91869

FILM 106 Intro to Documentary Media

Ed Halter Screening:

. . . Th . . . W . .

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

AVERY 110 PRE 110

AART

An introductory historical survey of the documentary, from the silent era to the digital age. Topics addressed will include the origins of the concept of the documentary, direct cinema and cinema verite, propaganda, ethnographic media, the essay film, experimental documentary forms, media activism, fiction and documentary, and the role of changing technologies. Filmmakers studied will include Flaherty, Vertov, Riefenstahl, Rouch, Pennebaker, Maysles, Wiseman, Marker, Farocki, Spheeris, Hara, Riggs,Honigman, Morris, and Moore. Grades will be based on exams, essays and other research and writing projects. Open to all students, registration priority for First-Year students and film majors. Class size: 25

91865

FILM 109 Aesthetics of Film

John Pruitt Screening:

. T . . . M . . . .

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

AVERY 110 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. Central cinematic issues are addressed both in terms of the films viewed and the assigned theoretical readings: narrative design, montage, realism, film and dreams, collage, abstraction, and so forth. Films by Chaplin, Keaton, Renoir, Rossellini, Hitchcock, Deren, Brakhage, Bresson, Godard and others are studied. Readings of theoretical works by authors including Vertov, Eisenstein, Pudovkin, Munsterberg, Bazin, Brakhage, Deren and Arnheim. Midterm and final exam; term paper. Class size: 30

91863

FILM 115 HISTORY OF Cinema from THE 19th CENTURY to WWII

Richard Suchenski Screening:

. T . Th . . . W . .

11:50 am -1:10 pm Begins at 7:00 pm

AVERY 110 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 Méliès, Griffith, Chaplin, Eisenstein, Vertov, Hitchcock, Dreyer, Lang, Murnau, Renoir, Ford, Welles, and Mizoguchi. Special focus will be paid to film’s 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

91862

FILM 207 A Introduction to Video PRODUCTION

Jacqueline Goss

. T . . .

10:10 am -1:10 pm

AVERY 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

91864

FILM 207 B Introduction to Video PRODUCTION

Ben Coonley

. . W . .

10:10 am -1:10 pm

AVERY 117 / 333

PART

See above. Class size: 12

91870

FILM 208 Introduction to Film

Peter Hutton

. . . Th .

1:30 pm -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: 15

91873

FILM 229 WRITING THE FILM: Character and Story

So Kim

M . . . .

1:30 pm -4:30 pm

AVERY 117

PART

An introductory screenwriting course that focuses on writing character-driven short pieces.  There will be writing and research exercises, screenings, discussions, readings and script critiques.  The course will cover story structure and story design in relationship to character development.  The students will complete a short character study screenplay. No prerequisites. Class size: 12

91925

FILM 231 Documentary film workshop

Pacho Velez

. . W . .

10:10 am – 1:10 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

91878

FILM 235 Video Installation

Glen Fogel

. . . Th .

1:30 pm -4:30 pm

AVERY 217

PART

This production course investigates video installation as an evolving contemporary art form that extends the conversation of video art beyond the frame and into live, hybrid media, site-specific, and multiple channel environments. Presentations, screenings, and readings augment critical thinking about temporal and spatial relationships, narrative structure, viewer perception and the challenges of presenting time-based work in a gallery or museum setting. Workshops hone technical skills and problem solving. Students develop research interests and apply their unique skills sets to short turnaround exercises and more expanded self-directed projects for gallery and non-theatrical contexts.

Class size: 12

91880

FILM 246 Video Production Workshop

Kelly Reichardt

. . . Th .

10:10 am -1:10 pm

AVERY 333

PART

This course is designed to introduce students to visual storytelling techniques. Weekly shooting assignments send students into the field to capture specific real-life tasks in a limited number of shots.  Emphasis is on camera placement, framing, and the cut. In the second half of the semester sound will be added to the assignments. Class sessions will consist of technology demonstrations, screenings, critiques and discussions. No prerequisites, permission from instructor. This production class fulfills a moderation requirement. Class size: 12

91861

FILM 256 Writing the Film

So Kim

. T . . .

10:10 am -1:10 pm

AVERY 117

PART

Cross-listed: Written Arts 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

91874

FILM 266 American InnovatIVE Narrative

John Pruitt Screening:

M . . . Sun.

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

AVERY 110 AVERY 110

AART

The course is an exploration of unconventional, usually low-budget, narrative cinema that is trying to find radical, innovative form that moves against the grain of standard populist work. The filmmakers are most often (but not always) highly independent figures working away from the Hollywood system. The range moves from bold realism to a search for a continuity that mirrors the movement of interior consciousness. Largely the time period covered will be from the late fifties to the early seventies when there were a number of dynamic experiments in narrative, but we will also look at relatively contemporary work as well, including films by Bard faculty members. Films to be studied include those by Shirley Clarke, Michael Roemer, Adolfas Mekas, Curtis Harrington, Monte Hellman, Robert Frank, Yvonne Rainer, Charles Burnett, Julie Dash, David Lynch, Richard Linklater, Susan Seidelman, Jim Jarmusch and others. Three essays will be due throughout the semester. Class size: 25

91871

FILM 307 Landscape & Media

Peter Hutton

. . . . F

1:30 pm -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: 15

91879

FILM 324 Seminar:Science Fiction Film

Ed Halter Screening:

. . . . F . . . Th .

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

AVERY 110 AVERY 110

AART

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. Class size: 15

91875

FILM 333 Hou Hsiao-hsien and East Asian Cinema

Richard Suchenski Screening:

. . W . . . T . . .

1:30 pm -4:30 pm Begins at 7:00 pm

AVERY 110 AVERY 110

AART

Cross-listed: Asian Studies In this seminar, we will look closely at the work of Taiwanese director Hou Hsiao-hsien, whose subtly nuanced films are remarkable for their formal sophistication and their precise observation of everyday experience. By fusing multiple forms of artistic tradition with a uniquely cinematic approach to space and time, Hou has produced a body of work that, through its stylistic originality and historical gravity, opens up new possibilities for the medium. Special attention will be paid to Hou’s treatment of history, to questions of film style, and to the relationship between his work and that of other filmmakers. The course is synchronized with an international retrospective coordinated through the Center for Moving Image Arts, and we will study all of Hou Hsiao-hsien’s films as well as works by directors such as Edward Yang, Fei Mu, Zhang Yimou, Jia Zhangke, Yasujiro Ozu, Hirokazu Koreeda, Robert Bresson, Pier Paolo Pasolini, and Olivier Assayas. Grades based on in-class discussion, short writing assignments, and a final research essay. Upper-college students who have taken courses in film criticism and history will have priority. Class size: 14

91895

FILM 347 The Conversation

Kelly Reichardt

. . W . .

1:30 pm -4:30 pm

AVERY 333

PART

This is a live-action film workshop. This production class will investigate approaches to storytelling and the narrative form with a goal towards identifying the subtext within given dialogue scenes. Students will locate “the lie” in the spoken word and “the truth” through visual indicators; exploring the impact that camera placement, blocking, the use of narrative beats and editing have on a particular scene. Students will discover how their filmmaking choices support, undermine or contradict what their characters are saying. Class size: 12

91867

FILM 353 Virtual Environments

Ben Coonley

. T . . .

1:30 pm -4:30 pm

AVERY 117/333

PART

In this course, students create moving image artworks using technologies designed to simulate the real world and replace/enhance traditional "live action" moviemaking environments. Topics include: the basics of 3D modeling and animation, camera tracking, motion capture, and other tools that allow artists to combine real and virtual sources. Weekly readings reflect on the psychological, cultural, and aesthetic impacts of the increasingly prevalent use of computer-generated imagery in contemporary media. We will discuss artworks that use and strategically misuse CGI. Students are not assumed to have any previous experience with 3D animation. Previous coursework in video production or other digital media creation is recommended. This production class fulfills a moderation requirement. Class size: 12

91866

FILM 405 Senior Seminar

Ben Coonley

M . . . .

5:00 pm -7:00 pm

AVERY 217

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