Course |
FILM 109 The History and Aesthetics of Film |
|
Professor |
Gerard Dapena |
|
CRN |
18368 |
|
Schedule |
Th 9:30 - 12:30 pm AVERY 110 (screening)
Mon 7:00 - 10:00 pm AVERY 110 |
|
Distribution |
Analysis of Art |
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. Films by
Griffith, Chaplin, Keaton, Renoir, Rossellini, Hitchcock, Deren, and others are
studied. Readings of theoretical works by authors including Vertov, Eisenstein,
Pudovkin, Munsterberg, Bazin, and Arnheim. This course is for first-year
students only. On-line registration
Course |
FILM 114 The History of Cinema II: The Sound Era |
|
Professor |
Keith Sanborn |
|
CRN |
18370 |
|
Schedule |
Wed 1:30 -4:30 pm AVERY 110 (screening)
Tue 7:00 - 10:00 pm AVERY 110 |
|
Distribution |
Analysis of Art |
Open
to First-year students only. 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. 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 Asian 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.
Course |
FILM 202 A Introduction to the Moving: VideoImage II |
|
Professor |
Les LeVeque |
|
CRN |
18269 |
|
Schedule |
Tue 9:30 - 12:30 pm AVERY 333 |
|
Distribution |
Practicing Arts |
A continuation of the study of basic problems
(technical and aesthetical) related to the video medium. Prerequisite: Film 201 On-line registration
Course |
FILM 202 B Introduction to the Moving: FilmImage II |
|
Professor |
Kelly Reichardt |
|
CRN |
18367 |
|
Schedule |
Tue 9:30 - 12:30 pm AVERY 319 |
|
Distribution |
Practicing Arts |
See description above. On-line registration
Course |
FILM 202 C Introduction to the Moving: VideoImage II |
|
Professor |
Peggy Ahwesh |
|
CRN |
18371 |
|
Schedule |
Wed 9:30 - 12:30 pm AVERY 333 |
|
Distribution |
Practicing Arts |
See description above.On-line registration
Course |
FILM 202 D Introduction to the Moving: FilmImage II |
|
Professor |
Peter Hutton |
|
CRN |
18375 |
|
Schedule |
Th 1:30 -4:30 pm AVERY 319 |
|
Distribution |
Practicing Arts |
See description above. On-line registration
Course |
FILM 204 History of Documentary Film |
|
Professor |
Peggy Ahwesh |
|
CRN |
18373 |
|
Schedule |
Th 1:30 -4:30 pm AVERY 117 (screening)
Wed 7:00 - 10:00 pm AVERY 110 |
|
Distribution |
Analysis of Art |
This course provides a historical overview and
critique of the documentary form, with examples from ethnographic film, social documentary,
cinema verité, propaganda films, and travelogues. The class investigates the
basic documentary issue of truth and/or objectivity and critiques films using
readings from feminist theory, cultural anthropology, general film
history/theory, and other areas. On-line registration
Course |
ART / FILM 206 F/H Sculpture II |
|
Professor |
Kenji Fujita / Peter Hutton |
|
CRN |
18348 |
|
Schedule |
Wed 1:00 -4:00 pm Fisher St. Arts |
|
Distribution |
Practicing Arts |
Sculpture/Animation Workshop: This is a 200 level
class for film/video and studio arts majors. In this workshop students will
initiate a studio-based engagement that will focus on the connections between
experimental forms of three-dimensional art-making and film/video practice. The
emphasis will be on the conceptualization and construction of work that takes
three-dimensional forms made in the studio and uses them in cinematic ways to
produce a multi-faceted body of work that will consist of sculpture, film/video,
and various combinations of the two. Students will be required to complete a
series of short film/videos that explore movement in cinematic time of
sculptural objects constructed in the studio for the purpose of analytical
motion studies. The work of artists such as Yves Tinguely, Hans Richter, Red
Grooms, Robert Breer, Michel Gondry, Fischli and Weiss as well as others will
be viewed and discussed in class. Class is limited to fourteen students with
permission from the instructors. Students interested in this class should
email Kenji Fujita prior to on-line registration. On-line registration
Course |
FILM 212 Screenwriting |
|
Professor |
Marie Regan |
|
CRN |
18474 |
|
Schedule |
Wed 1:30 - 4:30 pm AVERY 338 |
|
Distribution |
Practicing Arts |
Screenplays are the foundation of much of our
popular culture, but can they be art? This intensive writing workshop
examines the art and practice of the screenplay form, its root in classical narrative
structure, how differs from the other written arts and how one can engage its
particular tools to express original ideas. Weekly writing assignments
and class critique form the heart of this workshop. Students should be
prepared to share their work with others and participate fully in class
discussion.
On-line registration
Course |
FILM 214 History of Cinema:Avant Garde |
|
Professor |
Ed Halter |
|
CRN |
18377 |
|
Schedule |
Fri 10:00 -1:00 pm AVERY 117 (screening)
Th 7:00 - 10:00 pm AVERY 117 |
|
Distribution |
Analysis of Art |
A critical overview of North American avant-garde
cinema from the post-war period to the early 1970s, widely regarded as one of the
most productive and influential eras of experimental film. Filmmakers under
consideration will include Anger, Belson, Brakhage, Bute, Clarke, Conner,
Cornell, Conrad, De Hirsch, Deren, Jacobs, the Kuchars, Landow, Lipsett,
Markopoulos, Mekas, Menken, Ono, Peterson, Schneeman, Sharits, Harry Smith,
Jack Smith, Snow, Warhol, Wieland and Whitney. Topics covered: pre-war European
and American precedents, the Beats and the underground, the politics of
counterculture,
documentary and performance, abstraction, sexuality
and transgression, celluloid materialism, the structuralist film, and links to
contemporary art movements. Readings will include the major texts on the period
(Sitney¹s Visionary Film and Tyler¹s Underground Film: A Critical History),
contemporary accounts and essays by programmers, critics and filmmakers, and
later historical analyses of the moment and its
legacy.
On-line
registration
Course |
FILM 231 Documentary Film Workshop |
|
Professor |
Peggy Ahwesh |
|
CRN |
18510 |
|
Schedule |
Thur 9:30 – 12:30 pm Avery 319 |
|
Distribution |
Practicing Arts |
Cross-listed: Human Rights
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. Please write the
professor, detailing your interest, experience and propose a project you might
do if in the class. On-line registration
Course |
FILM 235 Installation: Video |
|
Professor |
Les LeVeque |
|
CRN |
18369 |
|
Schedule |
Tue 1:30 -4:30 pm AVERY 116 |
|
Distribution |
Practicing Arts |
This production course will investigate the
historical and critical practice known as video installation as a vehicle for activating
student composed projects. Since the beginning of video art artists have
experimented with installation. Wolf Vostell and Nam June Paik’s use of
multiple monitors in the 1960’s, Joan Jonas’ incorporation of video with live
performance, Juan Downey and Steina’s experiments with interactive laser discs,
the use of live feeds, large and small video projections on walls and objects,
imply complex shifts of narrative composition as well as temporal and spatial
relationships. Through readings and screenings our discussions will examine
this diffuse practice. Students will be encouraged to explore high and low tech
solutions to their audio visual desires and should be prepared to imagine the
campus as their canvas. Prerequisite: Introduction to the Moving Image:
Video/Film.
Course |
FILM 312 Advanced Screenwriting: Multiple Protagonist Narratives |
|
Professor |
Marie Regan |
|
CRN |
18374 |
|
Schedule |
Th 9:30 - 12:30 pm AVERY 338 |
|
Distribution |
Practicing Arts |
The last few years have seen a wave of narrative
films structured around multiple points of view. Starting with Rashomon and
ending with Syndromes and a Century, we'll study several films that
use multiple protagonist structures to express complex ideas. Having
analyzed these films, the second part of the course will function as a
workshop. During this phase, the course will break into groups to
collaboratively create multiple protagonist scripts. Preference given to
students who have completed Screenwriting. On-line registration
Course |
FILM 319 Film Aesthetics:Theater and Film |
|
Professor |
John Pruitt |
|
CRN |
18376 |
|
Schedule |
Fri 1:30 -4:30 pm AVERY 110 (screening)
Th 7:00 - 10:00 pm AVERY 110 |
|
Distribution |
Analysis of Art |
The seminar is not about adapting plays to the
screen, nor will it be devoted to a mere comparison of theater and cinema.
Rather, our course of study will be an in-depth aesthetic and theoretical examination
of narrative film by way of paying particular attention to those vestiges of
theatrical expression and form that have always “haunted” the development of
the cinematic medium. We will begin by looking at how the popular theater of
the 19th Century actually pre-figures so-called cinematic form. This
will be especially evident in the silent melodramas of D. W. Griffith and the
comedies of Buster Keaton and Charlie Chaplin. In the classic era of the sound
film, we will see a number of major directors, each in their own distinctive
way, transform theatrical conventions into a particularly powerful filmic
language, e.g. Jean Renoir (France); Kenji Mizoguchi (Japan); Orson Welles
(U.S.) and Sergei Eisenstein (Russia). Later practitioners, of more modernistic
bent, have produced works that are self-conscious meditations on the frictional
yet fecund relationship between film and theater: Ingmar Bergman (Sweden),
Federico Fellini (Italy), Jacques Rivette (France), and Manoel de Oliveira
(Portugal). By looking at other
appropriate films, we will also try to find a way of articulating the more
elusive elements of screen performance (and the direction of same). Readings by
primary critics and theorists like Meyerhold, Bazin, Munsterberg, et al., as
well as by major playwrights like Marlowe, Shakespeare, Pirandello, and
Strindberg -- and relatively “forgotten” figures of the popular theater like
William Gillette and Dion Boucicault. Open to Juniors and Seniors only;
priority of enrollment will be given to those students who have already taken
film history or theater courses. Required mid-term essay and final paper. On-line registration
Course |
FILM 341 Analog Video |
|
Professor |
Les LeVeque |
|
CRN |
18511 |
|
Schedule |
Wed 1:30 -4:30 pm AVERY 116 / 219 |
|
Distribution |
Practicing Arts |
This production workshop will investigate the
making of video art using the recently abandoned technologies of analog
video. Throughout the semester we will focus on the video signal as a carrier of
luminance and chrominance that can be manipulated and degraded through a
reexamination of closed circuit performance and real time processing and
mixing. By permission of the instructor.
Course |
FILM 351 Narrative Workshop Two: Directing |
|
Professor |
Kelly Reichardt |
|
CRN |
18378 |
|
Schedule |
Mon 1:30 -4:30 pm AVERY 217 |
|
Distribution |
Practicing Arts |
This
live-action production course is a follow up to Narrative Workshop One and continues
the theme of physicalizing the emotional. Concentration will be on the
narrative form with the goal of developing a comprehensive methodology for
translating script to screen. Through a series of video exercises
students will further explore and deconstruct the dramatic elements of film.
Each video exercise requires students to consider motivation for both character
and camera.
Course |
FILM 356 NEW WAVES, NEW VISIONS II: WORLD CINEMA IN THE 1960s |
|
Professor |
Gerard Dapena |
|
CRN |
18379 |
|
Schedule |
Tue 1:30 -4:30 pm AVERY 110 (screening) Sun
7:00 - 10:00 pm AVERY 110 |
|
Distribution |
Analysis of Art |
The 1960s was not only a decade of great political
upheaval, fast-paced social change, and cultural ferment; it was also
an extraordinarily creative moment in the history of the cinema.
This course, part of a two-part series, will present and discuss the
work of filmmakers from Asia, Africa, and Latin America who made
their cinematic debuts in (or on the cusp of) the 1960s. Special
emphasis will be given to directors from the so-called Japanese New
Wave (Oshima, Imamura, Teshigahara, Fukasaku, Suzuki, Masumura,
Shinoda), India (Ghatak, Sen, Kaul), the emerging national cinemas
in post-colonial Africa (Sembène, Hondo, Chahine, Rachedi), and the
New Latin American Cinema (Rocha, Andrade, Solanas, Alvarez,
Gutiérrez Alea, Solas) On-line
registration