For exchange students, this is the place to browse and register for classes offered by the Institute of Media Studies. You will find info on
- Media Studies classes in English language
- Media Studies classes in German language
- registration process
- Learning Agreements (ERASMUS and CIVIS)
Due to the still ongoing pandemic situation in winter term 2021/22, some of our English-language seminars will be conducted online while others will be classroom seminars. International incoming students will get all necessary info about their seminars in due time.
If you are an International incomings student of Media Studies and cannot physically be present in Tübingen, please contact us via email so we can check your course selections and arrange online participation: email@example.com
This media theory course will introduce students to the major theoretical approaches to digital media with a focus on its role in society. Contents will include information/network society, social media, online/mobile cultures, cyber communities, digital activism, connective action, hashtag campaigns, digital communication platforms, algorithms and datafication, and platform economies.
This media theory course will introduce students to the subfields of Cultural Media Studies and Critical Media Studies. We will trace the developments of the fields (Marxism, Frankfurt School, Birmingham School) and learn about its major theoretical approaches. This course will discuss concepts that enable a critical look at media messages, products, and industries; including ideology and hegemony, culture industry, political economy, audience studies, and issues of media representation.
Sara Sorce earned her B.A. and M.A. in media and communication from Purdue University Fort Wayne. She has taught at both Purdue Fort Wayne and Penn State University. Her research interests include Critical Media Studies and Media Production. She hes 10+ years experience in commercial radio, both as on-air talent and program director.
Cutting across the boundaries of different media such as films, television shows, novels, comic books, or video games, contemporary international media culture is saturated with fictional characters such as Batman, Spider-Man, Rick Grimes, Daenerys Targaryen, or Lara Croft. This introductory class to the analysis of transmedia characters develops foundational vocabulary from character theories within literature studies, film studies, game studies, and comic studies. Students will conduct their own research and are encouraged to create presentations about characters and media texts of their own interest.
The ongoing digital revolution and emergence of novel media technologies radically influence and alter many aspects of contemporary society. In this course, students will learn how to critically access potentials of emerging media, such as new ways of communicating, educating, and creating art, as well as their problems and consequences, such as questions of control and power, commodification, discrimination, exploitation, and environmental hazards. The phenomena we will study range from new media and their perception in the 19th century to deep learning, computer vision, current screen technologies, and mixed reality environments in the 21st century. We will discuss various analytical and theoretical approaches, including ideas from media archaeology, new media studies, science and technology studies, and futurology.
Throughout the history of cinema (and now on video platforms such as YouTube and TikTok), filmmakers have experimented with creative ways to produce spectacular, surprising, amusing, emotionally gripping, or seemingly impossible images. In this course, students will also experiment and explore how to create illusions in front of the camera, in the camera, and in post-production. We will look at various analog and digital special and visual effects techniques, discuss famous examples, and then try to recreate some of them and maybe even invent new ones. Some of the effects we will cover are stop tricks, matte paintings, forced perspectives, multiple exposures, front/rear projections, CG, composting, and LED walls.
The seminar serves to explore and adopt aesthetic techniques for the design of radio pieces, radio shows and podcasts. You will get to know the basic building blocks of auditory production—voice, music, noise, ambiance, and silence—and explore the creative diversity of these building blocks and what functions they can take on in auditory communication.
A large part of the seminar is made up by online learning materials consisting of video, audio and written guidance. At the end of each unit you will produce a small audio piece, and at the end of the seminar you will finally sum up what you have learned in a 3-minute pieces in which you develop your own sonic ideas. In our regular meetings we will do hands-on training with recording devices as well as listen to and discuss your sound pieces. While the seminar focuses on the aesthetics of German radio culture, we might be able to draw a comparison to radio and podcast formats from different cultures.
Moving Pictures – Touching Sounds: Music in Cinema is the fourth part of a lecture series that will continue every winter term with a special topic. Every part of Moving Pictures – Touching Sounds can be attended individually. We always start with a general introduction into the discipline and methods of cinema studies. After the introduction, we will focus on the aspect of sound and music. The teaching and training research project combines one theoretical seminar with two training courses for film practice. One concentrates on the creation and production of live-action short films, one on animation and sound.
The seminar deals with several aspects of the special topic. Looking back into the history of cinema the story of sound and music offers lots of subtopics such as the sounds of silent cinema, the beginning of sound cinema, sound and animation, various genres such as musicals and biopics about famous musicians, the differences between movie cultures when using sound and music, the artwork of film composers and sound designers or – finally – the development of cinema sound technologies during the 120 years of film history. Furthermore, we will explore the aesthetics and history of music videos and their distribution through different media systems (television) and devices (tablets, mobile phones). Overall, questions of acoustic perception will accompany every part of the music semester.
This is a graduate-level course. Upper-level BA exchange students can be admitted with prior authorization.
Teaching hours and course choices
This research project course consists of 3 classes with an overall of 6 hours of teaching each week. The 3 classes are connected to each other and it makes sense to chose them all. However, it is also possible for international students to chose just one or two of them.
- Class 1 | Theory: Sound and Music in cinema studies | 2 hours of teaching each week | 6 ECTS
- Class 2 | Training: Creation and production of live-action short films | 2 hours of teaching each week | 3 ECTS
- Class 3 | Training: Animation and Sound | 2 hours of teaching each week | 3 ECTS
Animated images are omnipresent, not only in form of animated films and TV series but also as visual effects, motion graphics, interface elements, projection mappings, or data visualizations. Thus, it can be argued that our media culture has become to a large degree a culture of animation. In this course, we will try to gain a better understanding of why animation is used so pervasively and what consequences this entails. After an introduction into the specifics of various analogue and digital techniques, we will discuss various theories and concepts. Some of the topics discussed in the course are animation and narration, animation as experimental form, the relation of animation and live-action as well as their hybridization, documentary animation, animation in art contexts, as well as animation as a tool of communication.
This course explores the intersecting roles played by gender and sexuality in our media, by using examples from magazines, film, television, and digital culture. After introducing students to key approaches to studying gender and mediated communication, the course will cover a range of topics, such as diversity in media industries; mediated (mis)representations of gender, sexuality, and intersectionality; gendered audiences and fan cultures; and Gender, power, and identity in a digital era of communication. We will explore these topics through literature from sociology, communication and media studies, cultural studies, feminist theory, and internet/new media studies.
Geomedia: the mutual influence between space, place and media.
In this media analysis seminar, we will look at approaches of space, place and media that have recently formed the overarching concept of "geomedia". Geomedia have a double spatial reference: they refer to a specific space via a geo-reference (e.g. fixed coordinate) and enable personal situatedness in hybrid communication spaces. The increasing importance of geodata for the smooth running of products and services on the one hand and the use of mobile networked media technologies on the other hand lead to a socio-technological (re-)configuration between spaces, places, people and things. Through mechanisms of datafication and algorithmisation, geomedia lead to processes of constant redistribution of human actions and non-human operations, altering media practices and identities in relation to space and place. In this course we will critically reflect on the consequences of these socio-technological phenomena and work through current concepts such as geoprivacy, geosurveillance and potentially increasing inequalities.
This course introduces students to the fundamentals of screenwriting, including format, genre, exposition, characterization, dialog, setting, plot and the benefits and drawbacks of the three-act structure. We will screen and examine scenes from films and series, read and exchange views on screenplays and above all write, review and discuss your screenwriting. Peer feedback will be a regular part of the class. We will emphasize practice over theory. As a writing-intensive course, students will submit one feature-length screenplay by the end of the semester.
Depending on your language abilities, you can also choose from German-language Media Studies classes. You can find all specific classes offered in the course catalogue “Alma”. However, the course catalog will be updated every semester at rather short notice.
Besides that you might want to have a look at the Media Studies programmes and module handbooks to get a detailed idea on what classes are offered generally:
Exchange students who have been succesfully enrolled at the Unversity of Tübingen can register for Media Studies classes. This does also apply to exchange students who are enrolled in a different subject but are interested in taking one or more classes in the field of Media Studies.
ERASMUS and CIVIS students: Please send your Learning Agreement to international or via OLA for approval before registering. @mewi.uni-tuebingen.de
To register for Media Studies Classes, please fill in the registration form:
Please keep in mind that international exchange students can also take classes across different subjects and faculties as well as language courses. However, we do not process the registration for classes other than Media Studies classes. More info: course options for international exchange students
ERASMUS and CIVIS students will have to send us their Learning Agreements.
Online Learning Agreement OLA
If your home university supports OLA you’re welcome to fill in and submit your Learning Agreement via the official portal https://www.learning-agreement.eu/. If so, please fill in the following info:
Subject code: Audio-visual techniques and media production (0211) or Journalism and information (032) – the one that fits best for your personal study preferences.
Receiving Responsible Person:
- Name: Kiron Patka or Giuliana Sorce
- Position: Departmental Exchange Coordinator
- Email: firstname.lastname@example.org (This is important for us to receive notifications on your LA!)
„Receiving Administrative Contact Person“ can be left blank.
Classic Learning Agreement
Alternatively, you can submit your ‘classic’ Learning Agreement via email. If possible, send us your Learning Agreement as word file (doc, docx).
Mail to: email@example.com