Course	FILM 109 The History and Aesthetics of Film
Professor	Gerard Dapena
CRN	97243
Schedule	Th 9:30 - 12:30 pm Avery 110 Screening: Wed 7:00 - 10:30 pm Avery 110
Distribution	Analysis of Arts

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 113 History of Film, Part One: The Silent Era, 1895-1930
Professor	Keith Sanborn
CRN	97242
Schedule	Mon 1:00 -4:00 pm Avery 110 Screening: Sun 7:00 - 10:00 pm Avery 110
Distribution	Analysis of Arts

A lecture survey course that traces the medium of film as an art form from its origins to the end of the silent era. An emphasis will be placed on particularly prominent "schools" of filmmaking: The American Silent Comedy, German Expressionism, The Soviet and European Avant-gardes. The long list of film artists to be screened and studied include: the Lumiere Brothers, George Melies, D.W. Griffith, Lois Weber, Germaine Dulac, Sergei Eisenstein, Dziga Vertov, Yasujiro Ozu, Carl Dreyer, Fernand Leger, Luis Bunuel, Man Ray, Erich von Stroheim, F. W. Murnau, Charlie Chaplin and Buster Keaton. Readings will consist mostly of classic aesthetic studies from the era itself, those by Eisenstein, Vertov, Munsterberg, Arnheim, et al. Course is limited to First-Year students only and is highly recommended for (but not restricted to) those students who are contemplating film as a major course of study. Two essay exams and a term paper. This course is for first-year students only.

Course	FILM 167 Survey of Media Art
Professor	Ed Halter
CRN	97247
Schedule	Th 1:30 -4:30 pm Avery 217 Th (screening) 9:00 -11:00 pm Avery 110
Distribution	Analysis of Arts

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; registration will be taken in September.

Course	FILM 201 A Introduction to the Moving Image: Film
Professor	Kelly Reichardt
CRN	97232
Schedule	Mon 1:30 -4:30 pm Avery 319
Distribution	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	97236
Schedule	Tu 9:30 - 12:30 pm Avery 333
Distribution	Practicing Arts

See description above.

Course	FILM 201 C Introduction to the Moving Image: Video
Professor	Les LeVeque
CRN	97240
Schedule	Thur 9:30 – 12:30 pm Avery 116
Distribution	Practicing Arts

See description above.

Course	FILM 201 D Introduction to the Moving Image: Film
Professor	Peggy Ahwesh
CRN	97246
Schedule	Wed 9:30 – 12:30 pm Avery 319
Distribution	Practicing Arts

See description above.

Course	FILM 211 Screenwriting I
Professor	Marie Regan
CRN	97245
Schedule	Th 9:30 - 12:30 pm Avery 338
Distribution	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 235 Video Installation
Professor	Les LeVeque
CRN	97244
Schedule	Wed 1:00 – 4:00 pm Avery 333
Distribution	Practicing Arts

This production course will investigate the historical and critical practice known as video installation as a vehicle for activating student composed projects. Since the beginning of video art artists have experimented with installation. Wolf Vostell and Nam June Paik’s use of multiple monitors in the 1960’s, Joan Jonas’ incorporation of video with live performance, Juan Downey and Steina’s experiments with interactive laser discs, the use of live feeds, large and small video projections on walls and objects, imply complex shifts of narrative composition as well as temporal and spatial relationships. Through readings and screenings our discussions will examine this diffuse practice. Students will be encouraged to explore high and low tech solutions to their audio visual desires and should be prepared to imagine the campus as their canvas. Prerequisite: Introduction to the Moving Image: Video/Film.

Course	FILM 247 Video Strategies
Professor	Les LeVeque
CRN	97248
Schedule	Th 1:30 -4:30 pm Avery 333
Distribution	Practicing Arts

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	97237
Schedule	Tu 9:30 - 12:30 pm Avery 217
Distribution	Practicing Arts

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 302 Advanced Projects in Nar Editing: Sound Image
Professor	Jacqueline Goss
CRN	97519
Schedule	Mon 1:30 -4:30 pm Avery 338
Distribution	Practicing Arts

Cross-listed: Integrated Arts

Two parts post-production (hands-on demonstrations, individual and  collaborative sound projects and critique), one part theory (close  analysis of audio and visual texts, visits, discussions, readings)  this class explores the mutual influence of sound and picture in  audiovisual perception. We will explore the process of building tracks  on digital nar editing systems and in so doing investigate the  technical, aesthetic and sonic relationships between sound and image  in the production of cinematic, electronic and digital works.   Students who wish to take the course should be familiar with the  fundamentals of computer-based electronic media and should be willing  to share their work with others. Prerequisites: Film 300, Film/IA 203, equivalent experience or by  permission of the instructor..

Course	FILM 311 Seminar in Contemporary Narrative Film
Professor	John Pruitt
CRN	97367
Schedule	Mon 1:30 -4:30 pm Avery 217 Screening: Tues 7:00 - 10:00 pm Avery 110
Distribution	Analysis of Arts

An open-ended, investigative seminar into a select group of prominent, narrative filmmakers who are still active and whose international reputation has emerged within the last twenty-five or so years. A special emphasis will be placed on those artists whose work presents a particular challenge to or innovation in narrative form per se, to the extent that as they approach a kind of visual poetry, they place difficult demands upon the viewer to be a creative collaborator. The list of film screenings may be augmented or altered by current releases in the fall, or student interest as the course progresses, but it will certainly include films by the following: Jim Jarmusch, David Lynch, Abbas Kiarostami, Aleksandr Sokurov, Peggy Ahwesh, Claire Denis, Guy Maddin, Hou Hsaio-hsien, Michael Haneke, Lars von Trier, Peter Greenaway and Chantal Akerman. Two written projects: one short and one long. Limited course enrollment: Juniors and Seniors only; preference will be given to those students with background in film criticism and history.

Course	FILM 324 Seminar in Science Fiction Film
Professor	Ed Halter
CRN	97249
Schedule	Fr 10:00 -1:00 pm Avery 110 Screening: Th 6:00 - 9:00 pm Avery 110
Distribution	Analysis of Arts

Cross-listed: Science Technology and Society

A critical examination of science fiction film from the silent era to today, with a special focus on the relationship between science fiction and the avant-garde. Readings include essays by Susan Sontag, Parker Tyler, Annette Michelson, Vivian Sobchak, Jean Baudrillard, and Scott Bukatman, as well as representative fiction by J. G. Ballard, Ursula Le Guin, Hugo Gernsback, Bruce Sterling, Philip K. Dick, William Gibson, and others. Topics include: visualizing technology, gender and sexuality; alien and robot as human countertype; futurism, utopia and dystopia; Cold War and post-Cold War politics as seen through science fiction; camp and parody; the depiction of consciousness and interior states; abstraction, special effects, and the sublime; counterfactuals and alternative history; the poetics of science fiction language. Past coursework in film is required.

Course	FILM 338 Script to Screen
Professor	Marie Regan
CRN	97241
Schedule	Wed 1:00 -4:00 pm Avery 338
Distribution	Practicing Arts

This workshop is designed for Juniors and first semester Seniors in preparation for shooting an ambitious video orfilm project (narrative, experimental or documentary). The first portion of the course will be devoted to script revision and development (with an emphasis on craft and production feasibility). Using the revised screenplay as a map, the second half of the course will be devoted to creating a detailed production plan to help you fully realize your vision on set. Students will be expected to present choices for media, stock, lighting, production design, editing strategies, sound, locations, tone and casting as an extension of the central ideas expressed in their scripts. Students are expected to bring a draft of a script they plan to shoot to the first class meeting.

Course	FILM 342 Virtual Filmmaking: Landscape and Memory
Professor	Peggy Ahwesh / Masha Godovannaya
CRN	97239
Schedule	Thur 9:30 - 12:30 pm HDR 302
Distribution	Practicing Arts

This is a video production workshop designed for the virtual classroom Bard shares with Smolny College in Russia.  Students will produce individual video works in response to assignments but also work in teams, collaborating with their peers abroad, on projects which utilize the various communication and exchange possibilities offered by the net for personal artistic expression, for example: email, iChat, file exchange and the web. As virtual interaction transforms our experiences of space and time, privacy, authorship, friendship and memory, this course is an opportunity for a critical investigation of virtual communication and related technologies and a chance to explore directly these new modes as they apply to art making. Students are challenged to refine their video skills, utilize the networking options available through the net and incorporate into their videos the artistic strategies of students from very different traditions.  Tech demos and in-class exercises will be supplemented by readings from media theory and aesthetics, critiques of work-in-progress and screenings of related work.

Course	FILM 345 New Waves, New Visions I: European Cinema in the 1960s
Professor	Gerard Dapena
CRN	97235
Schedule	Tu 1:30 -4:30 pm Avery 110 Mon 7:00 - 10:30 pm Avery 110
Distribution	Analysis of Arts

The 1960s was not only a decade of great political upheaval, fast-paced social change, and cultural ferment; it was also an extraordinarily creative moment in the history of the cinema. This course, the first of a two-part series, will present and discuss the work of European directors who made their cinematic debuts in (or on the cusp of) the 1960s. Special emphasis will be given to Italian filmmakers such as Pasolini, Bertolucci, Leone, Bellocchio, and Ferreri, the members of the French New Wave (Godard, Truffaut, Resnais, Varda, Demy, Chabrol) and the British Free Cinema Movement  (Richardson, Lester, Anderson), as well as directors from Germany  (Kluge, Schlöndorff, Fassbinder, Straub & Huillet) and Eastern Europe:  the Czech Republic (Menzel, Forman), Hungary (Jancso), Poland  (Polanski), Russia (Tarkovsky). Students will be assesed by means of   two research papers, class journals, and class participation. A basic knowledge of European film history is highly desirable.

Course	FILM 405 Senior Seminar
Professor	Jacqueline Goss
CRN	97238
Schedule	Tu 6:00 -8:00 pm Avery 117
Distribution

0 credits 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.