces of Chinese Cinema

This course will take a critical look at widely acclaimed films in Chinese cinema from the 1940s to today, produced in mainland China, Taiwan, and Hong Kong. This course will ask students to engage with issues of culture, history, and meaning. We will especially focus on what goes into the classification of a "masterpiece," including the context, content, and significance of each film. In other words, the class will explore the relationship between film and socio-historical context, novel storytelling and technique, and each film's lasting influence. No knowledge of Chinese language is required. Cross Listing: ASIA 125; Offered every year; W. Du

FILM 151 German History on Film

This course will examine German films (alongside some graphic novels and other texts) which take as their subject historical moments and events. We will examine the manner in which German culture views its own history via mass, popular media such as film. Such media necessarily generate collective memories and historical imaginaries which may or may not comport with historical fact. Themes may include (but aren't limited to) the legacy of the Holocaust and World War II, the division and unification of Germany, and migrants' experiences. Offered occasionally; T. Heidt

FILM 225 Introduction to Chinese Film

This course is an introduction to Chinese cinema in mainland China, Taiwan, and Hong Kong, with emphasis on the ways film represents China, Chinese identity, cultural heritage, and Chinese modernity The course will include weekly film viewings and in-class discussion. Cross Listing: ASIA 225;CHIN 225; Offered occasionally; W. Du

FILM 227 The Black Image in American Film

Since the beginning of the American film industry, white, black and other filmmakers have used the black image to interrogate American identity. This course focuses upon the often contentious dialog between white and black filmmakers, critics, and activists over the creation and control of the black image - a struggle that has been a fundamental component of the American film industry since its creation. Examination of this artistic conflict helps students to explore the larger social struggles and issues surrounding race in American society, as well as to experience the richness of African American culture and the vibrant history of American film and criticism. Above all, students learn to see the political, social and economic context in which film is created, viewed, and understood. Some of the issues to be discussed include: the black aesthetic; representations of the black family, religion, and gender/sexuality by Hollywood vs. independent black films; the changing black image in film over time; the business and economics of filmmaking. Prerequisite(s): sophomore standing or permission of the instructor; Cross Listing: AFST 227;AMST 227;HIST 227; DV; M. Roy-Fequiere; K. Hamilton

FILM 246 Philosophy of Film

Popular movies characteristically depict actions, with a climactic action or event giving significance and structure to the earlier events in the movie. What are the implications of the centrality of action and action representation in movies for our understanding of film and of action? How do movies help us to understand the relation between a world and the actions that are possible in that world? How do the movies allow us to think about actions and the inner lives of the agents who carry them out? How have the kinds of actions shown in popular movies developed and changed? How does the representation of action on film shed light on the nature of time? Cross Listing: PHIL 246; D. Wack

FILM 261 Women and Film

This is a course examining the representation of women in the cinematic medium. We will especially focus on the intersection of two interpretive theories, psychoanalysis and feminism, and their multi-varied application to the literary text that is cinema, with particular interest in questions of dream, hysteria and transference. HUM; Prerequisite(s): ENG 124 or permission of the instructor; Cross Listing: ENG 261;GWST 261; IC; PI; DV; R. Smith

FILM 270 Psychology and Film

This course is an introduction to psychology and film. We will study this topic from a number of perspectives: the psychology of making movies, the effect of film on the audience, and the representation of psychological topics in film. The focus of the course will be on watching and discussing films, as well as on reading and writing about psychological aspects of film. Prerequisite(s): PSYC 100; Cross Listing: PSYC 270; K. Shaw

FILM 295 Special Topics (1/2 or 1)

Courses offered occasionally to students in special areas of Film not covered in the usual curriculum. Staff

FILM 309 Contemporary Latin American Cinema

A survey of contemporary cinema of Spanish speaking countries of Latin America. We follow a trend starting with the avant-garde cinema of the political revolutionary turbulence of the 1960's, the "New Latin American Cinema", which continues today with a series of films that originated as a reaction to the neo-liberal and globalized capitalism of the 1990's. The films are treated as visual texts, studying the film as a genre with particular stylistic forms and techniques to represent social reality ideologically and in the context of social and cinematic history. Prerequisite(s): SPAN 235; Cross Listing: LAST 309;SPAN 309; A. Prado del Santo

FILM 323 Visual Culture Theory

This course examines the emerging interdisciplinary field of Visual Culture Theory and will introduce students to a study of modern and post-modern discourses on vision and visuality. Drawing from art history, sociology, psychology, film and media studies, Marxism, feminist and post-colonial theory, Visual Culture Theory analyzes the role of visual images in shaping philosophical, cultural, poliical, racial and sexual notions of identity. The course also investigates the meaning of images in relation to such popular media as photography, film, television, video, animation, advertising, pornography and the digital culture of the web. Cross Listing: ART 323;IDIS 323; G. Gilbert

FILM 337 German Society and Film

Survey and analyses of German films within their social, political, and intellectual contexts. The course may present a broad survey from 1919 to the present, focus on an individual historical period, a director or group of directors, or on a theme in German film. Prerequisite(s): sophomore standing or permission of the instructor; Cross Listing: GERM 337E; IC; T. Heidt

FILM 363 Film Theories

This course explores some of the main currents in film theory, which may include Formalist, Structuralist, Psychoanalytic, Feminist, or Poststructuralist approaches. Specific offerings vary from year to year. Possible topics include "Genre versus Auteur," "Psychoanalysis and Film," "Narrative of Film," "Experimental Film," and "Noir." HUM; Prerequisite(s): ENG 124 and one 200-level course in literature, film, or theory (ENG 200 recommended) and ENG 300L which may be taken concurrently, or permission of the instructor; Cross Listing: ENG 363; R. Smith; E. Anderson

FILM 395 Special Topics (1/2 or 1)

Courses offered occasionally in special areas not covered in the usual curriculum. May be repeated for credit if different topics are offered. Staff

FILM 400 (1/2 or 1)

See College Honors Program.

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