300(200). 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. Aspects of production demonstrated and discussed are: preparation of the script (including synopsis, treatment, story board, shooting script); shooting, mainly under daylight conditions; 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. [Cost:2] [WL:2] (Dobele)
301(201). 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. [Cost:2] [WL:2] (Dobele)
360. The History of World Film (3). (HU).
This course is required for concentrators in the Program in Film and Video Studies, but is open to all students. The course examines the rich contribution of nations other than the United States to world cinema, understanding their films as both responses to the dominant American film industry but also as expressions of their own national cultures. The influence of these national films on one another as well as on the American film will also be discussed. The course will survey the history of world cinema from the earliest explorations of the film medium by the Lumière brothers and the Mélies in France to the contemporary third-world cinema. Such groups of films as German Expressionism, Italian neorealism, French New Wave, and contemporary South American cinema are likely to be included. As well as focusing on fictional films the class will also be concerned with avant-garde cinema, the documentary, and animation. Students will attend three hours of lectures and discussions as well as view two or three hours of film each week. They will either write a midterm and final paper or a series of short papers; and will take both a midterm and a final examination. Cost:2 WL:1 (Paul)
401. Video Art II. Film and Video 300 or equivalent experience with video production and permission of instructor. (3). (Excl).
The basic construction of a Video Magazine is developed from the magazine on paper. It uses the moving picture instead of still photography, while also using sound but losing most of the qualities of the written word. As with its written precursor, the Video Magazine issue is a compilation of contributions by different authors. The meaning of a magazine is its flow of information, opinion, and style, as well as entertainment. This course considers the general use and distribution of Video Art Magazines by examining existing examples from within the art scene. Exchange of progressive art projects and ideas is usually bound to media festivals, sometimes art galleries and museums, but rarely on television. A periodically issues Video Art Magazine can take advantage of its media over traditional distribution channels, transporting the ideas of video artists or students at one place to video makers elsewhere. Students discuss a general guideline for a Video Magazine – how the Magazine should be constructed, how it should be used for – while they define its themes. Students work in small groups of three and four, supervised by the instructor, producing and editing contributions. PREREQUISITES: Students should have already taken a beginning video production course or have equivalent experience. Cost:2 WL:2 (Dobele)
406. Computer Animation II. Film and Video 301 or equivalent experience with video production and permission of instructor. (3). (Excl).
A hands-on intermediate level course that will suggest several basic strategies to create three-dimensional objects on the Apple Macintosh II while utilizing 3D software. In order to learn how to construct the special effects of motion, students will analyze the "natural" motion of human and animal bodies, using film and video as a source book of real movement, and also consider the conventional techniques of cut-out and cell animation. Students should be familiar with basic Macintosh skills and have some experience with paint programs such as MacPaint. Cost:2 WL:2 (Kober)
412/English 412. Major Directors. (3). (HU). May be repeated for credit with department permission.
See English 412. (Konigsberg)
413/English 413. Film Genres and Types. (3). (HU). May be repeated for credit with department permission.
See English 413. (Paul)
442/CAAS 442. Third World Cinema. (3). (Excl).
A survey of the developments within the practice and theory of cinema in Asia, Africa, Latin America, and the Middle East. Through close examination of films and consideration of an increasingly theoretically orientation within filmmaking, we will situate and examine interrelationships and disruptions between dominant cinema practices and Third World and marginal cinemas on the levels of aesthetics and production, as well as economic, social, and cultural history. We will start by screening BATTLE OF ALGIERS and HOUR OF THE FURNACES to introduce the concept of "Third World," and proceed regionally, seeing films from Brazil, Chile, Cuba, Mexico, Jamaica, India, Iran, etc. The films will include MEMORIES OF UNDERDEVELOPMENT, BATTLE OF CHILE, THE GIVEN WORD, XALA, and SUGAR CANE ALLEY. The emphasis at all times will be cinema as ideological practice and the formulation of new approaches to film practice sympathetic to the cultural specificities of the producing nations. Cost:2 WL:1 (Ukadike)
470/CAAS 470. Cultural Issues in Cinema. (3). (Excl).
This course is designed to explore development in the cross-cultural use of media from Hollywood feature films to ethnographic documentaries, from Caribbean liberationist literature to African allegories of Colonialism, from indigenous use of film and video to Black Diasporan "oppositional" film practice. This course, at once theoretical, historical, and metacritical in its focus. We will speak about "positive image," "stereotypical image," and "obliterated identity" as well as the contradictions inherent in "positive" productions and the production of culture. In considering the theoretical, methodological, cultural and political issues responsible for the production, distribution, exhibition, and consumption of such media, we will foreground debates concerning Afrocentrism, Eurocentrism, multiculturalism, racism, sexism, and class bias as reflected in films and discourse about films. Some of the films to be screened include: IMITATION OF LIFE, THE SEARCHERS, HOW NASTY WAS MY LITTLE FRENCHMAN, SWEET SWEETBACK'S BAADASSSSS SONG, PASSION OF REMEMBRANCE, SHE'S GOTTA HAVE IT, and CEDDO. (Ukadike)
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