This course will survey the development of the narrative film, emphasizing the relationship between film aesthetics and meaning. The films that will be shown represent a history of genre as much as of film itself (Comedies, musicals, and drama will be shown). Classics like Keaton's "The General" and Von Sternberg's "The Blue Angel" will be shown along with more esoteric films such as G. W. Pabst's "Kameradshaft" and Carl Dreyer's "Day of Wrath." Students might question the complete absence of any New Wave films whatsoever and the presence of such films as Reed's "The Third Man" and Kelly/Donen's "Singing in the Rain."

This course is taught by Ken Dancyger, a Canadian who taught film last year at Emerson College and will teach at Boston University this semester while he is also serving as film consultant to the Newton Public Schools.

Contemporary Film Styles; Tuesdays, 3-6 p. m., October 6-December 8,$50.

This course purports to deal with the thematic, technical, and aesthetic means of film innovation. The most obvious problem this course might encounter will be that of tying together such diverse subject matter; i. e., all new films. It does. however, have the most exciting schedule of any of the courses; students enrolled in the course will have a chance to see films that are rarely, if ever, screened in the Boston area. Definite booking has already been made for Glauber Rocha's "Antonio das Mortes" and "Black God, White Devil," Jean Marie Straub's "The Chronicle of Anna Magdelena Bach," and Bertolucci's "The Partner." There is also a possibility that Rohmer's "Ma Nuit Chez Maud" will be screened.

For those who don't want to take the course but have been desperately trying to see any one of the above films, the public can attend single course sessions at $5 each.

This course is taught by Deac Rossell, who rowed crew for Syracuse and is film editor of Boston After Dark

Film Syntax; Thursdays, 10:30 1:30 p. m., October 8-December 17, $50.

This course will deal with the specific elements of film and the ways in which they convey meaning to the audience. Sequence-by-sequence, shot-by-shot analysis will be applied to a wide variety of film classics. Among the films to be shown are early Dziga Vertov films, Griffiths' "Birth of a Nation," Chaplin's "Modern Times," the Odessa steps sequence from "Potemkin," Ford's "Stagecoach," Welles' "Citizen Kane," Kubrick's. "Dr. Strangelove," and Fellini's "81/2"

The instructor is Steve Schlow who taught film and television at Penn State for four years before becoming film critic for WBUR radio. Frances Gitter calls Schlow the "most eloquent" member of the UCA staff.

The Director: Two Careers; Wednesdays, 10:30-1:30 p. m. October 7-December 16, $50.

A look at the hauteur theory through the study of the careers of two of America's greatest filmmakers, D. W. Griffith and John Ford. A close look will be taken at the role of the central creative personality and the ways in which artistic individuality survives the act of filmmaking. Five films of each director will be shown, among them Griffith's "True Heart Suzie," "Wav Down East," "Sorrows of Satan." "The Struggle," and Ford's "The Long Voyage Home," "My Darling Clementine," "The Sun Shines Bright," and "Seven Women."

The instructor is Peter Jaszi who teaches Humanities 197a at Harvard -where you can take his course on John Ford for $275 more than you would pay at The Film School. Jaszi is director of programming at the Welles Cinema. His film criticism has appeared in the CRIMSON, Boston After Dark, and Film Quarterly.

Documentary Film; Thursdays, 3-6 p. m., Octorber 8-December 17, $50.

This course looks like one of the best in The Film School; it will apply techniques of close visual analysis in an effort to teach students how an unstaged film sequence is manipulated to produce a "statement." Among the topics to be studied are the romantic documentary, cinema verite, the social documentary, propaganda, and the use of documentary footage in television. Each topic will be accompanied by the screening of a film ("Salesman" by the Maysles Brothers, "High School" by Wiseman and "Triumph of the Will" by Riefenstahl are all tentatively booked), or guest lecturers (Rickie Leacock and Mrs. Robert Flaherty are scheduled).

John Marshall is the instructor. From 1958-1960, Marshall served as associate director of the Film Study Center at Harvard. He later served as cameraman-reporter for N. B. C., and photographed the controversial documentary "Titicut Follies" for Fred Wiseman.