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.