16172 |
FILM 114
History of Cinema |
John Pruitt |
T 1:30 pm-4:30 pm Screening: M 6:00 pm-9:00 pm |
AVERY 110 |
AART |
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
16170 |
FILM 167
Survey of Electronic Art |
Edward Halter |
F 10:10 am-1:10 pm Screening: Th 7:00 pm-10:00 pm |
AVERY 110 |
AART |
Cross-listed: Science, Technology & Society; Open to First-year students only. An introductory lecture course on
the history of moving-image art made with electronic media, from the earliest
computer-generated films, through television, the portable video camera, the
internet, and gaming. Topics include analog versus digital, guerrilla
television, expanded cinema, feminist media, video and performance, internet
art, video installation, and the question of video games as art. Requirements
include two short essays and a final in-class exam or final research paper. Class size:
25
16181 |
FILM 203
Performance & Video |
Ben Coonley |
T 1:30 pm-4:30 pm |
AVERY 117 |
PART |
Cross-listed: Experimental
Humanities, Theater This course explores intersections of video
and performance art. Course participants develop ways of using video's most
fundamental property: its ability to reproduce a stream of real-time
synchronized images and sounds. How does video technology mediate between
on-screen performer and audience? How can artists interested in creating
critical and self-reflexive media respond to video’s immediacy and “liveness”?
How can performance artists use video playback devices, displays, projectors,
and interactive elements to shape and enhance live art? Course participants
will work on individual projects using cameras, monitors, switchers,
surveillance systems, projectors, and software-based video mixers. The first
half of the course concentrates on the creation of performance “tapes” (or
tape-less video documents) and the history of experimental video focused on
framing staged live activities. The second half of the course concentrates on
the use of video as a central component within live art events, plus a
continued discussion about the larger cultural and psychological impact of live
video production. Readings on and viewings of work by Nam Jun Paik, Andy
Warhol, Joan Jonas, Martha Rosler, Laurie Anderson, Richard Serra, Chris
Burden, John Baldessari, Bruce Nauman, Gilbert & George, George Kuchar,
William Wegman, Michael Smith, Walid Raad, Wynne Greenwood, Shana Moulton,
Eileen Maxson, Ryan Trecartin, Xander Marro, Miranda July, Sadie Benning,
Jeremy Bailey, Paper Rad, Harry Dodge and Stanya Kahn. This production class
fulfills a moderation requirement. Class size: 12
16167 |
FILM 207
Electronic Media Workshop |
TBA |
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
16177 |
FILM 208
A Introduction to 16mm Film |
Justin Weldon (Ephraim Asili) |
T 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: 10
16179 |
FILM 208
B Introduction to 16mm Film |
Peter Hutton |
Th 1:30 pm-4:30 pm |
AVERY 319 |
PART |
See
above. Class size: 10
16175 |
FILM 223
Graphic Film Workshop |
Peter Hutton |
F 1:30 pm-4:30 pm |
AVERY 319 |
PART |
This
course explores the materials and processes available for the production of
graphic film or graphic film sequences. It consists of instruction in
animation, rephotography, rotoscoping, and drawing on film and of viewing and
discussing a number of films that are primarily concerned with the visual. This production class fulfills a moderation
requirement. Interested students should contact Prof. Hutton ([email protected]) prior to registration. Class
size: 12
16173 |
FILM 230
Film Among the Arts |
Richard Suchenski |
W 1:30 pm-4:30 pm Screening: T Begins
@ 7:15 pm |
AVERY 110 |
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: 15
16180 |
FILM 252
War Crimes in Film |
Ian Buruma |
M
1:30 pm-4:30 pm Screening: Su 6:00 pm-9:00 pm |
AVERY 333 |
AART |
Cross-listed:
Human Rights This course will look at the matter of war crimes
through the cinema. Subjects we will explore include legal definitions, as
applied in war crime trials, the political use made of historical atrocities,
and the way the
16174 |
FILM 258
Asian Cinematic Modernisms |
Richard Suchenski |
Th 1:30 pm-4:30 pm Screening: W Begins @ 7:15 pm |
AVERY 110 |
AART |
Cross-listed: Art History, Asian Studies This seminar will explore the various
permutations of modernism in and between the cinemas of East, Central, South,
and
16169 |
FILM 278
Documentary Film Workshop |
Peggy Ahwesh |
Th 10:10 am-1:10 pm |
AVERY 217
/ 333 |
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
16176 |
FILM 312
Advanced Screenwriting |
So Kim |
M
1:30 pm-4:30 pm |
AVERY 117 |
PART |
An
intensive workshop designed specifically for someone who plans to make a film
for moderation or senior project. In a seminar setting, we will work on: script
analysis, staging, re-writes, and a shooting script. The goal
will be to develop a concise and polished script to become the basis for a
short film.
Pre-requisite: Film256 - Writing the Film or the successful completion of a
sophomore level production class. Non-majors must email the
professor prior to registration for approval. Class size: 14
16183 |
FILM 316
Film Production Workshop |
Peggy Ahwesh |
W 1:30 pm-4:30 pm |
AVERY 217
/ 333 |
PART |
Members
of the class will act as a production team in planning, shooting and editing a
short film. The hours will be irregular with some work on weekends. Under
simulated typical production conditions, students will apply the knowledge
acquired in various workshops and theory classes. Students will solve technical
and aesthetic problems under the close supervision and instruction of the
professor. Class size: 12
16171 |
FILM 318
Film as Art: Classical Theories |
John Pruitt |
M
1:30 pm-4:30 pm Screening: Su
6:00 pm-9:00 pm |
AVERY 217 |
AART |
A
survey devoted to the major theories of film from the so-called "classical
period" (largely the first half of the twentieth century), when both
critics and writer/filmmakers were manifestly trying to establish a groundwork
for how to think of the relatively new medium of cinema as an expressive form
worthy by itself of serious consideration among its more established sister
arts. Class discussions will primarily evolve from close readings of sometimes
highly complex aesthetic arguments that think through the properties of the
medium. We will scrutinize the answers to various questions such as: Can what
is deemed "cinematic" ever be isolated from other art forms? Can film
be thought of as constituting a language? Select film screenings will support
our understanding of the written texts. A number of readings will offer a more
general philosophical questioning of the nature of art itself, since cinema
seems to invite speculation that technology and modern consciousness may have
brought dramatically new pressures to bear on aesthetic thinking. Writers to be
discussed include C. S. Peirce, Benedetto Croce, Ferdinand de Saussure, Hugo
Munsterberg, Erwin Panofsky, Sergei Eisenstein, Rudolf Arnheim, Siefried Kracauer, Maya Deren, Stan Brakhage, Pier
Paolo Pasolini, Hollis Frampton, Andrei Tarkovsky, Laura Mulvey, Walter
Benjamin, Andre Bazin, Susan Sontag, Gilles Deleuze, Umberto Eco, Christian
Metz, et al. Limited to upper college students who preferably have taken at
least one course in film history. A required short mid-term essay and an
extended written term project. Class size: 15
16178 |
FILM 342
Stereoscopic 3D Video |
Ben Coonley |
W 1:30 pm-4:30 pm Screening: M 7:00 pm-10:00 pm |
AVERY
117 / 333 AVERY 117 |
PART |
Cross-listed: Experimental
Humanities This course
introduces methods for producing three-dimensional video using stereo cameras
and projection systems that exploit binocular vision. We examine moments in the
evolution of 3D technology and historical attempts at what André Bazin called
“total cinema," considering the perceptual and ideological implications of
apparatuses that attempt to intensify realistic reproductions of the physical
world. Students attend weekly screenings of a broad range of 3D films,
including classic
16168 |
FILM 344
Sound & Picture |
Jacqueline Goss |
W 9:30 am-12:30 pm |
AVERY 110
/ 333 |
PART |
This
course will explore the principles and practices of sound design in motion pictures.
Through analysis of existing narrative sound works and through student's own
sound creations, the class will explore the mutual influence of sound and
picture. Over the semester, students will have the opportunity to deeply
explore the editing process and discover how sound comes into play when making
a cut. In the first part of the
semester, students will record and build layered tracks for sequences from
existing films. In the second part of the semester, students will shoot their
own footage to integrate with existing soundtracks. Students who wish to take
the course should be familiar with the fundamentals of computer-based media and
should be willing to share their work with others. Class
size: 12
16604 |
FILM
354 CURATING CINEMA |
Ed Halter |
Th 2:00
pm-4:30 pm Screening: W 5:00 pm-7:00
pm |
CCS AVERY 110 |
AART |
This seminar
explores the history, theory and practical concerns of film curating , both in
and out of the context of the art world. As a way of investigating the range of
possibilities for modes of exhibition, the course will look at pre-cinematic
technologies of the projected image; various models employed in the silent era;
early alternatives to the Hollywood system, including cine-clubs, “small
cinemas,” road shows, and exploitation; later examples such as cinematheques,
film festivals, and microcinemas ; expanded cinema and projection performance;
different attempts to introduce film and video into spaces traditionally
devoted to visual art; and the role of collections and archives. Individual
case studies will include the Museum of Modern Art’s Film Library, Amos Vogel’s
Cinema 16, Anthology Film Archives, the Collective for Living Cinema, the
Whitney Museum’s exhibition Into the Light, and contemporary developments.
Coursework will include class presentations, two sets of program notes for
imagined film exhibitions, and a final curatorial project. Class size: 8 CCS
students, 4 undergraduates. *Note
to undergraduates: All interested students must send an email indicating their
interest and course experience to the professor in order to be considered ([email protected]). Upper
college film majors will be given priority.
16182 |
FILM 405
Senior Seminar |
TBA |
T 5:00 pm-6:59 pm |
AVERY 110 |
|
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