Film and Electronic Arts
|
Introduction to Documentary Studies |
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Professor:
|
Joshua Glick |
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Course
Number: |
FILM 106 |
CRN Number: |
90209 |
Class cap: |
20 |
Credits: |
4 |
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|
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Schedule/Location:
|
Mon Wed 10:10 AM - 11:30
AM Avery Film Center 110 |
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Screening: |
Sun
7:00 PM - 9:00 PM Avery Film Center 110 |
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Distributional Area: |
AA Analysis of Art |
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|
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. This film history course fulfills a
moderation/major requirement. |
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Introduction to Video |
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Professor:
|
Fiona Otway |
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Course
Number: |
FILM 111 A |
CRN Number: |
90210 |
Class cap: |
12 |
Credits: |
4 |
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Schedule/Location:
|
Tue 1:30 PM
- 4:30 PM Avery Film Center 333 |
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Distributional Area: |
PA Practicing Arts |
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|
This course is designed to introduce various elements of
video production with an emphasis on the fundamentals of moving image art.
The course work centers on several individual assignments and one final group
project. To facilitate this final project, there will be several 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 be conducted during the
Lab on Fridays and will include cameras, Adobe Premiere, studio lighting and
lighting for green screen, key effects, microphones and more. Prerequisites:
All students must complete one Film History course prior to taking this
course. Registration open to second semester First-years and Sophomores.
Students must also select a Lab section. This production course fulfills a
moderation/major requirement. |
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|
Introduction to Video |
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|
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Professor:
|
Alison
Nguyen |
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Course
Number: |
FILM 111 B |
CRN Number: |
90211 |
Class cap: |
12 |
Credits: |
4 |
||
|
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Schedule/Location:
|
Thurs 10:10 AM
- 1:10 PM Avery Film Center 333 |
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|
|
Distributional Area: |
PA Practicing Arts |
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|
This course is designed to introduce various elements of video
production with an emphasis on the fundamentals of moving image art. The
course work centers on several individual assignments and one final group
project. To facilitate this final project, there will be several 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 be conducted during the
Lab on Fridays and will include cameras, Adobe Premiere, studio lighting and
lighting for green screen, key effects, microphones and more. Prerequisites:
All students must complete one Film History course prior to taking this
course. Registration open to second semester First-years and Sophomores.
Students must also select a Lab section. This production course fulfills a
moderation/major requirement. |
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|
Introduction to Video Lab |
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Professor:
|
Marc Schreibman
|
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Course
Number: |
FILM 111 LBA |
CRN Number: |
90212 |
Class cap: |
12 |
Credits: |
0 |
||
|
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Schedule/Location:
|
Fri 10:10 AM
- 12:10 PM Avery Film Center 333 |
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|
|
Distributional Area: |
PA Practicing Arts |
||||||||
|
This course is designed to introduce various elements of
video production with an emphasis on the fundamentals of moving image art.
The course work centers on several individual assignments and one final group
project. To facilitate this final project, there will be several 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 be conducted during the Lab on
Fridays and will include cameras, Adobe Premiere, studio lighting and
lighting for green screen, key effects, microphones and more. Prerequisites:
All students must complete one Film History course prior to taking this
course. Registration open to second semester First-years and Sophomores.
Students must also select a Lab section. This production course fulfills a
moderation/major requirement. |
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|
Introduction to Video Lab |
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|
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Professor:
|
Marc Schreibman
|
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|
Course
Number: |
FILM 111 LBB |
CRN Number: |
90213 |
Class cap: |
12 |
Credits: |
0 |
||
|
|
Schedule/Location:
|
Fri 2:00 PM
- 4:00 PM Avery Film Center 333 |
||||||||
|
|
Distributional Area: |
PA Practicing Arts |
||||||||
|
This course is designed to introduce various elements of
video production with an emphasis on the fundamentals of moving image art.
The course work centers on several individual assignments and one final group
project. To facilitate this final project, there will be several 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 be conducted during the
Lab on Fridays and will include cameras, Adobe Premiere, studio lighting and
lighting for green screen, key effects, microphones and more. Prerequisites:
All students must complete one Film History course prior to taking this
course. Registration open to second semester First-years and Sophomores.
Students must also select a Lab section. This production course fulfills a
moderation/major requirement. |
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|
The History of Cinema |
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Professor:
|
Masha Shpolberg
|
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Course
Number: |
FILM 115 |
CRN Number: |
90214 |
Class cap: |
24 |
Credits: |
4 |
||
|
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Schedule/Location:
|
Tue Thurs 10:10 AM
- 11:30 AM Avery Film Center 110 |
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|
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Screening: |
Mon 7:00 PM
- 10:00 PM Avery Film Center 110 |
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|
|
Distributional Area: |
AA Analysis of Art |
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|
This course is part of a year-long sequence that introduces
students to the history of cinema. We learn how the medium evolved over the
first fifty years of its existence, both as popular entertainment and an art
form. We pay particular attention to the technological shifts making new
kinds of cinema possible, as well as to the social and political context
within which it developed. We examine masterpieces from a wide array of
cultural traditions and spend time in class looking at early film theory to
better understand how audiences were coming to terms with this new medium. |
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Introduction to 16mm Film |
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Professor:
|
Ephraim Asili
|
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Course
Number: |
FILM 208 |
CRN Number: |
90215 |
Class cap: |
12 |
Credits: |
4 |
||
|
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Schedule/Location:
|
Tue 10:10 AM
- 1:10 PM Avery Film Center 319 |
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Distributional Area: |
PA Practicing Arts |
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|
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. Prerequisite: all students must complete one Film History course
prior to taking this course. This production course fulfills a
moderation/major requirement. Registration open to Sophomores and above. |
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|
Graphic Film |
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Professor:
|
Brent Green |
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Course
Number: |
FILM 223 |
CRN Number: |
90216 |
Class cap: |
12 |
Credits: |
4 |
||
|
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Schedule/Location:
|
Thurs 10:10 AM
- 1:10 PM Avery Film Center 217 |
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|
|
Distributional Area: |
PA Practicing Arts |
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|
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 course fulfills a moderation/major requirement.
Registration open to Sophomores and above. |
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|
3D Animation |
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Professor:
|
Ben Coonley |
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Course
Number: |
FILM 225 |
CRN Number: |
90217 |
Class cap: |
12 |
Credits: |
4 |
|||
|
|
Schedule/Location:
|
Mon 10:10
AM - 1:10 PM Avery Film Center 333 |
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|
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Distributional Area: |
PA Practicing Arts |
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|
|
Crosslists: |
Experimental Humanities |
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|
In this course, students are introduced to processes for
creating moving image artworks using 3D animation software and its ancillary technologies.
Topics include: the basics of 3D modeling and animation, 3D scanning, and
creative use of other technologies that allow artists to combine real and
virtual spaces. Weekly readings reflect on the psychological, cultural, and
aesthetic impacts of the increasingly prevalent use of computer-generated
imagery in contemporary media. Students are not assumed to have any previous
experience with 3D animation. This production class fulfills a moderation
requirement. |
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Defining Black Cinema |
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Professor:
|
Ephraim Asili
|
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|
|
Course
Number: |
FILM 237 |
CRN Number: |
90219 |
Class cap: |
12 |
Credits: |
4 |
|||
|
|
Schedule/Location:
|
Mon 1:30 PM
- 4:30 PM Avery Film Center 117 |
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|
|
Screening: |
Mon 5:00 PM
- 7:00 PM Avery Film Center 110 |
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|
|
Distributional Area: |
AA Analysis of Art D+J Difference and Justice |
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|
|
Crosslists: |
Africana Studies |
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|
What constitutes Black Cinema? Perhaps films made by
filmmakers’ representative of the African Diaspora or films themed around
issues related to cultures of the African Diaspora? Maybe a film that feature
Black actors, or a set of formal concerns and approaches that separate Black
Cinema from dominant modes of production? Defining Black Cinema is a course
designed for students to explore these and related questions of historical
representation, cultural identity, stylistic innovation, and alternative modes
of distribution. By viewing and responding to a cross section of domestic and
international films made by filmmakers of the African Diaspora, students will
be provided with a historic and aesthetic basis for defining Black Cinema on
their own terms. Some of the Filmmakers covered in the course are Oscar
Micheaux, Spencer Williams, Zora Neale Hurston, Eloyce Gist, Ousmane Sembene,
Melvin Van Peebles, and Madeline Anderson. Grading for the course will be
based on weekly written responses, attendance, and class participation. This
course includes a required weekly evening screening. |
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|
Framing the Election |
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|
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Professor:
|
Jacqueline Goss
|
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|
|
Course
Number: |
FILM 248 |
CRN Number: |
90220 |
Class cap: |
15 |
Credits: |
4 |
||
|
|
Schedule/Location:
|
Wed 10:10 AM
- 1:10 PM Avery Film Center 217 |
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|
|
Screening: |
Wed 5:00 PM – 7:00 PM Avery 110 |
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|
|
Distributional Area: |
PA Practicing Arts |
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|
|
Crosslists: |
Experimental Humanities |
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|
If a canon of film, video and new media exists, it includes
provocative media made in response to presidential elections. Fiction and
documentary works like Haskell Wexler’s “Medium Cool,” TVTV’s “Four More
Years,” Robert Altman’s “Tanner 88” and “Nashville,” Jason Simon’s “Spin,” DA
Pennebaker’s “War Room,” and RTMark’s “voteauction” and “gwbush.com” websites
successfully capture the complex narratives and legacies of the last four
decades’ election years. Designed to coincide with the months immediately prior
and following the US presidential election in November, “Framing the
Election” provides a structure for the course participant to capture,
process, frame and produce some aspect of presidential politics in terms of
one’s own personal experience. Following the chronology of the election, we
will use the first two months of the semester to gather source material and
consider texts produced out of prior elections. The latter part of the
semester is dedicated to the production of films, videos, sound works or
internet-based projects made in response to the results of this election.
Works may reflect any political persuasion and take any form including
documentary, diary, personal essay, fiction and music. Prerequisite: a
familiarity with and access to the tools one intends to use to produce work.
This production course fulfills a moderation/major requirement. |
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|
Feminist Film and Media |
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|
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Professor:
|
Masha Shpolberg
|
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|
|
Course
Number: |
FILM 253 |
CRN Number: |
90221 |
Class cap: |
12 |
Credits: |
4 |
|||
|
|
Schedule/Location:
|
Thurs 1:30 PM
- 4:10 PM Avery Film Center 338 |
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|
|
Screening: |
Tue 7:00 PM
- 10:00 PM Avery Film Center 110 |
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|
|
Distributional Area: |
AA Analysis of Art D+J Difference and Justice |
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|
|
Crosslists: |
Gender and Sexuality Studies |
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|
This class will engage the main
questions and debates of feminist theory across cinema, television, and new
media, with a focus on feminist film practice. Weekly screenings will
showcase the work of female-identified (and feminist-identified) filmmakers
working across narrative, experimental, and documentary filmmaking
traditions. We will ask how both critics and artists have responded to the
limited ways in which mainstream media imagines femininity, and imagined
anti-patriarchal forms of representation. Theoretical topics of interest will
include the “male gaze,” women as consumers, fashion, gendered and racial
passing, black feminist theory, and feminist theories of affective and
emotional labor. Filmmakers and artists discussed will include Chantal
Akerman, Laura Mulvey, Yvonne Rainer, Yoko Ono, Sara Gómez, Julie Dash,
Dorothy Arzner, Agnés
Varda, Sally Potter, Carolee Schneeman, Barbara
Hammer, Peggy Ahwesh, Zeinabu irene
Davis, Sadie Benning, Ngozi Onwurah, Trinh T.
Minh-Ha, and others. |
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|
Writing the Film |
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|
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Professor:
|
A. Sayeeda Moreno
|
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|
|
Course
Number: |
FILM 256 |
CRN Number: |
90222 |
Class cap: |
12 |
Credits: |
4 |
|||
|
|
Schedule/Location:
|
Wed 10:10 AM
- 1:10 PM Avery Film Center 338 |
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|
|
Distributional Area: |
PA Practicing Arts |
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|
|
Crosslists: |
Experimental Humanities; Written Arts |
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|
An introductory writing course that looks at creative approaches
to writing short films and dialogue scenes. Starting with personal histories,
lineage, and identities, students learn the tools to write invigorating,
character-driven short screenplays. Building characters through transcription
and investigation to enhance character development and story arc ultimately
creating a visual language, students develop and workshop a short screenplay
(maximum 10-15 pages). This course will require extensive outside research
and you are responsible for committing to a writing and rewriting process.
Registration open to Sophomores and above. |
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|
Cinema and the Cold War |
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|
|
Professor:
|
Ian Buruma |
||||||||
|
|
Course
Number: |
FILM 273 |
CRN Number: |
90229 |
Class cap: |
15 |
Credits: |
4 |
||
|
|
Schedule/Location:
|
Tue 10:10 AM
- 1:10 PM Avery Film Center 217 |
||||||||
|
|
Screening: |
Mon 5:00 PM
- 8:00 PM Avery Film Center 217 |
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|
|
Distributional Area: |
AA Analysis of Art |
||||||||
|
|
Crosslists: |
Human Rights |
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|
Cinema and the Cold War will focus on films made in the US,
Europe, and Asia that illustrate, comment on, and satirize aspects of the
Cold War. This course aims to not only equip students with a firmer grasp of
world film history of the second half of the 20th century, but also to
discuss the politics of the Cold War from multiple international
perspectives. Subjects, including the Red Scare in the US, the effects of US
imperialism in Asia, and life under communism in Czechoslovakia, Poland, and
the Soviet Union, will give students a rich historical grounding to better
understand the many overlapping crises in the world today. The cinemas of
Cuba, the Soviet Union, and the US will feature prominently in the course,
with special attention to such films as Pigs and Battleships (Imamura Shohei
1961) and Dr. Strangelove (Stanley Kubrick 1964). Assignments include weekly
film responses, group presentations focused on a particular themes, and a
midterm and final essay on a topic of their choosing. |
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|
History and Theory of Animation |
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|
|
Professor:
|
Joshua Glick |
||||||||
|
|
Course
Number: |
FILM 274 |
CRN Number: |
90230 |
Class cap: |
15 |
Credits: |
4 |
||
|
|
Schedule/Location:
|
Tue 1:30 PM
- 4:30 PM Avery Film Center 217 |
||||||||
|
|
Screening |
Mon 5:00 PM
- 7:00 PM Preston 110 |
||||||||
|
|
Distributional Area: |
AA Analysis of Art |
||||||||
|
This course explores the history and theory of animation, from
the late 19th century to the present. Importantly, we look at animation as a
global art form that spans a wide breadth of genres, methods of practice, and
models of production. While animation exists at the center of the US,
Japanese, and Nigerian media industries, it also invigorates auteur cinema,
experimental filmmaking, human rights documentary, as well as adjacent
cultural fields such as gaming. Throughout the semester, we address animation
as a mode of spectacular world-building and animation as an expressive form
of stylized realism, giving poignant shape to memories, social experiences,
and historical events. Our units investigate particular design processes,
ranging from stop motion to cell, CGI, 3d, and synthetic media. Major artists
include: Winsor McCay, Glenda Wharton, William Kentridge, Amp Wong and Zhao
Ji, Hans Richter, Jan Švankmajer, Marjane Satrapi, and Vincent Paronnaud
along with major studios such as Pixar, Studio Ghibli, and Kugali.
Assignments will consist of a weekly film diary, a close reading essay, a
group presentation, and a longer paper that involves researching primary and
secondary sources. Note: screenings related to course material will be held
one evening a week. |
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|
Documentary Production Workshop |
||||||||||
|
|
Professor:
|
Fiona Otway |
||||||||
|
|
Course
Number: |
FILM 278 |
CRN Number: |
90223 |
Class cap: |
12 |
Credits: |
4 |
||
|
|
Schedule/Location:
|
Thurs 1:30 PM
- 4:30 PM Avery Film Center 333 |
||||||||
|
|
Distributional Area: |
PA Practicing Arts |
||||||||
|
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. |
||||||||||
|
Film Narrative Workshop |
||||||||||
|
|
Professor:
|
Alison
Nguyen |
||||||||
|
|
Course
Number: |
FILM 290 |
CRN Number: |
90563 |
Class cap: |
15 |
Credits: |
4 |
||
|
|
Schedule/Location:
|
Wed
3:30 PM - 6:30 PM Avery
Film Center 217 |
||||||||
|
|
Distributional Area: |
PA Practicing Arts |
||||||||
|
Students will explore visual storytelling strategies.
Through weekly video exercises students will shoot original assignments or
excerpts from selected narrative films. They will work both individually and
on crews. For crew assignments members of the class will act as a production
team: planning, shooting and editing. Crewmembers should rotate positions so
that everyone is getting the chance to experience the various areas of
filmmaking. Students will construct a sound design for each piece but must
refrain from using music. No titles or
credits. Registration open to Sophomores and above. This production course
fulfills a moderation/major requirement. |
||||||||||
|
Advanced Screenwriting |
|||||||||||
|
|
Professor:
|
A. Sayeeda Moreno
|
|||||||||
|
|
Course
Number: |
FILM 312 |
CRN Number: |
90224 |
Class cap: |
12 |
Credits: |
4 |
|||
|
|
Schedule/Location:
|
Tue 1:30 PM
- 4:30 PM Avery Film Center 338 |
|||||||||
|
|
Distributional Area: |
PA Practicing Arts |
|||||||||
|
|
Crosslists: |
Experimental Humanities; Written Arts |
|||||||||
|
An intensive screenwriting workshop designed specifically
for someone who plans to make a film for moderation or senior project. We will
work on multiple drafts with the goal to develop a concise and polished short
screenplay in preparation for production. The course will focus on poetic
strategies creating the blueprint for a narrative fiction film. The class
will engage in writing assignments forming the bedrock for vigorous analysis
as students workshop their scripts. This course will require extensive
outside research, and a commitment to writing, rewriting, and analysis.
Students must currently have a short script in progress that they intend to
workshop during the semester.
Prerequisite: Film 256 - Writing the Film or Film 229 - Character
& Story, or the successful completion of a sophomore level production
class. Non-majors can participate but must email the professor to highlight
their screenwriting experience prior to registration for approval. ALL
prospective students must email [email protected] one paragraph (no more than
200 words) with a short synopsis of the screenplay you want to workshop in
class, and explain your interest in taking this course. |
|||||||||||
|
Digital Cinematography |
||||||||||
|
|
Professor:
|
Jacqueline Goss
|
||||||||
|
|
Course
Number: |
FILM 317 |
CRN Number: |
90555 |
Class cap: |
12 |
Credits: |
4 |
||
|
|
Schedule/Location:
|
Mon 1:30 PM
- 4:30 PM Avery Film Center 338 |
||||||||
|
|
Distributional Area: |
PA Practicing Arts |
||||||||
|
A 300 level production workshop designed to give course participants
a more thorough understanding of a wide range of techniques, vocabularies,
and aesthetics that are unique to the language of digital cinema. Students
will spend extensive time learning and developing abilities with and deeper
technical understandings of several digital cameras, lighting techniques, and
cinemagraphic strategies. To this end, each course participant will shoot a
series of moving image works that will help develop a unique filmmaker’s
“eye.” Prerequisite: Intro to Video,
Praxis or other film production course. This production course fulfills a
moderation/major requirement. |
||||||||||
|
Video Installation |
|||||||||||
|
|
Professor:
|
Ben Coonley |
|||||||||
|
|
Course
Number: |
FILM 335 |
CRN Number: |
90225 |
Class cap: |
12 |
Credits: |
4 |
|||
|
|
Schedule/Location:
|
Thurs 1:30 PM
- 4:30 PM Avery Film Center 116/117 |
|||||||||
|
|
Distributional Area: |
PA Practicing Arts |
|||||||||
|
|
Crosslists: |
Experimental Humanities |
|||||||||
|
This production course explores the challenges and
possibilities of video installation: an evolving contemporary art form that
extends video beyond conventional exhibition spaces such as theaters into
sculptural, site-specific, physically immersive, and multiple channel
exhibition contexts. Presentations, screenings, and readings augment critical
thinking about temporal and spatial relationships, narrative structure,
viewer perception and the challenges of presenting time-based media artwork
in a gallery or museum setting. Workshops hone technical skills and introduce
methods for the creative use of video projectors, video monitors, sound
equipment, surveillance cameras, media players, multi-channel synchronizers,
digital software, and lightweight sculptural elements. Students develop
research interests and apply their unique skill sets to short turnaround
exercises and a larger self-directed final project. This is an advanced
course. Students are expected to have some experience with videocamera
operation and editing. This course fulfills a moderation/major requirement. |
|||||||||||
|
Queer Cinema |
|||||||||||
|
|
Professor:
|
Ed Halter |
|||||||||
|
|
Course
Number: |
FILM 337 |
CRN Number: |
90226 |
Class cap: |
12 |
Credits: |
4 |
|||
|
|
Schedule/Location:
|
Fri 10:10 AM
- 1:10 PM Avery Film Center 217 |
|||||||||
|
|
Screening: |
Thurs
7:00 PM – 10:00 PM Avery 110 |
|||||||||
|
|
Distributional Area: |
AA Analysis of Art |
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Crosslists: |
Gender and Sexuality Studies |
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Cross-listed: Gender & Sexuality Studies This course presents a critical
examination of how queer identity has been explored on screen, from the
silent era to recent times. Topics will include: the representation of gay,
lesbian, bisexual and trans characters in classic Hollywood and European
cinema; theories of camp, gender subversion, and other forms of articulating
queer sensibility within historically heteronormative frameworks; the
question of “positive images” and identity politics; the pioneering work of
openly queer 20th century filmmakers; the role of cinema in activism around
such issues as AIDS, feminism, and trans visibility; the central importance
of queer artists in the history of avant-garde film and video art; and the
mainstreaming of queer images in the 21st century. Filmmakers under
consideration will include Chantal Akerman, Kenneth Anger, Dorothy Arzner,
Sadie Benning, Jean Cocteau, George Cukor, Arthur Dong, Cheryl Dunye, Barbara
Hammer, Todd Haynes, Rainer Werner Fassbinder, Su Friedrich, George &
Mike Kuchar, Derek Jarman, Ulrike Ottinger, Yvonne Rainer, James Richards,
João Pedro Rodrigues, Marlon Riggs, Werner Schroeter, Ryan Trecartin, Andy
Warhol, John Waters, and Apichatpong Weerasethakul. This film history course
fulfills a moderation/major requirement. |
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Cinema Curating and Exhibition |
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Professor:
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Ed Halter |
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Course
Number: |
FILM 354 |
CRN Number: |
90227 |
Class cap: |
12 |
Credits: |
4 |
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Schedule/Location:
|
Thurs 1:30 PM
- 4:30 PM Avery Film Center 217/319 |
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Distributional Area: |
AA Analysis of Art |
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This course explores the history, theory, and practical concerns
of film curating and exhibition, with a special focus on the century-long
traditions of cinema in New York City. As a way of investigating the range of
possibilities for film presentation, the course will look at pre-cinematic
technologies of the projected image; various models employed in the pre-sound
era; early alternatives to the Hollywood system, including ciné-clubs, “small
cinemas,” road shows, and exploitation; later examples such as cinematheques,
film societies, film festivals, and microcinemas; expanded cinema and
projection performance; attempts to introduce film and video into spaces
traditionally devoted to visual art; the role of collections and archives;
the practice of repertory programming; and models for online moving-image
exhibition. Individual case studies will include the Museum of Modern Art’s
Film Library, Amos Vogel’s Cinema 16, Anthology Film Archives, and the
Collective for Living Cinema. Student work will include a set of program
notes for an imagined film series and a final research project, which can
take the form of either a written essay, a video essay, or a curated
exhibition. |
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Senior Seminar |
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Professor:
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Ben Coonley |
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Course
Number: |
FILM 405 |
CRN Number: |
90228 |
Class cap: |
35 |
Credits: |
0 |
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Schedule/Location:
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Tue 5:00 PM
- 7:00 PM Avery Film Center 110 |
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Distributional Area: |
None |
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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 maker guests 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. |
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Crosslisted Courses:
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Advocacy Video Clemency (Production) |
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Professor:
|
Thomas Keenan
and Brent Green |
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Course
Number: |
HR 321 A |
CRN Number: |
90346 |
Class cap: |
18 |
Credits: |
4 |
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Schedule/Location:
|
Tue 12:30 PM
– 2:50 PM Avery Film Center 117 |
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Distributional Area: |
PA Practicing Arts D+J Difference and Justice |
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Crosslists: |
Experimental Humanities; Film and Electronic Arts |
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Romance and Realism: A History of Italian Cinema |
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Professor:
|
Joseph Luzzi |
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Course
Number: |
LIT 366 |
CRN Number: |
90305 |
Class cap: |
15 |
Credits: |
4 |
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|
Schedule/Location:
|
Mon 12:30
PM - 2:50 PM Olin 101 |
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Distributional Area: |
FL Foreign Languages and Lit |
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Crosslists: |
Film and Electronic Arts; Italian Studies |
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