|
91730 |
FILM 106 Intro to Documentary |
Ed Halter Screening: |
. . . . F . . . Th . |
10:10 am -1:10 pm 7:00 pm -9:00 pm |
AVERY 110 AVERY 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
|
91722 |
FILM 109 Aesthetics of Film |
Richard Suchenski Screening: |
. T . Th . . . W . . |
11:50 am -1:10 pm Begins @ 7:15 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, 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
|
91723 |
FILM 113 History of Film: Silent Era |
John Pruitt Screening: |
. T . . . M . . . . |
1:30 pm -4:30 pm 6:00 pm -9:00 pm |
AVERY 110 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: 30
|
91724 |
FILM 207 A Electronic Media Workshop |
Peggy Ahwesh |
. T . . . |
1:30 pm -4:30 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, video
editing softwares, studio lighting, microphones and
more. No prerequisites. This production class fulfills a moderation
requirement. Class size: 12
|
91721 |
FILM 207 B Electronic Media Workshop |
Jacqueline Goss |
. T . . . |
10:10 am -1:10 pm |
AVERY 333/338 |
PART |
See above.
Class size: 12
|
91728 |
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: 14
|
91719 |
FILM 229 WRITING
THE FILM: Character
and Story |
So Kim |
. T . . . |
10:10 am -1:10 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
|
91715 |
FILM 232 American Avant Garde Film |
John Pruitt Screening: |
M . . . . Sun |
1:30 pm -4:30 pm 6:00 pm -9:00 pm |
AVERY 110 |
AART |
A lecture, survey course devoted to one of the most significant artistic
movements in film following World War II, a movement closely tied to art forms
like poetry and painting, which thus calls into critical question the medium's
normal association with narrative fiction. The course will focus on a relatively
small number of major filmmakers: the early pioneers of the 1940s (Deren, Peterson, Menken, and Broughton); the mythopoeic
artificers of the 1950's and early 1960's (Anger, Brakhage,
and Baillie); and the formalists of the late 1960s, (Frampton, Snow and Gehr). We will also pay attention to the strong
graphic/collage cinema of artists like Cornell, Conner, Smith, and Breer as well as to the anarchic, comic improvisations of
figures like Jacobs, Kuchar, and MacLaine. We will
end in the mid 1970's by touching on the movement's then future prospects, e.g.
the revitalization of storytelling through autobiography (Mekas)
and feminist/critical narrative (Rainer). Supplementary readings, including
many theoretical works by the filmmakers themselves as well as material
touching on parallel avant-garde movements in painting, photography, poetry,
and music from the same era, works by highly influential artists like Charles
Olson, John Cage, et al. Three essays. Class size: 25
|
91991 |
FILM 235 VIDEO
INSTALLATION |
Glen Fogel |
. . . Th . |
1:30 pm -4:30 pm |
AVERY 117 |
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
|
91979 |
FILM 251 Small
Screens |
Jacqueline Goss |
M . . . . |
1:30 pm -4:30 pm |
AVERY 333/338 |
PART |
Cross-listed: Experimental Humanities In an era in which non-theatrical displays of moving images proliferate, we will critically examine and historically contextualize the means and creative forms used to make videos and still images for smart phones, YouTube, Vimeo, Instagram, Tumblr and Vine. How do we think about scale of display and duration in these environments? How is the role of the audience changing? How is the nature of screen-based performance changing? How do we define an economy of this work? Can robust storytelling happen here? Is the idea of looping media evolving to take on new media forms? Are there new types of images that exist between moving and still? Does our knowledge of dataveillance change our creative work in on-line? Our analysis will lead to making our own individual and collective creative work for these platforms. No pre-requisites. Class size: 15
|
91716 |
FILM 256 Writing the Film |
So Kim |
M . . . . |
1:30 pm -4:30 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
|
91731 |
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: 14
|
91799 |
FILM 319 Film Aesthetics: the Essay
Film |
Peggy Ahwesh Screening: |
. . W . . . . W . . |
9:30 am - 12:30 pm 5:00 pm -7:00 pm |
AVERY 217 AVERY 110 |
AART |
Galvanized by the intersection of personal
rumination, research and the investigation of history, the essay film has
become the major stylistic trend in nonfiction film production. The form
is hybrid, traditionally includes the 'voice' of the maker, and operates on
multiple discursive levels of political argumentation, intellectual inquiry,
social engagement and artistic innovation. Makers to be discussed
include; Renais, Farocki,
Marker, Ruiz, Straub and Huillet, E. Baudelaire, Varda, Julien, Sankofa and Steyerl plus many recent works.
The class can be taken for film production or film history credit with a
different set of requirements to be fulfilled. An ambitious media work is
required of the production student, based on a topic of interest raised in the
class. The screenings scheduled outside of class time are required and
although we will critique students' works-in-progress and raw camera footage,
there is no dedicated tech instruction. Class
size: 15
|
91729 |
FILM 320 Internet Aesthetics |
Ed Halter |
. . . Th . |
1:30 pm -4:30 pm |
AVERY 217 |
AART |
Cross-listed:
Experimental Humanities This course
examines critical and philosophical approaches to thinking about art’s
relationship to the internet. Does art made with, on, or about the internet
require new evaluative models? Does the internet change our ideas about art as
a whole? Has the internet altered the relationship between the artist, the
artwork and the audience? How should internet art be curated and exhibited? How
can we distinguish such art from other cultural and creative uses of new
technologies? Are we now in a ‘post-internet’ moment and, if so, what does this
mean for art? In this seminar, we will look at historical and contemporary
examples of internet art, as well as work from related forms such as
literature, cinema and performance. We’ll also read and discuss writers who
explore issues relevant to the question of internet aesthetics. Concepts will
include interactivity, appropriation, simulation, generative art, identity in
networked culture, technological determinism, medium specificity, relational
aesthetics, and the question of immateriality. Grades will be based on in-class
discussion, writing assignments and a final essay. Registration is limited to
upper-college students with prior coursework in film or art history, or
permission of the instructor. Class
size: 12
|
91718 |
FILM 340 Color |
Richard Suchenski |
. . W . . . T . . . |
1:30 pm -4:30 pm Begins @ 7:15 pm |
AVERY 110 AVERY 110 |
AART |
Cross-listed: Art History In this course, we will
explore the aesthetics of color in cinema and the related arts (especially
painting and photography). Topics considered include the development and impact
of color processes; the perceptual, cultural, and historical registers of
color; changing theoretical approaches to color and light; the relationship between
figuration and abstraction; the preservation, restoration, and degradation of
filmic color; and the effects of digital technologies and methodologies. We
will carefully analyze the work of filmmakers such as Cecil B. DeMille, Len
Lye, Michael Powell, Douglas Sirk, Stan Brakhage, Michelangelo Antonioni, Derek Jarman,
Claire Denis, Aleksandr Sokurov,
and Jia Zhang-ke; painters
such as Leonardo da Vinci, Caravaggio, Eugène
Delacroix, Paul Cézanne, Henri Matisse, and Mark Rothko; and photographers such
as Edward Steichen.
|
91726 |
FILM 347 The Conversation |
Kelly Reichardt |
. . W . . |
9:30 am - 12:30 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: 14
|
91725 |
FILM 405 Senior Seminar |
Kelly Reichardt |
. T . . . |
5:00 pm -7:00 pm |
AVERY 110/217 |
|
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