Course |
FILM 109A The History and Aesthetics of Film |
|
Professor |
Gerard Dapena |
|
CRN |
90231 |
|
Schedule |
Tu
(screening) 7:00 - 10:00 pm Avery 110 Th 9:30 – 12:30 pm Avery 217 |
|
Distribution |
OLD: A |
NEW: Analysis
of Art
|
A one-semester survey course comprising weekly
screenings and lectures designed for first-year students, especially those who
are considering film as a focus of their undergraduate studies. Films by
Griffith, Chaplin, Keaton, Renoir, Rossellini, Hitchcock, Deren, and others are
studied. Readings of theoretical works by authors including Vertov, Eisenstein,
Pudovkin, Munsterberg, Bazin, and Arnheim. This course is for first-year
students only.
Course |
FILM 109B The History and Aesthetics of Film |
|
Professor |
John Pruitt |
|
CRN |
90868 |
|
Schedule |
Wed
(screening) 7:00 - 10:00 pm Avery 110 Th 1:30 -4:30 pm Avery
217 |
|
Distribution |
OLD: A |
NEW: Analysis
of Art
|
A one-semester survey course comprising weekly
screenings and lectures designed for first-year students, especially those who
are considering film as a focus of their undergraduate studies. Films by
Griffith, Chaplin, Keaton, Renoir, Rossellini, Hitchcock, Deren, and others are
studied. Readings of theoretical works by authors including Vertov, Eisenstein,
Pudovkin, Munsterberg, Bazin, and Arnheim. This course is for first-year
students only..
Course |
FILM 167 Survey of Media Art |
|
Professor |
Ed Halter |
|
CRN |
90225 |
|
Schedule |
Mon 1:30 -4:30 pm Avery 110 Sun
screening 7:00 - 10:00 pm Avery 110 |
|
Distribution |
OLD: F |
NEW: Analysis
of Art
|
An introduction to the history of moving-image art
made with electronic media, with a focus on avant-garde traditions. Topics
include video art, guerrilla television, expanded cinema, feminist media,
Net art, music video, microcinema, digital feature filmmaking and art made from
video games. This course is for first-year students only.
Course |
FILM 201 A Introduction to the Moving Image: Video |
|
Professor |
Les LeVeque |
|
CRN |
90226 |
|
Schedule |
Th 9:00 -12:00 pm Avery 338 |
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
Introduction to the basic problems (technical and
theoretical) related to film and/or electronic motion picture production.
Coupled with Film 202 (offered in Spring), this course is designed to be taken
in the sophomore year and leads to a spring Moderation project in the Film and
Electronic Arts Program. Prerequisite: a 100 or 200- level course in
Film or Video History.
Course |
FILM 201 B Introduction to the Moving Image: Video |
|
Professor |
Jacqueline Goss |
|
CRN |
90229 |
|
Schedule |
Wed
9:30 - 12:30 pm Avery 117 |
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
Introduction to the basic problems (technical and
theoretical) related to film and/or electronic motion picture production.
Coupled with Film 202 (offered in Spring), this course is designed to be taken
in the sophomore year and leads to a spring Moderation project in the Film and
Electronic Arts Program. Prerequisite: a 100 or 200- level course in
Film or Video History.
Course |
FILM 201 C Introduction to the Moving Image: Film |
|
Professor |
Peter Hutton |
|
CRN |
90232 |
|
Schedule |
Th 1:30 -4:30 pm Avery 319 |
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
Introduction to the basic problems (technical and
theoretical) related to film and/or electronic motion picture production.
Coupled with Film 202 (offered in Spring), this course is designed to be taken
in the sophomore year and leads to a spring Moderation project in the Film and
Electronic Arts Program. Prerequisite: a 100 or 200- level course in
Film or Video History.
Course |
FILM 201 D Introduction to the Moving Image: Film |
|
Professor |
Kelly Reichardt |
|
CRN |
90233 |
|
Schedule |
Th 9:00 - 12:00 pm Avery 319 |
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
Introduction to the basic problems (technical and
theoretical) related to film and/or electronic motion picture production.
Coupled with Film 202 (offered in Spring), this course is designed to be taken
in the sophomore year and leads to a spring Moderation project in the Film and
Electronic Arts Program. Prerequisite: a 100 or 200- level course in
Film or Video History.
Course |
FILM 203 Electronic Media Workshop: Sound and Image |
|
Professor |
Les LeVeque |
|
CRN |
90434 |
|
Schedule |
Wed
1:30 -4:30 pm Avery 333 |
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
This production course examines the major aesthetic
elements of the visual and the aural. The primary focus is the artful
juxtaposition of sound and image through the production of short film / video
projects. The course consists of technical instruction, readings, in-class
screenings and critiques of student projects.
Course |
FILM 211 Screenwriting I |
|
Professor |
Marie Regan |
|
CRN |
90227 |
|
Schedule |
Tu 4:00 -7:00 pm Avery 338 |
|
Distribution |
OLD: B/F |
NEW:
Practicing Arts
|
An intensive workshop for committed writers/cineasts.
From an idea to plot, from an outline to full script ‘ character development
and dramatic/cinematic structure. Continuous analysis of students’ work in a
seminar setting. Students who wish to participate in this workshop should have
a demonstrable background in film or in writing, and be able to share their
work with others. Limited enrollment, priority given to Sophomores and Juniors,
or by permission of the professor. Submission of work and/or an interview prior
to registration is recommended.
Course |
FILM 218 Theories of Film |
|
Professor |
Gerard Dapena |
|
CRN |
90441 |
|
Schedule |
Tu 10:00 am – 12:50 pm AVERY 217 |
|
Distribution |
OLD: F |
NEW: Analysis
of Art
|
Theories of
Film is designed as an introduction to some of the major developments in classic
and contemporary film theory and criticism. The course covers key texts and
authors (Kracauer, Eisenstein, Bazin, Metz, Mulvey, Bordwell) and examines the
cultural contexts that gave rise to these debates and arguments. Among the
issues under review: the specificity of film form; cinematic realism; the
politics and ideology of cinema; the relation between cinema and language; the
way meaning is constructed in the process of viewing a film; spectatorship,
identification, and subjectivity; the representation of women and racial and
sexual minorities; and the formation of film canons and hierarchies. The
syllabus pairs writings on a central principle of film analysis with cinematic
examples (one or more feature films or shorts) that allow students to apply and/or
question the main ideas presented in the various readings. Class time will be
divided between discussion of the critical texts and the projection of
sequences that may clarify the ideas and debates at hand.
Course |
FILM 247 Video Strategies |
|
Professor |
Les LeVeque |
|
CRN |
90291 |
|
Schedule |
Th 1:30 -4:30 pm Avery 333 |
|
Distribution |
OLD: F |
NEW:
Practicing Art
|
An advanced production course centered on the basic
issues (aesthetic, theoretical and technical) related to electronic media
production. The course consists of technical instruction, readings, in-class
screenings and critiques of student projects.
Course |
FILM 278 Film Production Workshop |
|
Professor |
Kelly Reichardt |
|
CRN |
90435 |
|
Schedule |
Wed 1:30 – 4:30 pm Avery 319 |
|
Distribution |
OLD: F |
NEW: Practicing
Art
|
This class functions as a rotating production team:
the talent, imagination, and industry of class members combine in the creation
of an original 16mm film. Each student has an opportunity to write, direct, and
edit one scene, and act as crew or cast in other scenes. Issues of art
direction, narrative continuity, and collaboration are addressed as they arise.
The primary goal is for students to develop technical and storytelling
proficiency through working in a variety of roles in a film production.
Course |
FILM 301 MC: Live Video & Surveillance |
|
Professor |
Jacqueline Goss |
|
CRN |
90370 |
|
Schedule |
Tu 1:30 – 4:30 pm AVERY 116 |
|
Distribution |
OLD: A |
NEW:
Practicing Arts
|
Cross-listed: Human Rights; Integrated Arts;
Science, Technology & Society
This is a course intended to give students a better
understanding of live video production as a vehicle for artistic expression.
Course participants develop ways of working with video's most unique property:
its ability to produce an immediate and continuous stream of images and sounds.
Surveillance, streaming media, spinning, call-in talk shows, and cell phone
usage have primed audiences and spectators to expect immediate access to and
feedback from their media. How does the media artist respond? Course participants
will work on individual projects using cameras, monitors, switchers,
surveillance systems, and software-based video mixers. We will also work
collectively to produce one live piece which will be broadcast to an audience.
In addition, we will carry on a continued discussion about the larger cultural
and psychological impact of live video production. This conversation will be
supplemented by readings and viewings of work by Nam Jun Paik, Richard Serra,
Dan Graham, Rosalind Krauss, Raymond Carver, Julia Scher, the Surveillance
Camera Players, and others. Please contact [email protected]
for information.
Course |
FILM 307 Landscape & Media |
|
Professor |
Peter Hutton |
|
CRN |
90234 |
|
Schedule |
Fr
1:30 -4:30 pm Avery 117 |
|
Distribution |
OLD: C |
NEW:
Practicing Arts
|
A class designed for Junior level film and video
majors. The class will study and compare representations of the American
landscape through the history of film and painting vs. the depiction of
landscape and environmental issues manifest through television and video.
Students will be required to complete a short film or video referencing these
issues. Required reading: B. McKibbon’s The Age of Missing Information.
Course |
FILM 319 The American Graphic Film: Abstraction, Animation and Collage |
|
Professor |
John Pruitt |
|
CRN |
90290 |
|
Schedule |
Mon
screening 7:00 - 10:00 pm Avery 110 Tu 1:30 -4:30 pm Avery 217 |
|
Distribution |
OLD: A |
NEW:
|
Cross-listed:
Integrated Arts
The seminar will provide an in-depth study of a
significant tradition within the American avant-garde film that connects quite
directly to modernist practice in the graphic arts, particularly painting and
printmaking. Most of the films under discussion eschew dramatic narrative for
imagery that provides a direct "adventure of visual perception."
Because the images move over time, we will inevitably have to deal with
intricate matters of abstract musical form, in many cases a deep source of
inspiration for these artists. Other theoretical issues to be discussed include
the intention behind the drive towards visual abstraction in the first place,
and the inherent tension within a photographic medium between the so-called
real and the imagined. At first we will focus on the works of several
"classic" practitioners who worked primarily in the 50's, 60's and
70's: Joseph Cornell, Harry Smith, John and James Whitney, Robert Breer, Larry
Jordan, Pat O'Neill, Jordan Belson, Bruce Conner, George Landow, Paul Sharits
and Stan Brakhage. We will then turn our attention to a younger generation who
emerged from the 80's onwards and are still quite active today: Jennifer
Reeves, Mark Street, Michele Smith, Eve Heller, Craig Baldwin, Lewis Sklar et
al. Open primarily but not exclusively to juniors and seniors; there is no
prerequisite course but priority will be given those students with background
in film, studio arts, or art history. Weekly screenings and required readings.
Term paper project.
Course |
FILM 328 Cinematic Adaptation |
|
Professor |
Marie Regan |
|
CRN |
90499 |
|
Schedule |
Wed
9:30 am - 12:30 pm Avery 338 |
|
Distribution |
OLD: F |
NEW:
Practicing Arts
|
Is adaptation translation or response? This
workshop takes on all kinds of inspirational forms: music, science, painting, literature, dance, philosophy etc. and
uses them as roots for cinematic adaptation.
We'll explore the process of adaptation by looking at a number of
different works and their source materials then, through a series of exercises,
students will engage an outside work and not simply translate it to film, but respond
to the initial work in their adaptation.
Course |
FILM 405 Senior Seminar |
|
Professor |
Jacqueline Goss |
|
CRN |
90230 |
|
Schedule |
Wed
6:00 -8:00 pm Avery 217 |
|
Distribution |
OLD: n/a |
NEW:
|
0 credit As a newly established
component of the Film Program's requirements for all majors, the Senior Seminar
is an opportunity to share working methods, knowledge, skills and resources
among the seniors working on Senior Project. The course will have a number of
film and video makers in to discuss their process and techniques, artistic
life-after-Bard skills workshop, a review of distribution and grant writing
opportunities and critique of works in progress. The course is an integral
aspect of Senior Project for all seniors in Film.