91678

FILM 115 History of Cinema from the

19^th Century to World War II

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 (the first part of a two part survey) will address the history of cinema during its first fifty years. In addition to offering an interdisciplinary look at the development and significance of the cinema during this period, we will consider the nature and function of film form through lectures, discussions, the reading of key texts, and close study of works by exemplary directors such as Mlis, Griffith, Chaplin, Eisenstein, Vertov, Hitchcock, Dreyer, Lang, Murnau, Renoir, Ford, Welles, and Mizoguchi. Special focus will be paid to films relationship to related arts and to the larger history of culture. Attendance and participation is assumed and there will be a midterm exam, two short papers, and a final examination.

Class size: 25

91547

FILM 167 Survey of Electronic Art

Ed Halter

Screening:

. . . . F

. . . Th .

10:10 1:10 pm

7:00 - 10:00 pm

AVERY 110

AVERY110

AART

Cross-listed: Science, Technology & Society An introductory lecture course on the history of moving-image art made with electronic media, from the earliest computer-generated films, through television, the portable video camera, the internet, and gaming. Topics include analog versus digital, guerrilla television, expanded cinema, feminist media, video and performance, internet art, video installation, and the question of video games as art. Requirements include two short essays and a final in-class exam or final research paper. Class size: 25

91542

FILM 205 Gesture, Light & Motion

Kelly Reichardt

. . W . .

10:10 -1:10 pm

AVERY 117

PART

A filmmaking workshop introducing the student to the narrative form through the qualities of gesture, light and motion on screen. Focusing on these elements above dialogue and literary approaches to storytelling, allows the filmmaker to develop expressive control to communicate a deep sense of character. 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

91505

FILM / ART 206 KL Sculpture II:Video Installatn

Kristin Lucas

. . W . .

1:30 -4:30 pm

AVERY

PART

Cross-listed: Film & Electronic Arts (See Studio Art section for description.)

91535

FILM 207 A Introduction to Video

Ben Coonley

M . . . .

1:30 -4:30 pm

AVERY 217/333

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

91536

FILM 207 B Introduction to Video

Jacqueline Goss

. T . . .

10:10 -1:10 pm

AVERY 217/333

PART

See above. Class size: 12

91548

FILM 208 Introduction to 16mm Film

Peter Hutton

. . . Th .

1:30 -4:30 pm

AVERY 110/319

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

91545

FILM 230 Film Among the Arts

Richard Suchenski

Screening:

. . 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-Jrgen 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: 14

91543

FILM 231 Documentary Film Workshop

Peggy Ahwesh

. . 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

91541

FILM 248 Framing the Election

Jacqueline Goss

. . W . .

10:10 -1:10 pm

AVERY 217

PART

Cross-listed: American Studies; Experimental Humanities; Science, Technology & Society If a canon of film, video and new media exists, it includes provocative media made in response to presidential elections. Fiction and documentary works like Haskell Wexlers Medium Cool, TVTVs Four More Years, Robert Altmans Tanner 88 and Nashville, Jason Simons Spin, DA Pennebakers War Room, and RTMarks voteauction and gwbush.com websites successfully capture the complex narratives and legacies of the last four decades election years. Designed to coincide with the months immediately prior and following the US presidential election in November, Framing the Election provides a structure for the course participant to capture, process, frame and produce some aspect of presidential politics in terms of ones own personal experience. Following the chronology of the election, we will use the first two months of the semester to gather source material and consider texts produced out of prior elections. The latter part of the semester is dedicated to the production of films, videos, sound works or internet-based projects made in response to the results of this election. Works may reflect any political persuasion and take any form including documentary, diary, personal essay, fiction and music. Prerequisite: a familiarity with and access to the tools one intends to use to produce work. Class size: 12

91756

FILM 256A Writing the Film

So Yong Kim

. T . . .

10:10 - 1:10 pm

AVERY

PART

An introductory writing course that looks at creative approaches to writing short films and dialogue scenes. There will be writing and research exercises, screenings, discussions, readings and script critiques. The course will focus on researching and developing ideas and structure for stories, building characters, poetic strategies and writing comedic, realistic and awkward romantic dialogue. Class size: 12

91881

FILM 256B Writing the Film: Text to Voice

Benj Gerdes

. . . Th .

1:30 - 4:30 pm

AVERY 338

PART

This course offers an introduction to a range of methods of writing for the screen, with attention paid to forms of composition for documentary and experimental media: including dialogue, documentary voice-?over, found text re-?enactment, text as performance scenario, writing as a game or generative strategy, networked models of multiple or anonymous authorship, and notions of software or code as conceptual writing practice. We will look at compelling and unconventional uses of voice and on-?screen text in a variety of works, such as Yoko Ono, Hollis Frampton, Guy Debord, Terence Malick, Godard & Mieville, League of Revolutionary Black Workers, Theresa Hak Kyung Cha, David Gatten, Sharon Hayes, Eija Liisa Ahtila, Jenny Perlin, and Javier Telez. Class size: 12

91862

FILM 257 The New Romanian Cinema

Doru Pop

. . W . .

M . . . .

10:10 - 1:10 pm

7:00 10:00 pm

AVERY 338

AVERY 110

AART

An introductory survey to the New Wave in the contemporary Romanian cinema, as linked to the European cinema. This course focuses both on

narrative structure and on cinematic language and is designed to introduce the students to concepts such as minimalism and realism in the cinema.

Some of the films to be discussed are 4 Months, 3 Weeks and 2 Days (2008), The Way I Spent the End of the World (2007), Aurora (2012), Tuesday, After Christmas (2011) and California Dreamin' (2010) among others. Class size: 12

91549

FILM 307 Landscape & Media

Peter Hutton

. . . . F

1:30 -4:30 pm

AVERY 117 / 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. McKibbens The Age of Missing Information. Class size: 12

91553

FILM 309 Mass Media & Its Discontents

Ed Halter

Screening:

. . . Th .

. . W . .

1:30 -4:30 pm

7:00 - 10:00 pm

AVERY 110 / 217

AVERY 217

AART

Cross-listed: Science, Technology & Society Beginning with the advent of the printing press and continuing through the development of radio, cinema, television and the internet, artists have worked in a culture increasingly dominated by mass media. This course will investigate how the reality of mass media has informed the ways we think about art, particularly the art of the moving image, from the early 20th century to today. Topics under consideration: popular culture, folk culture and mass culture; the aesthetic and political consequences of mechanical and electronic reproduction; the relationship of the avant-garde to kitsch, camp and trash; lowbrow, highbrow and middlebrow culture; fame and celebrity; appropriation; the artisinal and handmade as a reaction to the mass reproduction of images. Writers will include Walter Benjamin, Sigfried Kracauer, T.W. Adorno, Clement Greenberg, Dwight Macdonald, Susan Sontag, Raymond Williams, Marshall McLuhan, Andy Warhol, Guy Debord, Stuart Hall, Richard Dyer, Pierre Bourdieu, Martha Rosler, Nol Carroll, Cintra Wilson, Olia Lialina and Hito Steyerl. Class size: 12

91546

FILM 331 In the Archive

Peggy Ahwesh

Screening:

. . . Th .

. . W . .

1:30 -4:30 pm

5:00 -7:00 pm

AVERY 217

AART

Cross-listed: Art History Starting with readings from Derrida, Benjamin, Enwezor and Sekula among others on the archive, we will discuss the impulse to preserve, guardianship, access, the politics of collections and collective memory. Various preservation models will be examined through visits to film archives, discussions with film preservationists and screenings. A variety of work by contemporary artists who engage with the history and logic of the archive will be studied, such as Marcel Broodthaers, Joseph Cornell, Renee Green and Walid Raad. As a group, we will establish dossiers (including: an interview, filmography, bibliography, catalogue of works) on a number of contemporary film/video makers, and begin to form an archive of significant experimental works and related materials at Bard for study, education and exhibition. Class size: 15

91537

FILM 342 Stereoscopic 3D Video

Ben Coonley

. T . . .

. . . Th .

1:30 -4:30 pm

5:00 7:00 pm

AVERY 117

PART

This course introduces methods for producing three-dimensional video using stereo cameras and projection systems that exploit binocular vision. We examine moments in the evolution of 3D technology and historical attempts at what Andr Bazin called total cinema," considering the perceptual and ideological implications of apparatuses that attempt to intensify realistic reproductions of the physical world. Students attend weekly screenings of a broad range of 3D films, including classic Hollywood genre movies, contemporary blockbusters, short novelty films, independent narratives, animations, industrial films, documentaries, avant-garde and experimental artworks. Creative assignments challenge students to explore the expressive potential of the 3D frame (the stereoscopic window) while developing new and experimental approaches to shooting and editing 3D images. This production class fulfills a moderation requirement. Class size: 12

91735

FILM 344 Sound and Picture

Kelly Reichardt

. T . . .

1:30 -4:30 pm

AVERY 110 / 333

PART

This course will explore the principles and practices of sound design in motion pictures. Through analysis of existing narrative sound works and through student's own sound creations, the class will explore the mutual influence of sound and picture. Over the semester, students will have the opportunity to deeply explore the editing process and discover how sound comes into play when making a cut. In the first part of the semester, students will record and build layered tracks (ambient, foley, ADR) for sequences from existing films. In the second part of the semester, students will shoot their own footage to integrate with existing soundtracks. Students who wish to take the course should be familiar with the fundamentals of computer-based media and should be willing to share their work with others. Class size: 12

91550

FILM 359 Women in Japanese Cinema: Mothers and Courtisanes

Ian Buruma

Screening:

M . . . .

S. . . . .

1:30 -4:30 pm

7:00 - 10:00 pm

AVERY 110

HUM

Cross-listed: Asian Studies Many famous Japanese film directors, from Mizoguchi Kenji to Imamura Shohei, have focussed their work on women. Mizoguchi Kenji (1898-1956) called himself a feminist. His feminism was not so much political, as almost religious in tone: a worship of women usually sacrificing themselves for the sake of men. Heroines from self-sacrificing mothers and wives to self-sacrificing courtesanes have been an essential part of popular drama in Japan for many centuries, perhaps going back to ancient fertility cults. The idea of this course is to introduce some of the great Japanese masterpieces, featuring the lives of women. We will discuss not just the cinematic aspects, however, but concentrate on the role of women in Japanese society, on the changes in womens rights, sexual roles, and family relations, in the course of the 19th and 20th centuries. The idea is to give students a sense of history and sociology in a non-Western society through women in the cinema. Class size: 25

91540

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: 25