CRN

15484

Distribution

A

Course No.

FILM 114

Title

The History of Cinema

Professor

John David Rhodes

Schedule

Mon 10:00 am - 12:20 pm PRE Sun screening 7:00 pm - 10:00 pm PRE
The one-year sequence, conducted as a lecture course, is designed to give the student a broad introduction to the history and aesthetics of film from a roughly chronological perspective. There are weekly screenings of major films widely acknowledged as central to the evolution of the medium as well as supplementary reading assignments which provide both a narrative history and a strong encounter with the leading critical and theoretical issues of cinema, often within a context of 20th century art and literature. While the student can take either half of the sequence, the program recommends that both parts of the course are taken, especially for any student contemplating film as a concentration. Mid-term and final exams; term paper. Open to First-year students only. The second half of the sequence begins with crucial films in the transition to the technology and aesthetic of the sound film on an international scale, those by Lang, Sternberg, Bunuel, Vertov and Vigo. There follows a study of the evolution of the long-take, deep-focus aesthetic in the films of Renoir, Welles and Mizoguchi; of Hollywood genres in the films of Ford, Hitchcock, Hawks and Sturges; the rise of neo-realism in Rossellini, DeSica and Visconti; the contribution of the American avant-garde in Deren, Peterson, Brakhage, Anger, Smith, Conner and Breer; the French New Wave in Godard, Truffaut and Rohmer; the northern tradition in Dreyer and Bergman; selections of Aian filmic practice in films of Ray, Kurosawa, and Ozu; and finally, further European innovations in Antonioni, Varda, the Taviani Bros., Pasolini, et al. Readings by Bazin, Brakhage, Deren, Bresson, Sontag, et al.


CRN

15328

Distribution

F

Course No.

FILM 202 A

Title

Introduction to the Moving Image

Professor

Leah Gilliam

Schedule

Tu 1:30 pm - 4:30 pm Studio B
A continuation of the study of basic problems (technical and aesthetical) related to the film medium. Prerequisite: Film 201


CRN

15329

Distribution

F

Course No.

FILM 202 B

Title

Introduction to the Moving Image

Professor

Jacqueline Goss

Schedule

Wed 9:30 am - 12:30 pm Studio B
See description above.


CRN

15333

Distribution

F

Course No.

FILM 202 C

Title

Introduction to the Moving Image

Professor

Peter Hutton

Schedule

Th 1:30 pm - 4:30 pm Studio B
See description above.


CRN

15327

Distribution

F

Course No.

FILM 211 A

Title

Scriptwriting Workshop

Professor

Lisa Katzman

Schedule

Mon 9:30 am - 12:30 pm PRE 203
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, for Upper College students only, or by permission of the professor. Submission of work and/or an interview prior to registration is recommended.


CRN

15332

Distribution

F

Course No.

FILM 211 B

Title

Scriptwriting Workshop

Professor

Adolfas Mekas

Schedule

Th 1:30 pm - 4:30 pm PRE 203
See description above.


CRN

15211

Distribution

F

Course No.

FILM 214

Title

Topics in History of Cinema: Post-war Film in Italy and France 1945 - 1966

Professor

John Pruitt

Schedule

Tu 10:00 am - 1:00 pm PRE Mon screening 7:00 pm - 10:00 pm PRE
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.


CRN

15336

Distribution

F

Course No.

FILM 236

Title

Graphic Cinema

Professor

Jennifer Reeves

Schedule

Th 9:30 am - 12:30 pm Studio B
This class will explore and use materials and processes associated with graphic film production. The course consists of ongoing instruction and experimentation with a variety of image making technologies including animation, optical printing, rotoscoping and cameraless filmmaking (drawing, scratching, and dying film). The class will view and discuss a number of films that are primarily concerned with the visual and students will produce their own film projects using the techniques covered in class.


CRN

15309

Distribution

F

Course No.

FILM 247

Title

Video Strategies: Working with Sampled Materials

Professor

Jacqueline Goss

Schedule

Tu 9:30 am - 12:30 pm HDR 106
"Video Strategies" is a studio production course in which participants using various traditional and nontraditional media will produce work from appropriated or 'sampled' material. This course will contextualize sampling as a legitimate visual and aural art practice --primarily by referencing pop culture and visual art traditions (collage, dadaism, detournement) --but also by referring to natural, linguistic, and literary sampling practices as well. In addition, by studying examples from hip-hop culture and readings by cultural critics, course participants attempt to define the "Culture of the Copy" and to taxonomize sampling into its various subcategories such as 'sampling the sample', the 'cover', hybrid sampling, and homage. Throughout the semester, we will attempt to answer the following questions: How are notions of authenticity, originality, and 'genius' challenged by working with sampled materials? How do works made from sampled material function as cultural critique? What does the increased popularity and legitimizing of sampling tell us about how we read our world and its cultures? Course participants will also define sampling through their own work by completing three assignments in which they will 'steal' from each other, sample from unusual sources, and incorporate samples into (and apply the sampling 'aesthetic' to) unusual media.


CRN

15331

Distribution

F

Course No.

FILM 267

Title

History of Video Art

Professor

Leah Gilliam

Schedule

Th 10:00 am - 12:20 pm PRE THTR Wed screening 7:00 pm - 10:00 pm PRE THTR

Cross-listed: Integrated Arts

This course is designed to provide an overview and critique of the development of video as an art form, with examples from documentary, abstract, performance-oriented, and narrative work. Video art is placed in context in relation to the other arts and broadcast television. Alternative TV, cable access, and community-based projects are also considered. Time is divided among screenings, discussion, and student presentations.


CRN

15210

Distribution

F

Course No.

FILM 311

Title

Seminar in Contemporary Narrative Film

Professor

John Pruitt

Schedule

Fri 10:00 am - 1:00 pm PRE 203 Th screening 7:00 pm - 10:00 pm PRE THTR
The course is intended to be an open-ended yet rigorous investigation into the current state of narrative film on an international scale. As such, there will be a focus on relatively recent films and on filmmakers whose careers have developed more or less within the last twenty years (with some notable exceptions), and whose work seems to open up new possibilities of storytelling or to offer a serious encounter with old forms. As we search for younger filmmakers of potentially lasting value, perhaps taking a wrong turn or two, the schedule of screenings may change somewhat as the seminar proceeds and there may be class "outings" to see the latest theatrical releases. Possible artists to be studied include Hou Hsiao-hsien, Jane Campion, Abbas Kiarostami, Lars von Trier, Jim Jarmusch, Zhang Yimou, Chantal Akerman, Peter Greenaway, Nanni Moretti, Victor Erice, Krzysztof Kieslowski, and Lizzie Borden. Supplementary readings. Regular essay assignments which will be published by the class as an on-line "journal." Open to non-majors, but enrollment preference will be given to those students who have already taken a survey course in film history.


CRN

15084

Distribution

C/F

Course No.

FILM 315

Title

Cinemagic VII

Professor

Adolfas Mekas

Schedule

Tu 7:00 pm - 10:00 pm PRE THTR.
This special course if offered once every two years. It is a personal journey through the idyllic times of the pre-World War II era, through the horrors of the war and labor camps, and into the wonders and magic of cinema. Many films will be screened - some good, some bad, and a few that will long endure. Each screening will be preceded by a theme song, a short film, and a lecture. The highlight of the course is the overnight screening of Kobayashi's "The Human Condition", a trilogy that is eleven hours long. Past and present political social conditions will be considered and reacted to from the specific and personal point of view of a man whose life has been devoted to cultural manifestations of his generation.


CRN

15326

Distribution

 

Course No.

FILM 326

Title

What is Cinema?

Professor

Adolfas Mekas

Schedule

Mon 1:30 pm - 4:30 pm PRE 203
From Lev Kuleshov to Slavko Vorkapitch to James Agee to Edward Dmytryk to Adolfas Mekas. In this seminar I'll prove beyond a reasonable doubt that cinema is not "What" but "How". Evidence will be presented to define cinema as a unique art with no relationship to theatre, photography, literature, painting, or any other art. Requirements: a few books to read, several films to watch, and hundreds of film excerpts to view. Final paper or mutually agreed research project. No pre-requisite except an interest in cinema. (Lower college students may apply.)


CRN

15404

Distribution

F

Course No.

FILM 332

Title

Advanced Film Editing and Sound Design

Professor

Jennifer Reeves

Schedule

Wed 1:30 pm - 4:30 pm PRE 203
Editing design and theory are studied and students are guided through all phases of post-production, from an assembly cut to sound mix to getting an answer-print made. The course consists of in-class viewings, analysis of editing strategies, critiques of student projects from start to finish, and technical instruction. Advanced post-production steps covered include soundtract creation, making and shooting titles, preparing the film for the lab (original cutting, hot splicing, A&B Rolling) and obtaining corrected answer-prints. Also discussed will be options for labs, sound mixing facilities, optical houses, grant writing, and future exhibition. Students are required to complete their own 16mm film, read required text on editing and sound theory, and write two short papers. Students must have footage to edit before the class begins (re-shooting is only permitted during the first five weeks of class).


CRN

15335

Distribution

F

Course No.

FILM 335

Title

Human Rights Video Clinic

Professor

Gillian Caldwell

Schedule

Fri 2:30 pm - 5:30 pm HDR 106
The seminar will cover advanced digital video postproduction skills in the context of human rights documentaries. Working with Witness - an advocacy organization that uses video, technology, and the media campaigns to promote and secure human rights around the world - students will produce short documentary projects for webcast. Using footage shot by Witness partner groups, and working in teams, students will produce short "Right Alerts," from start to finish, including: tape logging, research on issues and advocacy objectives, liaison with human rights advocates, script preparation, narrative strategy, sound and narration, editing and production, and webcasting. See http://www.witness.org Limited to 12 students. Open to all students who are familiar with the Final Cut Pro editing system.


CRN

15334

Distribution

F

Course No.

FILM 349

Title

Direct Cinema

Professor

Peter Hutton

Schedule

Fri 1:30 pm - 4:30 pm PRE 203
An examination of the history of documentary filmmaking from Vertow to Wiesman in the context of a production class. Working in small crews, and using film and video equipment, the class will create weekly newsreels of local and regional events.