99355

99355

FILM 109 History and Aesthetics

of Film

John Pruitt

Screening:

M . . . .

Sun. . . . .

1:30 -4:30 pm

7:00 - 10:00 pm

AVERY 110

AART

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. Open to first-year students only.

99500

FILM 113 History of Cinema

Keith Sanborn

Screening:

. . . Th .

. . W . .

1:30 - 4:30 pm

7:00 - 11:00 pm

AVERY 110

AART

This course will cover the silent era in film, giving prominence to the transition from the "Primitive Mode" to the "Institutional Mode." It is a course about the historical evolution of film form, focusing principally on the the American and European contexts and key texts within those traditions. A wide range of films from the very beginnings of film to the mutations in narrative and experimental forms throughout the era will be screen and discussed. The main text will be Bordwell and Thompson's Film History. This text will be extensively supplemented by readings by both the filmmakers discussed and film theorists of various eras. 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 in-class essay exams and a term paper. Open to first-year students only.

99371

FILM 167 Survey of Media Art

Ed Halter

Screening:

. . . . F

. . . Th .

9:30 - 12:30 pm

7:00 - 10:00 pm

AVERY 217

AVERY 110

AART

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. Open to first-year students only.

99560

FILM 205 Narrative Film Workshop

Marie Regan

. T . . .

1:30 -4:30 pm

AVERY

PART

A filmmaking workshop for students especially interested in narrative form. Approaches to visual storytelling, examination of narrative strategies, hands-on shooting, and solutions of practical and/or aesthetic problems, as they are encountered in the making of a film.

99365

FILM 207 Intro to Video Production

Les LeVeque

. . W . .

1:30 -4:30 pm

AVERY

PART

This course is designed to introduce you to various elements of video production with an emphasis on video art and experimentation. The class culminates with the completion of a single channel video piece by each student. To facilitate this final project, there will be a number of camera and editing assignments that are designed to familiarize you with digital video technology while investigating various aesthetic and theoretical concepts. Class sessions will consist of technology demonstrations, screenings, critiques and discussions. Technology training will include: cameras, Final Cut Pro, studio lighting and lighting for green screen, key effects, microphones and more. No prerequisites, permission from instructor.

99370

FILM 208 16mm Film Workshop

Peter Hutton

. . . Th .

1:30 -4:30 pm

AVERY 319

PART

An introduction to filmmaking with a strong emphasis on mastering the 16mm Bolex camera. Students will be required to shoot six different assignments designed to address basic experimental, documentary, and narrative techniques. A wide range of technical and aesthetic issues will be explored in conjunction with editing, lighting, and sound recording techniques. No prerequisites, permission from instructor.

99875

FILM 209 Sound Design Workshop

Jacqueline Goss

. T . . .

9:30 - 12:30 pm

AVERY 117 / 333

PART

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 non-linear 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.

99363

FILM 211 Screenwriting I

Marie Regan

. . W . .

9:30 - 12:30 pm

AVERY 338

PART

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.

99874

FILM 221 Found Footage, Appropriation

And Pranks

Peggy Ahwesh

. . . Th .

9:30 - 12:30 pm

AVERY 217

PART

This course surveys the history of appropriation in experimental media from the found footage, cut-up and collage films of the 1950's through the Lettrists and Situationists and up to current artistic and activist production efforts such as culture jamming, game hacking, sampling, hoaxing, resistance, interference and tactical media intervention. The spectrum of traditions which involve the strategic recontextualizing of educational, industrial and broadcast sources, projects that detourn official 'given' meaning, re-editing of outtakes, recycling of detritus, and a variety of works of piracy and parody which skew/subvert media codes will be examined for their contribution to the field. Issues regarding gender, identity, media and net politics, technology, copyright and aesthetics will be addressed as raised by the work. Students are required to produce their own work in video, gaming, installation, collage and/or audio through a series of assignments and a final project.

99367

FILM 231 Documentary Film Workshop

Peggy Ahwesh

. . W . .

1:00 -4:00 pm

AVERY 217

PART

A video production workshop for students interested in social issues, reportage, home movies, travelogues and other forms of the non-fiction film. Working in both small crews and individually, the students will travel locally to a variety of locations to cover particular events, people and natural phenomena. A final project, that is researched, shot and edited during the second half of the semester, is required of each student. Please write the professor, detailing your interest, experience and propose a project you might do if in the class.

99357

FILM 233 Art & Internet

Jacqueline Goss

M . . . .

1:30 -4:30 pm

AVERY 117 / 333

PART

Cross-listed: STS This course will examine the electronic networks of our contemporary digital culture, and its recent past, by exploring a variety of information systems, virtual communities, and on-line art projects. These various worlds, each distinct interactive models, will be examined critically in readings from cultural theory, policy, history, and aesthetics. How have these technologies transformed our experiences of language, reality, space, time, publicity and privacy, memory, and knowledge? To answer these questions, we will produce a number of projects and do extensive reading in new media history and theory, studying things like: the World Wide Web and its antecedents (telephone, telegraph), social networks, on-line games and machinima works, cell phones, and the Global Positioning System, among others. Each student will be expected to spend significant amounts of time on-line, to tackle several technologies as they apply to activities on the net and to design and mount an on-line project. No special expertise with computers is required, but all work for the seminar will be produced using the digital media we study.

99876

FILM 235 Video Installation

Les LeVeque

. . . Th .

1:30 -4:30 pm

AVERY 116 / 333

PART

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.

99368

FILM 243 The Artist's Joke & Practice

Les LeVeque

. . . Th .

9:30 - 12:30 pm

AVERY 117 / 333

PART

Dada, Surrealism, Situationism and Fluxus have all held humor as central to their cultural practice. Video art since its beginning in the late 1960’s has been a repository for these humorous and at times not so humorous interventions, forming a free-ranging rhizomatic archive of perceptual games tricks of signification, performances, actions, interventions and appropriations. This video production course will investigate these past uses of humor with an eye toward the production of video work that resonates within the current techno-contemporary hard times. Technology training will include cameras, Final Cut Pro, studio lighting and lighting for green screen, key effects, microphones and more. No prerequisites, permission from instructor.

99358

FILM 251 Postwar Italy & France in Film

John Pruitt

. T . . .

M . . . .

1:30 -4:30 pm

7:00 - 10:00 pm

AVERY 110

AART

A lecture survey of two major cinematic schools in post-war Western Europe, both of which had enormous international influence at the time, an influence which arguably can still be felt in contemporary film. We will study four concentrated historical moments of remarkably intense, creative activity: (1) the immediate post-war years in Italy of Neo-realism, dominated by Rossellini, Visconti and De Sica (2) the mid-fifties in France when Tati and Bresson are most impressive as "classicists";(3) the late fifties and early sixties of The French New Wave with the dawn of the directorial careers of Godard, Truffaut, Rivette, Varda, Rohmer, Chabrol et al., and the miraculous maturation of a number of key directors in Italy at roughly the same time, best represented by Fellini, Antonioni, Olmi and Pasolini. Required supplementary readings. Two essay exams and a term paper. Open enrollment.

99372

FILM 307 Landscape & Media

Peter Hutton

. . . . F

1:30 -4:30 pm

AVERY 319

PART

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 every two weeks referencing sites visited. Required reading: B. McKibben’s The Age of Missing Information.

99361

FILM 405 Senior Seminar

Jacqueline Goss

. T . . .

5:00 -7:00 pm

TBA

N/A

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.