Japanese Cinema – HACU-0123-1
SEM M 01:00PM 03:50PM, LAB M 07:00PM 09:00PM
Description: Japanese Cinema: This course will involve a detailed study of the Japanese cinema. It will highlight works in the dramatic narrative, documentary and experimental traditions. The films screened will use the past to explore the meaning of the present, examine the relationships within families, investigate formal issues in cinematic construction and attempt to articulate broader social issues within Japanese society. Class will meet once a week for two hours and fifty minutes plus additional time for second screenings. Participants will be asked to complete a series of papers plus a final project based on class discussions, film screenings, and assigned readings.
Smartphone Movies – HACU – 0263 – 1
W 09:00AM 11:50AM, W 07:00PM 09:00PM
Description: Smartphone Movies: With the ascendency of today’s smartphone technologies, the quality and reliability of the photographed image and recorded sound is equal to if not superior to many DSLR cameras. This course will provide an opportunity for students to make a variety of films in the dramatic narrative, documentary, or experimental traditions primarily utilizing their smartphones or in combination with related analogue and digital technologies. In turn, we will also explore the interface between the still and moving image so readily available with these portable, in your pocket recorders as well as creating what some refer to as a “new notion of the cinematic.” Geared for students with prior filmmaking experience.
Issues of Representation in Film and Video Production – HACU-0127-1
SEM M 09:00AM 11:50AM, LAB T 07:00PM 09:00PM
Description: Issues of Representation in Film and Video Production: This course will examine historical and contemporary stereotyping and representations of class/race/gender/ethnicity/sexuality in contemporary media, and discuss music videos, documentaries, experimental film and video that challenge such notions. Through readings, screenings and discussions, the class will inquire into the reasons for and consequences of stereotyping and the ways in which tensions of content, form and voice contest exploitative representation. A section of the class will be dedicated to films from global south and third cinema and to topics related to dying and death. The class also includes student-curated screenings. We will engage in textual analyses of the material discussed in class to critique and compare how the techniques employed to marginalize are challenged and employed to provide voice and self-representation to the otherwise silenced. The class will respond to these messages and representations through written assignments and a video production project analyzing and exploring the effects they have on socio-political, cultural, and personal relations. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Interview Practices, Dialogue and Conversation in Studio Video Production- HACU-0268-1
T 01:00PM 03:50PM, M 07:00PM 09:00PM
Description: Interview Practices, Dialogue and Conversation in Studio Video Production: This intermediate level production course places the interview as the locus of inquiry in order to explore, respond to, express, the ways in which social issues such as racism, economic inequality, homophobia, transphobia, sexism, bullying, hate speech and hate crimes, disability, incarceration, to name a few, affect us. In Interview Practices, Dialogue and Conversation in Studio Video Production, students create, research and analyze the process of producing scripted, story-based, socially engaged, short non-fiction and experimental videos. The course examines elements of performance for the camera, studio and in the field shooting, various interview and editing techniques as well as the form, history, and function of the non-fiction genre in the U.S. The course is ideal for students who have completed other production courses and wish to further expand their skills and create a production portfolio. The first part of the course will be studying components of studio-based production with hands-on in class short production exercises including the use of the green screen and three camera set up. In the process, students will understand the various production roles of a studio shoot. In the remaining weeks, students will produce a short interview based documentary, a conversation or a dialogue scene. This will be a demanding production course that will require intense work outside class, pre-production and organizational skills. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Feminists Behind the Camera – HACU-0199-1
CRS F 09:00AM 11:50AM
Description: Feminists Behind the Camera: Feminists Behind the Camera introduces students to the analysis and production of film and video through close examination of works by artists/critics/cultural workers/filmmakers including Chantal Akerman, Anna Atkins, Jane Campion, Vera Chytilova, Julie Dash, Maya Deren, Valie Export, Andrea Fraser, Sara Gomez, Zora Neal Hurston, Trinh T. Minh-Ha, Barbara Loden, Sarah Maldoror, Ulrike Ottinger, Adrian Piper, Yvonne Rainer, Joan Rivers, Martha Rosler, Lorna Simpson, Chick Strand, Carrie Mae Weems, Eudora Welty, and others. Students will learn to read visual images by focusing on the development of media works and their relationship to the historical and cultural context (economic, historical, political, intellectual and artistic) from which they came. Students will screen and read a variety of essential texts and create written and image-driven work in response. Enrolled or top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Film I: Animation Workshop – HACU-0210
SEM TH 09:00AM 11:50AM, SCR TH 06:00PM 08:00PM
Description: Film I: Animation Workshop: Animation Workshop is a hands-on introduction to the fundamentals of frame by frame filmmaking and handcrafted cinema. Camera-less techniques, stop motion, cut-out and alternative approaches to image design and acquisition are introduced as well as 16mm camera work, hand-processing, and non-linear editing. The development of personal vision is stressed. Our meeting periods will be used for discussion related to the production of animation; screenings to give you a sense of how other makers have approached the topic at hand; in-class demonstrations, exercises and workshops to familiarize you with concepts, processes and equipment; and critiques of your work. The first half of the semester will be devoted to weekly collaborative and individual exercises in which you’ll develop an understanding of the basic principles of animation as you experiment with various approaches to working with images in sequence. You will complete a number of exercises to practice skills and learn essential concepts. In the second half of the semester, you’ll complete a short project of your own design using one of the formal strategies and techniques that most interested you in the first half of the term. Students submit written responses to weekly screenings of international films that represent a variety of aesthetic, historic, and political approaches to the moving image. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Video I: LIVE! – HACU-0209
SEM T 01:00PM 03:50PM, B2 SEM T 01:00PM 03:50PM, SCR T 07:00PM 09:00PM
Description: Video I: LIVE!: Video I is an introductory video production course. Over the course of the semester students will gain experience in pre-production, production and post-production techniques as well as learn to think and look critically about the making of the moving image. We will engage with video as a specific visual medium for expression with a specific focus on live-ness in time-based media in direct action, installation, and performance. The thematic focus of this course will critically engage issues of presence, process, technology, the body, and site. Also of importance is the nature of video as an immediate, electronic technology. Labs, workshops, sketches + exercises are designed to develop basic technical proficiency in the video medium to facilitate experimentation and support imaginative risk taking in media production. Collaborations across discipline, research projects, and two public showcases will provide a platform for student’s to explore and activate their artistic process in this medium. Readings, screenings, in-class critiques and discussion will focus on the relationship between form and content and the role of technology in image production.
Film, Photo, Video, and Performance: Division III Seminar – HACU-0399-1
W 01:00PM 05:00PM
Kara Lynch; Kane Stewart
Description: Film, Photo, Video, and Performance: Division III Seminar: This course is open to film, photography and video concentrators in Division III and others by consent of the instructor. The class will integrate the procedural and formal concentration requirements of the College with the creative work produced by each student. It will offer a forum for meaningful criticism, exchange, and exposure to each other’s processes and projects. In addition, various specific kinds of group experiences will be offered, including lectures and critiques by guest artists. The course will include discussions of post-graduate options and survival skills including tips on exhibition and distribution, and graduate school and grant applications. There will be a $65 lab fee. Enrollment is limited to Division III concentrators; contracts must have been filed prior to enrollment. All others must have permission of the instructor. This course may be used as an Advanced Learning Activity towards graduation. NOTE: Enrolled or top 5 waitlist students who do not attend the first class session risk losing their place on the class roster.
Photo II Color Photography – HACU – 0211
SEM F 09:00AM 11:50AM, LAB F 01:00PM 03:00PM
Description: Photo II: Color Photography: This course is a thorough introduction to color photography. Weekly project-based assignments and critiques address students’ aesthetic and technical progress; readings and discussions will introduce students to historical and contemporary art practices, with an emphasis on current photographic theory. Lab sessions will cover a range of techniques including the nuances of color, color film, digital capture, color management and archival inkjet printing. An additional lab workshop will meet once a week for two hours.
The Photobook: Form and Practice – HACU-0244-1
TTH 09:00AM 11:50AM
Description: The Photobook: Form and Practice: We are living through a golden age of photobooks. The last few years have seen an explosion of renewed interest in the artistic and narrative possibilities of the book. We will explore this resurgence within the context of the history of photography, paying special attention to the changes in technology that have allowed for the growth of small press/DYI publishing and studying examples of notable works that have recently emerged. Students will create their own books as well, and will learn strategies which will help translate their photography into a variety of formats, ranging from ‘zines to full monographs. Students will learn to edit and sequence their images; they will study basic design principles and create book layouts using Adobe InDesign; they will hand-produce books and will explore available options for on-demand printing using services such as MagCloud and Blurb.
When Objects Dream: The Darkroom and Lensless Photography – HACU-0148-1
SEM TH 01:00PM 03:50PM, WTH 06:00PM 07:20PM
When Objects Dream: The Darkroom and Lensless Photography: Tristan Tzara described Many Ray’s photograms as “ineffably charged with dreams like the geological layers that we use for bed sheets.” In this course students will explore the magic – and some physics – of photograms and other lensless photographic techniques. This class is a foundational photography course and will cover the fundamentals of the darkroom and the basics of photography through a range of light capturing processes such as photograms, pinhole cameras, printing out paper, photomontage and camera obscuras. Assignments, readings, collaborative projects, and field trips will give students the opportunity to practice and develop their own language around photographic abstraction and produce a coherent body of work. Students must attend one mandatory lab session each week from 6-7:20pm on either Wednesdays or Thursdays.
Non-Fiction Film – HACU 0107-1
M 01:00PM 03:50PM, LAB M 07:00PM 09:00PM
Non-Fiction Film: This is an introductory course for students who would like to explore their interest in documentary practice. Through a combination of screenings, lectures, readings and technical workshops, we will explore a critical/historical overview of this genre and incorporate our knowledge and experience to produce individual or collaborative projects in a variety of “modes of representation.” Projects need not be restricted to a particular medium; in fact, students will be encouraged to explore the ways in which film, video, and/or animation can be utilized together.
Boring Pictures: An Introduction to Photography and Looking – HACU-0115-1
T 12:30PM 03:20PM
Boring Pictures: An Introduction to Photography and Looking: Online platforms often privilege the new, the exciting and the dramatic. But the online world and digital photography can also convey the ordinary, the mundane and the dull. This class will open a space for making pictures and reading pictures that might be overlooked – or even considered boring. What does it mean to be bored and what is a boring picture? We will study a range of artists who use seemingly simple images as a way to speak about complex and potent ideas. We will explore the language used to describe images, practice a range of photographic techniques, and exercise slow looking. Students will be expected to make and present photographs at weekly critiques, keep a detailed online photographic journal and complete written assignments.
WF 10:30AM 11:50AM, T 07:00PM 09:00PM
Digital Resistance: This introductory seminar on media analysis and production will consider how constructions of power are embodied in technologies and conversely, how technologies shape our notions of authority and how we actively mobilize against it. In recent years, access to information and images has shifted dramatically. PDAs/Handheld technologies, social media networks, live web-streaming, video games, and podcasts eclipse mass-media broadcast channels distributing entertainment, news, and information. Drawing upon Media Arts, Critical Ethnic Studies, and Cultural Studies, we will examine models of Digital Resistance like Citizen Journalism, Community Access, Artivism, Hacktivism, and Digital Movements like BlackLivesMatter, Occupy, Arab Spring, and IdleNoMore in order to understand: precursors to contemporary innovations; Corporate Media and Government gatekeeping of information; modes of production; the relationship between media, information and action. Through readings, responses, and visual projects, students will learn to critically read and make digital media and contend with it as a mass language.
Rocking the Boat, Shaping the Vote, Making Media for Democracy
W 09:00AM 11:50AM, SCR W 06:00PM 08:00PM
Rocking the Boat, Shaping the Vote, Making Media for Democracy: In this media production workshop, we will study historic and contemporary examples of campaigns produced for political groups and movements as we make media for change and transformation. Students will analyze works created by corporations, collectives, citizens and artists and use this knowledge to create work of their own. This course is open to students of all levels; production experience is not expected. Hands on technical workshops will reinforce or introduce production and design skills. Our workflow will incorporate research and development of an idea, production, editing, revision and exhibition. The final work of the course will be created in response to the upcoming midterm elections, an international, national, or local issue or movement such as gun control or reproductive justice or net neutrality or Black Lives Matter. Required weekly screenings will include international ads, feature films, and video art. Print, radio, performance, and social media will also be examined. Readings will include cultural, historical, critical, and literary texts. Interested students should come to the first class session. Enrolled or top 5 waitlist students who DO NOT attend the first class session and evening screening risk losing their place on the class roster.
Video I: Production Sketchbook
M 09:00AM 11:50AM, SCR M 07:00PM 09:00PM
Video I: Production Sketchbook: Video, still images and sound are used in this course to explore the fundamental character of story telling, filmmaking and time-based art practices. Students perform all aspects of production with particular attention to developing ideas and building analytical and critical skills. We will read seminal written work and interviews with practicing avant-garde artists in order to expand our knowledge, understanding and love for the medium. Through exercises that include in-class and weekly projects students will produce sketches aimed at exploring video as an experimentation tool. There will be special emphasis paid to sound design that includes original music, and ambient sound gathered with separate sound recorder. The class will review the history of video art to give students the basic theoretical tools to critique their own productions and develop an understanding of the possibilities that medium offers. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Film Workshop I –
W 09:00AM 11:50AM, SCR W 07:00PM 09:00PM
Film Workshop I: This course teaches the basic skills of 16mm film production, including camera work, editing, animation, optical printing and preparation for a finished work in film and video. Students will submit weekly written responses to theoretical and historical readings and to screenings of films and DVDs that represent a variety of aesthetic approaches to the moving image. There will be a series of filmmaking assignments culminating in a final project. The bulk of the work will be produced in 16mm format including animation, optical printing, plus a variety of ways to self process film or create cameraless moving images. Digital image processing and non-linear editing will also be supported.
Still Photography Workshop I: B&W Analog with Medium and Large Formats
TTH 09:00AM 11:50AM
Still Photography Workshop I: B&W Analog with Medium and Large Formats: This course emphasizes three objectives: first, the acquisition of basic photographic skills, including composition, exposure, processing, and printing in the black and white darkroom; second, familiarity with historical and contemporary movements in photography and the development of visual literacy; third, the deepening and expanding of a personal way of seeing. This course will be taught using medium and large format cameras. Cameras will be available through media services. Students will have weekly photographing and printing assignments and, in addition, will complete a portfolio by the end of the semester.
Research Methods for Creative Practice –
TH 09:00AM 11:50AM, SCR TH 06:00PM 08:00PM
Research Methods for Creative Practice: This course provides an opportunity for students to discover what research practice can look like for those working in film, photography, video, installation, and related media. Readings, screenings, creative exercises, library workshops and artist talks which address conceptual approaches, working methods, and a range of research strategies will allow students to deepen their research skills as they develop projects of their own. By looking within texts by artists, filmmakers, photographers, performers, poets, and journalists, such as Santiago Alvarez, Joan Beifuss, Duncan Campbell, Tacita Dean, Kevin Jerome Everson, Mariam Ghani, Sharon Greytak, Ichi-F, Coco Fusco, Gifford Hampshire, Naomi Kawase, Spike Lee, John Lewis, Mary Ellen Mark, Mike Nichols, Mika Rottenberg, Doris Salcedo, Chick Strand, Camilo Jose Vergara, Travis Wilkerson, Peter Watkins, Ernest Withers, and Mierle Laderman Ukeles, the class will examine research-based approaches to developing, creating and realizing new works. Each student is required to present their work in various stages throughout the semester. The members of the class will provide critical, technical and production support for one another. Active contributions to all sessions are required of each student under the guiding principle that tracking each other’s intellectual and creative process will help each person develop their respective project. This course provides a structured context in which to do research intensive work at the Division II level. Enrolled students and top 5 waitlist students who DO NOT attend the first class session risk losing their place on the class roster.
Abundance: Making art and politics with and from a land-base –
W 02:30PM 05:20PM, LAB W 07:00PM 09:00PM
Abundance: Making art and politics with and from a land-base: What are sustainable practices that expand and promote our vision of freedom? This course will focus on installation and community engaged art practices in conversation with diverse media and the local ecosystem. The thematic focus of the seminar will critically engage in the question: How can we create a dynamic practice in which to pursue and create artistic, agricultural, ecological, and socio-economic equity? Aware of our daily investments in settler-colonialism, how will we in our practices steward this land with seven generations at the forefront? As a class we will draft a mission statement and plans of action through installation to approach these questions. This hands-on, project-based course will look at relationships built between artists, activists, agriculturalists, and communities to build a sustainable past, present, and future. This course will introduce students to a variety of visual art media and time-based art production. This course is ideal for students interested in art, ecosystems, agroecology, collective and community engagement.
Equipment and Workspaces
The Culture and Idea of Photography – CSI-0224
TH 07:00PM 10:00PM
The Culture and Idea of Photography: This course is about the centrality of the photographic image- that is, an image produced by mechanical means-in our visual experience, in the rituals, practices and representation of everyday life. Since we no longer, if ever, experience an image in isolation from our experiences of other images and mediums, the culture and idea of photography is understood as utterly diverse in its functions. We will consider photography’s histories, theory and practice, especially its relation to “images that move” and its profound role in what we now understand as visual culture. We will examine theoretical, social and cultural issues and contexts influencing image culture through specific examples from contemporary photography, video, media art and other visual media.
Writing for Film and Video
T 09:00AM 11:50AM, SCR T 05:00PM 07:00PM
Writing for Film and Video: This course emphasizes the structural character of the script writing process. The class will analyze different scripting techniques in traditional and experimental non-fiction film and video. With special attention to development and format, the course focuses on writing and it will introduce students to the ways in which writing and meaning are created in moving images through concepts such as mise-en-scene, dialogue, world of story narration and dialogue. From idea to pitch, from script to production, students will develop the treatment and production schedule to produce three short dialogue or interview-driven videos.
Photo III: Advanced Photography –
Instructor Permission Required
M 09:00AM 11:50AM
Photo III: Advanced Photography: The focus of this course is the development of a semester-long photographic project. Students will acquire the technical and critical skills needed to create and sustain an in-depth body of work. They will plan, research and edit a project with the aim of effectively conveying complex narratives, ideas and questions through images. The class will also focus on refining critique skills, writing about art, and researching funding for projects. Artist visits and presentations will further acquaint students with contemporary photographic practices and the potential of long-form photographic work.