91426

FILM 109 Aesthetics of Film

Richard Suchenski Screening:

. T . Th . . . W . .

11:50 -1:10 pm 7:00 - 10:00 pm

AVERY 110

AART

Designed for first-year students, this course will offer a broad, historically-grounded survey of film aesthetics internationally. Key elements of film form will be addressed through close analysis of important films by directors such as Griffith, Eisenstein, Dreyer, Hitchcock, von Sternberg, Mizoguchi, Rossellini, Powell, Bresson, Brakhage, Godard, Tarkovsky, and Denis, the reading of important critical or theoretical texts, and discussions of central issues in the other arts. Midterm exam, two short papers, and final exam. Class size: 25

91424

FILM 113 History of Cinema: The Silent Era

John Pruitt Screening:

. T . . . M . . . .

1:30 -4:30 pm 7:00 - 10:00 pm

AVERY 110

AART

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. Class size: 25

91436

FILM 167 Survey of Media Art

Ed Halter Screening:

. . . Th . . . W . .

1:30 -4:30 pm 7:00 - 10:00 pm

AVERY 217 PRE 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. Class size: 25

91425

FILM 203 Digital Animation

Jacqueline Goss

. T . . .

10:10 -1:10 pm

AVERY 117

PART

In this course we will make video and web-based projects using digital animation and compositing programs (Macromedia Flash and Adobe After Effects). The course is designed to help students develop a facility with these tools and to find personal animating styles that surpass the tools at hand. We will work to reveal techniques and aesthetics associated with digital animation that challenge conventions of storytelling, editing, figure/ground relationship, and portrayal of the human form. To this end, we will refer to diverse examples of animating and collage from film, music, writing, photography, and painting. Prerequisite: familiarity with a nonlinear video-editing program. This production class fulfills a moderation requirement. Class size: 12

91427

FILM 205 Narrative Film Workshop

Jim Finn

. T . . .

1:30 -4:30 pm

AVERY 117

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. This production class fulfills a moderation requirement. Class size: 12

91131

ART 206 KL Sculpture II: Video Installation

Kristin Lucas

. . W . .

1:30 -4:30 pm

AVERY

PART

Cross-listed: Film See Art section for description

91423

FILM 207 A Introduction to Video

Jacqueline Goss

M . . . .

1:30 -4:30 pm

AVERY 117

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. This production class fulfills a moderation requirement. Class size: 12

91435

FILM 207 B Introduction to Video

Ben Coonley

. . . Th .

10:10 -1:10 pm

AVERY 117

PART

See description above. Class size: 12

91437

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. This production class fulfills a moderation requirement. Class size: 12

91428

FILM 211 Screenwriting I

Marie Regan

. T . . .

1:30 -4:30 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.

This production class fulfills a moderation requirement. Class size: 12

91422

FILM 214 Post-War Italy & France

John Pruitt

M . . . . Su. . . .

1:30 -4:30 pm 7:00 - 10:00 pm

AVERY 217 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. Class size: 14

91433

FILM 230 Film Among the Arts

Richard Suchenski Screenings:

. . W . . . T . . .

1:30 -4:30 pm 7:00 - 10:00 pm

AVERY 110

AART

Cross-listed: Art History This course will be an intensive exploration of the ways in which cinema has been informed and enriched by developments in the other arts. Each week we will look at a particular media or theme and consider the ways in which it has been used as a catalyst for distinctly cinematic creativity in various periods. Attention will be paid not only to the presence of other arts within the films but also to the ways in which consideration of relationships between different media provide new ways of looking at and thinking about cinema. Directors studied include Michelangelo Antonioni, Ingmar Bergman, Marguerite Duras, Sergei Eisenstein, Jean Epstein, Jean-Luc Godard, Alfred Hitchcock, Hou Hsiao-hsien, Stanley Kubrick, Chris Marker, Michael Powell, Pier Paolo Pasolini, Alain Resnais, Hans-Jürgen Syberberg, Teshigahara Hiroshi, and Peter Watkins. Three short papers and a final research essay. Prior coursework in Film and or Art History preferred. Class size: 20

91421

FILM 231 Documentary Film Workshop

Penny Lane

. . W . .

1:30 -4:30 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. This production class fulfills a moderation requirement.

Class size: 12

91432

FILM 233 Art & Internet

Ben Coonley

. . W . .

1:30 -4:30 pm

AVERY 117

PART

Cross-listed: STS This production course considers the Internet as a source of creative material, an exhibition context, and begetter of new art forms. With reference to electronic media history and theory, we survey the contemporary landscape of online media production. Topics covered include: the origins of “net.art,” hypertext narratives, social networks, surf clubs and group blogging, web video, machinima, hacktivism, online games, online performance, digital readymade and assemblage art, among others. Students complete independent and collaborative creative projects designed to respond to and engage with Internet technologies and online networks. No special expertise with computers is required, but all work for the seminar will be produced using the digital media we study. Class size: 12

91429

FILM 244 The Conversation

Jim Finn

. . W . .

10:10 – 1:10 pm

AVERY 117

PART

This production course will investigate ways of approaching dialogue scenes. Students will consider the impact of casting, camera movement, camera placement and editing, on a particular scene. Reworking a single scene over the course of a semester, students will discover how their filmmaking choices either support, undermine or contradict what their characters are saying. Students who wish to take the class should be familiar with Final Cut pro and should come to the first class with a scene from a short story that involves dialogue. This production class fulfills a moderation requirement. Class size: 12

91438

FILM 255 Experimental Cinema since 1975

Ed Halter Screenings:

. . . . F . . . Th

10:10 -1:10 pm 7:00 - 10:00 pm

AVERY 110

AART

This course presents a historic survey of major artists and prominent trends in experimental cinema since the mid-70s. Topics will include: the influence and legacy of the 60s avant-garde; late Structuralism and materialist film; the role of feminism and identity politics; the rethinking of avant-garde film’s relationship to narrative; punk, No Wave and the Cinema of Transgression; film, video, new media and the convergence of technologies; live cinema and performance; appropriation and the remake; experimental forms of documentary; the mode of cinematic exhibition and its relationship to the gallery world and the internet; and possible futures for the experimental cinema. Artists include, but are not limited to, Peggy Ahwesh, Martin Arnold, Robert Beavers, James Benning, Sadie Benning, Abigail Child, Martha Colburn, Vivienne Dick, Kevin Jerome Everson, Valie Export, Su Friedrich, Peter Hutton, William E. Jones, Kurt Kren, Bruce McClure, Luther Price, Yvonne Rainer, Jennifer Reeves, Ben Rivers, Michael Robinson, Phil Solomon, Deborah Stratman, and Leslie Thornton. Readings by Paul Arthur, P. Adams Sitney, Amy Taubin, J. Hoberman, Patricia Mellencamp, B. Ruby Rich, David James and Jonathan Rosenbaum, as well as related theoretical works by Peter Gidal, Malcolm LeGrice, Frederic Jameson, Hito Steyerl, Laura Mulvey and others. Grades will be based on an in-class midterm and final exam. At the permission of the instructor, the final exam may replaced by a research paper. Class size: 14

91439

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. Class size: 12

91431

FILM 329 Interactive, Non-Linear Narrative: A Writing Workshop For Film, Video and New Media

Marie Regan

. . W . .

10:10 -1:10 pm

AVERY 338

PART

This workshop provides an introduction to writing interactive non-linear narratives for film, video and new media.  We’ll first investigate concrete interactive strategies then use them to provoke existing linear narratives.  Next, students will build short interactive scripts using multiple lines of unique narrative inquiry and resolution. For the final project, students will work in teams to create complex interactive worlds, the success of which will be determined by the complexity of questions raised by the multi-modal paths. All work will be done in script form with some visual mapping required. Skills gained in this workshop help deepen the relationship between writer and viewer and can be applied to a wide variety of narrative development including– but not limited to–game narrative.  Priority for enrollment given to film majors. For permission to enroll, email the instructor.  Screenwriting is strongly recommended as a pre-requisite.  Class size: 12

91510

FILM 405 Senior Seminar

Jacqueline Goss

. T . . .

5:00 -7:00 pm

AVERY 110

0 credits A requirement for all majors, the Senior Seminar is an opportunity to share working methods, knowledge, skills and resources among students 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. (Meets every other week.) Class size: 20