236/RC Hums. 236. The Art of the Film. (4). (HU).
See RC Humanities 236. (H.Cohen)
300. Filmmaking I. (3). (Excl).
This course is required for Film and Video concentrators and is designed to give students a basic understanding of the language of film and how its repertoire can be used to create individual works of film as means of personal expression. The formal strategies of Narrative, Documentary, Animation and Experimental filmmaking are discussed, and students do exercises in each of these forms. Aspects of production demonstrated and discussed are: preparation of the script (including synopsis, treatment, story board, shooting script); shooting; cinematographic principles of camera, projector and lenses; film stock and processing; and editing. On completion of this course, students should have the basic knowledge for formal aesthetic analysis of film. Limited to 20 students, with preference given to Film and Video concentrators. Evaluation: production assignments and final production, with written justification. Text: Filmmaker's Handbook. Cost:4 WL:2 (Rayher)
301. Video Art I. (3). (Excl).
This course is required for Film and Video concentrators. It is designed to provide students with an introduction to the aesthetics, technology, and uses of video as an art media. The course concentrates on hands-on use of Super-VHS equipment for shooting and editing. Students work in groups of 3-5 to design and produce their video projects under supervision of the instructor. Limited to 20 students, with preference given to Film and Video concentrators. WL:2
350. The History of American Film. (3). (HU).
This course is required for concentrators in the Program in Film and Video Studies but is open to all students. This course will trace the history of American film from the earliest days of the kinematograph and the Nickelodeon to movies in the age of video, with concerns both for the contributions of individual filmmakers as well as the determining contexts of modes of production and distribution. The primary emphasis will be on the Hollywood narrative film, but some attention will be paid to independent cinema movements. The course aims to develop a sense of the continuing evolution of American film, in its internal development, in its incorporation of new technologies, and in its responses to other national cinemas. Films by the following directors, among others, will be screened: D. W. Griffith, King Vidor, Buster Keaton, Ernst Lubitsch, Howard Hawks, Orson Welles, Alfred Hitchcock, John Ford, Blake Edwards, and John Cassavetes. Students will attend three hours of lectures and discussion as well as view two or three hours of film each week. They will write a series of short papers and take a midterm and final examination. Lab fee. Cost:3 WL:1 (Paul)
400. Filmmaking II. Film and Video 300 or equivalent experience in filmmaking and permission of instructor. (3). (Excl).
This is an advanced 16mm motion picture production course. The primary goal of this course is to familiarize students with dramatic film production from interpreting the screenplay through shooting, editing and post-production. The relationship of these activities to aesthetic development being the fundament of this course, and the basis of its connection to Film Studies. A large portion of class time will be dedicated to actual production, with a 10 to 15 minute film being produced in class. Each student will also produce two projects of their own. Production techniques will cover cinematography, lighting, sound, editing, script development, blocking, and sync-sound. For a more detailed description contact the Film/Video Studies Program. Evaluation will be based on participation on in-class projects, production assignments, and a final project with written justification. Cost:4 WL:2 (Rayher)
405. Computer Animation I. Film and Video 301 or equivalent experience with video production and permission of instructor. (3). (Excl).
The objective of this course is to provide those with little prior experience in animation on the Macintosh with a hands on learning experience and understanding of the techniques involved in using Macro Mind Director, a commercially available program, to create animations on the Macintosh platform. This is the first in a two term sequence of classes that explores two different software programs for the creation of animation on the Mac. The second in the series uses Swivel 3D Pro for the creation of three-dimensional images. A final project will be required of everyone in the class as well as other assignments. The student should know the Mac interface, have some technical knowledge and know how to access a server in the classroom. There is a lab fee. Must have permission of instructor.
412/English 412. Major Directors. (3). (HU). May be repeated for a total of nine credits.
See English 412.
414. Film Theory and Criticism. (3). (Excl).
This course is required for concentrators in the Program in Film/Video Studies, but is open to all students with some background in film. Instead of surveying the entire history of film theory and criticism this term, the class will focus on a few specific areas of the subject, trying to understand the nature of the filmic medium, but relating such an understanding to the filmmaker's choices in creating a motion picture and to the viewer's responses to that work. The class will be concerned with film in its relation to other art forms but also in terms of its own uniqueness. To achieve these goals, the class will read some primary texts by figures such as Munsterberg, Eisenstein, and Bazin, some recent feminist and psychological essays, and some important contemporary writings on film technique and narration. The class will also view some relevant films to help focus its discussions. Students will write a series of short papers and take a final examination. Cost:3 WL:1 (Konigsberg)
455. Topics in Film Studies.
(3). (Excl). May be repeated for a total of nine
Section 001 – Latin American Cinema, History and Society. This course will provide a critical and interdisciplinary perspective on the development of Latin American Cinema from the early sixties to the present. This history is intertwined with sociopolitical, cultural and literary transformations. The analysis will focus on the relationship between cinema and society, while centering also on the theoretical postulates developed in Latin America. The course will cover the "New Latin American Cinema," the "social documentary," the "cinema novo," the industries of Mexico, Argentina, and Brazil and the more recent productions in other countries. The core of the course will be a Film Festival, where we will present recent Latin American productions with their directors, in coordination with the Chicago Latino Cinema. Three hours of class, plus two films per week. Films and texts will be in English (subtitled). Requirements include three papers (2 short and a final). Cost:3 WL:2 (Hurtado)
Section 002 – Soviet Cinema. For Fall Term, 1994, this section is offered jointly with Slavic Film 313. (Eagle)
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