Course Description, Objectives, and Goals: This is going to be a wide-ranging course, full of detours, in which our discussion of film will be organized in relation to philology and media archaelogy. Once dismissed by film scholars as misguided, film philology has returned front and center in film studies as the repressed of what was formerly known as film has come to an end and with it, what was formerly known as film studies. The premise of this course is that the end of celluloid means that film (and media) studies is now a de facto branch of media archeology. That is not much consolation since media studies and media archaeology has decline into books that are essentially long wikipedia like entries that appear under the guise of history (history reduced to information about gadgets and apparatuses organized by a linear chronology). In the wake end the end of celluloid and its replacement by digital projection and digital film restoration; flat screen Plasma or LED TVs; ULRA HD 4K TVs; Curved TVs; downloading and streaming on iClouds, sometimes before the film is in theaters, and delivery to portable devices as small as iPhones as well as to home entertainment systems with lossless sound and up to 4k image resolution; the release of a film in different cuts, often with alternate endings and alternate beginnings and sometimes with additional scenes; the release of silent films with multiple soundtracks; in end title sequences, a comparative analysis of formerly analogue films, videos (made for cathode ray TVs) and a theory of their always already “new” media platforms becomes both possible and inescapable, however much critics who identify as film scholars and historians may wish to deny it. What may now be called “ciNOma” (please hear the pun on “cinema" and "no more,” as in "no more cinema") requires a post-film theory of digital films as edited texts and both the archive that includes not only a linear history of media (organized along lines of celluloid film versus virtual film) but the archive. (Moreover, the archive is a place less of order and preservation than a place of contagion, of feverish fantasies about preservation, so-called materiality, "History" with a capital "H," of narrative linearization and loops, and so on.) We will pursue film philology both by reading works on textual criticism and philology, art restoration, theological resurrection, film archives, crime scene investations, znc ghost stories by analyzing a number of DVD / blu-ray film restoration case studies, some silent, some sound, some shot on celluloid, some shot or restored digitally. Requirements: Co-lead class discussion twice, once on a Tuesday and once on a Thursday; two discussion questions and three or more “BIG WORDS” for each class; student formulated quizzes at the beginning of each class; and two 650 word papers; a ten minute report in class on a DVD or blu-ray case study; a class presentation at the end of the semester; and a willingness to reflect, think, respond, by paying very, VERY, VERY close formal attention to texts and films.