92006 |
FILM 106
Intro to
Documentary |
Edward Halter
Screening: |
F 10:10
am-1:10 pm Th
7:00 pm-10:00 pm |
AVERY
110 AVERY
110 |
AA |
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
91996 |
FILM 109
Aesthetics of
Film |
John Pruitt
Screening: |
M 1:30
pm-4:30 pm Su 6:00 pm-9:00 pm |
AVERY
110 AVERY 110 |
AA |
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: 25
91995 |
FILM 115
History of
Cinema before WWII |
Richard Suchenski Screening:
|
T Th 11:50
am-1:10 pm W begins @ 7:00 pm |
AVERY
110 |
AA |
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
91994 |
FILM 203
Digital
Animation |
Jacqueline Goss
|
T 10:10
am-1:10 pm |
AVERY
333 |
PA |
PART |
Cross-listed: Experimental
Humanities In
this course we will make video and web-based projects using digital animation
and compositing programs (primarily Adobe Animate and 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
91997 |
FILM 205
Gesture,
Light & Motion |
Kelly Reichardt
|
T 1:30
pm-4:30 pm |
AVERY
333 |
PA |
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
91998 |
FILM 207
Electronic
Media Workshop |
Ephraim Asili (Justin Weldon
) |
T 1:30
pm-4:30 pm |
AVERY
217 / 333 |
PA |
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
92003 |
FILM 208
Introduction
to 16mm Film |
Ephraim Asili (Justin Weldon
) |
W 1:30
pm-4:30 pm |
AVERY
319 |
PA |
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: 10
92001 |
FILM 221
Found Footage,
Appropriation and pranks |
Peggy Ahwesh
|
Th 10:10
am-1:10 pm |
AVERY
217 / 333 |
PA |
PART |
Cross-listed: Experimental
Humanities 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. Class
size: 12
91999 |
FILM 230
Film Among
the Arts |
Richard Suchenski
Screening: |
W 1:30
pm-4:30 pm T begins @
7:00 pm |
AVERY
110 AVERY
110 |
AA |
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. Two short papers and a final research essay. Prior coursework in Film and/or Art History
preferred. Class size: 12
92004 |
FILM 233
Art & the
Internet |
Ben Coonley
|
Th 1:30
pm-4:30 pm |
AVERY
333 |
PA |
PART |
Cross-listed: Experimental
Humanities; Science, Technology & Society 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
92002 |
FILM 235
Video
Installation |
Ben Coonley
|
W 1:30
pm-4:30 pm |
AVERY
117 |
PA |
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
91992 |
FILM 240
Sound and
Picture |
Jacqueline Goss
|
M 1:30
pm-4:30 pm |
AVERY
333 |
PA |
PART |
This
course will explore the principles and practices of sound design in motion
pictures. Through analysis of existing works, discussion of weekly readings,
and through our own creations, we will develop a deeper understanding of the
mutual influence of sound and picture. In the class, we will think about
sound, not as accessory to image, but as a unique, fruitful site for making
meaning within the context of film and videomaking.
We will consider how filmic sounds are different from images and music and pay
particular attention to human voices as soundmakers.
We will also investigate the complex relationship of sound to the real and
imagined spaces they activate, how sound design suggests modes of time and
tense, and we will consider the roles silence and music play in
filmmaking. During the course of the semester these conversations will
inform the making of our own timed-based media --with particular emphasis on
sound design. Some familiarity with video production and editing required. Class size: 12
91993 |
FILM 256
Writing the
Film |
Lisa Krueger |
M 1:30
pm-4:30 pm |
AVERY
117 |
PA |
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
92005 |
FILM 307
Landscape
& Media |
Peggy Ahwesh
|
W 1:30
pm-4:30 pm |
AVERY
217 / 333 |
PA |
PART |
This class is an investigation into the
natural (and manufactured) landscape in relationship to its representation in
(digital) media. We will compare and contrast a variety of forms of
landscape offered throughout the history of cinema and painting and for our own
image production, visit local sites through which we will consider
environmental issues, the social uses of land and parks, travel and tourism and
more generally, the politics of place. A broad range of tools and
techniques will be introduced, such as: panoramas, cartography, image archives,
drones, creative geography, 360 degree cams and others. Films relevant to
our topic by Thom Anderson, Farocki, Jennifer Baichwal, Ruiz, Antonioni, Sharon Lockhart, Teshigahara, Abbas Fahdel
and Jia Zhangke will
be screened. Students are required to complete a short video every
two weeks in response to local site visits that will be regularly scheduled
throughout the semester and may occasionally involve commitment outside of
class time. Class size: 12
91991 |
FILM 330
Script to
Screen |
Kelly Reichardt
|
W 9:30
am-12:30 pm |
AVERY
333 |
PA |
PART |
This is a
live-action film workshop. Concentration will be on the narrative form as a
means of exploring visual storytelling strategies. Students will collectively
produce a dramatic re-creation of the 1929 Hitchcock film BLACKMAIL. Each
student will produce, direct and edit a sequence of the feature-length
film.
Class size: 12
92007 |
FILM 343
Big Noise
Films: COLLABORATIVE DOCUMENTARY - Immigration |
Richard Rowley
Jacqueline Soohen |
F 1:30
pm-4:30 pm |
AVERY
117 / 333 |
PA D+J |
PART |
A course
centered on the production of a collaborative long-form observational
documentary on the broad topic of migration. In the context of an international
migration ‘crisis,’ and shifts in national immigration policy, we will look for
local stories that interrogate this theme. Within the larger class project
students will work individually and in pairs to research, film, organize and
edit short scenes. Students will work together to combine these scenes
into a cohesive larger piece. The course will explore documentary techniques
for researching complex topics, expose students to a multi-staged production
process, and help develop strong communication skills essential to
collaborative filmmaking. Assigned viewings include films like “Who Is Dayani
Cristal?” (Silver, 2012), “New
Americans” (James, 2004) “Farmingville”
(Sandoval and Tambini, 2004), “The Overnighters” (Moss, 2014), and “La Ciudad” (Riker, 1998) This
course is part of the Liberal Arts Consortium on Forced Migration, Displacement
and Education initiative. Class size: 12
92008 |
FILM 366
American
Innovative Narrative |
John Pruitt
Screening: |
T 1:30
pm-4:30 pm M 6:00
pm-9:00 pm |
AVERY
110 / 117 AVERY 110 |
AA |
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. One long essay will be due
at the end of the semester. Class size: 12
92000 |
FILM 405
Senior
Seminar |
Ben Coonley
|
T 5:00
pm-7:00 pm |
AVERY
110 / 217 |
|
|
A requirement for all Film 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 and carries no credit. (Meets every other week.) Class size: 35
Cross-listed course:
92225 |
ANTH 351
The
Interview: reportage, human rights, literature, ethnography, film |
John Ryle
|
T 3:10 pm – 5:30 pm |
HEG
102 |
SA |
SSCI |
Cross-listed: Environmental & Urban Studies; Film, Human Rights; Written Arts