15176 |
FILM
116 History of Cinema since 1945 |
Richard Suchenski
Screening: |
. T . Th . . . W . . |
11:50am-1:10pm Begins @ 7:00pm |
AVERY 110 AVERY 110 |
AART |
Designed for first
year students, this course (the second part of a two-part survey) will address
the history of cinema since the end of the Second World War, 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 Rossellini, Hitchcock, Brakhage, Bresson, Tati, Resnais, Godard, Bergman, Kurosawa, Tarkovsky,
Kubrick, Fassbinder and Jia. 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
15185 |
FILM
167 Survey of Electronic Art |
Ed Halter
Screening: |
. . . . F . . . Th . |
10:10am-1:10pm 7:00pm- 10:00pm |
AVERY 110 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
15312 |
FILM / THTR
203 Directing Seminar |
Jonathan Rosenberg |
. T . Th . |
10:10am- 11:30am |
FISHER RESNICK |
PART |
See
Theater section for description.
15180 |
FILM
203 ELECTRONIC
MEDIA: Performance & Video |
Ben Coonley |
. . W . . |
10:10am-1:10pm |
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
15181 |
FILM
205 Gesture, Light & Motion |
Kelly Reichardt |
. . W . . |
1:30pm-4:30pm |
AVERY 333 |
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
15183 |
FILM
207 Introduction to Video PRODUCTION |
Pacho Velez |
. . W . . |
1:30pm-4:30pm |
AVERY 217 |
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
15184 |
FILM
208 Introduction to Film |
Peter Hutton |
. . . Th . |
1:30pm-4:30pm |
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: 13
15191 |
FILM
214 Post-War Italy & France |
John Pruitt
Screening: |
. T . . . M . . . . |
1:30pm-4:30pm 6:00pm- 9:00pm |
AVERY 110 AVERY 110 |
AART |
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. Class
size: 25
15186 |
FILM
223 Graphic Film Workshop |
Peter Hutton |
. . . . F |
1:30pm-4:30pm |
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
15189 |
FILM
/ ANTH 224 Ethnography IN IMAGE, SOUND & TEXT |
Jacqueline Goss / Laura Kunreuther |
. . . . F . . . Th . |
10:10am-1:10pm 5:00pm- 7:00pm |
AVERY 217 AVERY 110 |
HUM/DIFF |
Cross-listed: Experimental Humanities
The relation between self and others, the problems and pleasures of
cross-cultural encounters, the sensory aspects of culture, the relation of
subjectivity to broader institutional and ideological forces - these are all
themes found in a range of productions that might be called ethnographic in
nature. In artistic circles there has
been a turn towards work that is conceived as ethnographic in terms of deep
engagement and immersion in a social world, while in anthropology there has
been a turn towards representing sensory worlds in ethnographies that use media
other than/in addition to traditional genres of ethnographic writing. In this course, we will use the tools of
anthropology -- participant-observation, interviews, and immersion - to create
ethnographies in several different media, including film, video, audio, and
experimental writing. The course will
introduce students to some of the basic assumptions and methods of ethnographic
research while also viewing and listening to the work of filmmakers, audiographers, and anthropologists, including Jean Rouch, Raymond Birdwhistel, Trinh
T. Minh-ha, Tracey Moffat, Peter Kubelka, Juan
Downey, Robert Gardner, Margaret Mead, and John Marshall. The course will be
co-taught by an anthropologist and filmmaker, who will each bring the expertise
of their field to facilitate the making of ethnographical work in various
media. Class size: 20
15059 |
LIT
232 Middle Eastern Cinemas |
Dina Ramadan
Screenings: |
. T . . . . . . Th . |
4:40 pm- 7:00pm 6:00pm-9:00pm |
OLIN 205 PRE 110 |
FLLC |
Cross-listed: Film & Electronic Arts, Human Rights,
Middle Eastern Studies The history of cinema
in the Middle East is as old as the art form itself; screenings of films by the
Lumiere Brothers took place in Cairo, Alexandria, Algiers, Tunis, Fez, and
Jerusalem just months after their initial screening. The “Orient” quickly
became the location for early cinematic productions and cinemas sprang up
across the region. This course begins with a survey of the development of
national cinemas in the Middle East, before turning to a series of case studies
of influential directors working on both documentary and features films. These
will include Yusif Chahine, Abbas Kiarostami, Omar Amiralay, Avi Moghrabi, and
Elia Suleiman. We will focus on transformations in stylistic and aesthetic
approaches as well as examining the shifting place of cinema, the role of state
sponsorship, the problem of censorship, and the question of audience. Finally,
students will be exposed to the growing body of contemporary video artworks
produced by younger practitioners from the region. All readings will be in
English. Weekly evening screenings are mandatory. Class size: 20
15193 |
FILM
233 Art & Internet |
Ben Coonley |
. T . . . |
1:30pm-4:30pm |
AVERY 333 |
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
15495 |
FILM
236 Cinematic Romanticism |
Richard Suchenski
Screening: |
. . W . . . T . . . |
1:30pm-4:30pm Begins @ 7:00pm |
AVERY 110 AVERY 110 |
AART |
Cross-listed: Art History This course will offer an intensive
exploration of the manifestations and permutations of Romanticism in cinema from
the silent era to the present. Topics considered include the development of
Romantic thought; the relationship between film and the other arts; the impact
of nineteenth century aesthetic paradigms on twentieth and twenty-first century
film practices; and the changing meanings of Romantic tropes and iconography in
different historical moments. The course will be synchronized with a Center for
Moving Image Arts program that will feature extensive retrospectives of work by
Jean-Luc Godard and Werner Herzog. We will also carefully analyze films by
directors such as F.W. Murnau, Abel Gance, Frank Borzage, King Vidor,
Vincente Minnelli, Nicholas Ray, Stan Brakhage, Gregory Markopoulos, Jacques Rivette,
Andrei Tarkovsky, Manoel de
Oliveira, Terrence Malick, and Lars von Trier. Grades
based on in-class discussion, short writing assignments, and a final research
essay. Upper-college students who have taken courses in film criticism and
history will have priority. Class size:
16
15174 |
FILM
256 Writing the Film |
So Kim |
M . . . . |
1:30pm-4:30pm |
AVERY 319 |
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
15192 |
FILM
311 Contemporary Narrative Film |
John Pruitt
Screening: |
M . . . . Su . . . . |
1:30-4:30pm 6:00pm- 9:00pm |
AVERY 217 AVERY 110 |
AART |
An
open-ended, investigative seminar into a select group of prominent, narrative
filmmakers who are still active and whose international reputation has emerged
within the last twenty-five or so years. A special emphasis will be placed on those artists whose
work presents a particular challenge to or innovation in narrative form per se,
to the extent that as they approach a kind of visual poetry, they place
difficult demands upon the viewer to be a creative collaborator. The list of
film screenings may be augmented or altered by current releases in the fall, or
student interest as the course progresses, but it will certainly include films
by the following: Jim Jarmusch, David Lynch, Abbas Kiarostami, Aleksandr Sokurov, Peggy Ahwesh, Claire
Denis, Guy Maddin, Hou Hsaio-hsien, Michael Haneke, Lars
von Trier, Peter Greenaway and Chantal Akerman. Two
written projects: one short and one long. Limited course enrollment: Juniors
and Seniors only; preference will be given to those
students with background in film criticism and history. Class
size: 14
15175 |
FILM
312 Advanced Screenwriting |
So Kim |
. T . . . |
10:10am-1:10pm |
AVERY 217 |
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: 12
15179 |
FILM
331 In the Archive |
Peggy Ahwesh
Screening: |
. . W . . . . W . . |
10:10am-1:10pm 5:00pm-7:00pm |
AVERY 217 AVERY 110 |
AART |
Cross-listed: Art History Starting with readings from Derrida, Benjamin,
Enwezor and Sekula among others
on the archive, we will discuss the impulse to preserve, guardianship, access,
the politics of collections and collective memory. Various preservation
models will be examined through visits to film archives, discussions with film
preservationists and screenings. A variety of work by contemporary
artists who engage with the history and logic of the archive will be studied,
such as Marcel Broodthaers, Joseph Cornell, Renee
Green and Walid Raad.
As a group, we will establish dossiers (including: an interview, filmography,
bibliography, catalogue of works) on a number of contemporary film/video
makers, and begin to form an archive of significant experimental works and
related materials at Bard for study, education and exhibition. Class size: 15
15182 |
FILM
344 Sound & Picture Editing |
Kelly Reichardt |
. . . Th . |
10:10am-1:10pm |
AVERY 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 (ambient, foley,
ADR) 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
15494 |
FILM
360 ASIA IN WESTERN EYES |
Ian Buruma
Screenings: |
M . . . . Su . . . |
1:30 PM-4:30pm 6:00 – 9:00pm |
AVERY 117 PRE 110 |
AART |
Cross-listed: Asian Studies, Human
Rights This course will
focus on Western movies, European and American, featuring Asia and Asians. Asia
is defined as any country between India and Japan. The idea is to show students
how stereotypes and cultural prejudices, not all of them necessarily negative,
change with time. We will see the "exotic" Asian, the
"spiritual" Asian, the "wise man" Asian, the
"Geisha" or Madame Butterfly Asian, as well as Asia as a treacherous,
dangerous place full of potential violence. Some of the movies feature Asian
actors, as well as locations, such as Jean Renoir's The River (1951), or
Max Ophuls's rare film shot in Japan, Yoshiwara. Others exemplify the old Hollywood
convention of starring Western actors playing Indians or Chinese: Nicholas
Ray's 55 Days in Peking (1963), or Peter Lorre as Mr. Moto. The aim of
this course is to give students a greater sense of history, of cinema as well
as of East-West relations, including, for example, the Vietnam War. There will
be a reading list to go with the screenings, ranging from Pierre Loti's Madame
Chrysanthemum to Joseph Conrad's Heart of Darkness (in relation of
Francis Coppola's Apocalypse Now).
Each week three students will be required to give an approximately 10
minute presentation on screened films, as well as the readings, leading to a general
class discussion. All students, apart from the three presenters, will be asked
to respond to the film with short questions and comments submitted by email.
Essays have to be completed by all students before the midterm break and the
end of term. Questions will be set to give these papers a focus. Class
size: 12
15178 |
FILM
405 Senior Seminar |
Peggy Ahwesh |
. T . . . |
5:00pm-7:00pm |
AVERY 217 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: 25