Baba Hillman
T 12:30-3:20 FPH 107  Enrollment:  Open  Capacity:  16
This production and theory course will introduce students to basic video, film and photographic techniques and to a diverse range of critical texts on digital and film theory. Production work will include the use of digital video and non-linear editing, Super
8 film cameras and analog editing and digital photography and photoshop. Students will gain experience in pre-production and post-production techniques and will learn to think about and look critically at the moving and still image. Students will complete two digital photo projects and two time-based projects, including a Super 8 film and a digital video edited on a non-linear system. A $50 lab fee provides access to equipment and editing.  Students are responsible for providing their own film, tape, processing and supplies. Prerequisite:100 level course in media arts  (Introduction to Media Arts, Introduction to Media Production, Introduction to Digital Photography & New Media, or equivalent).

Bill Brand
TTH 10:30-11:50  Film/Photo Classroom Enrollment: First Year Cap: 8-12
This tutorial will provide a practical introduction to media production while examining the coincidental emergence of modern art with the development of devices of popular entertainment at the turn of the 19th century.  Students will engage in art-making projects that loosely recapitulate historical developments, especially as they pertain to the changes in vision and visuality indicated by the invention of photography, stereoscopy, panoramas, phantasmagorias, dioramas, and cinema.   This way, students will gain an understanding of the basics of spectatorship in the modern period while acquiring some proficiency in photography, video, film and digital imaging.  Students will work both in groups and individually to complete visual exercises and they will write weekly response papers and complete one short research paper.  Students will view films, videos, photographs and paintings and will read essays in art and media history and criticism. This course is for students who may want to do further studies in film, video, photography, the studio arts, as well as art history or cultural studies.

Joan Braderman
TTh 2-3:20 ASH seminar with projection    Enrollment:  Firstyear  Cap:  8-12
This course will be centered on the analyzing and the making of visual images.  Students will learn how to read visual images by focusing on the development of interdisciplinary and experimental art forms and their relationship to and influence on the visual products of mass culture.  We will use a range of approaches to analyzing visual culture, looking at work from avant-garde, twenties' Soviet and structuralist filmmaking to the connections between Surrealism, contemporary performance art and Dadaism.  Movements such as Constructivism will be examined for their influence on modern architecture, billboard advertising and consumer product design. Using a cultural studies approach, this course will consist of lectures, screenings, presentations and discussions.  We will also do concrete visual production exercises in which we directly apply some of these theories.  These will include collages, slide presentations, storyboards and performances.  Students will be required to do substantial reading and to participate in classroom discussions and critiques.

Matthew Schmidt
Tuesdays and Thursdays 3:30-4:50PM, screening M 6:30-9:30
This course will explore American Independent Cinema 1987-1998, a vibrantly creative period for narrative filmmaking outside or on the fringes of Hollywood. We will examine independent cinema as a cultural phenomenon in light of its multiple aesthetic directions, social and political themes, as well as its commercial and institutional relationship to "New Hollywood." The range of "indie" films discussed in the will reflect the diverse and eclectic nature of independent film production in this time period, including works associated with "regional cinema," "New African American Cinema," "New Gay and Lesbian Cinema," "ethnic cinema", the "postmodern" genre film, and so on. Films will be considered in the context of recent social history, emphasizing their thematic preoccupations with class, gender roles, ethnicity and race. Readings will include film scholarship on the period, including Emanuel Levy's Cinema of Outsiders: The Rise of American Independent Film (1999), and selected articles focusing on topics in cultural history. Students will write a weekly journal and develop a class presentation. Films(subject to change): Do the Right Thing, sex, lies and videotape, Menace II Society, Ruby in Paradise, Lone Star, Big Night, Citizen Ruth, Little Odessa, The Hours and Times, Boogie Nights, Welcome to the Dollhouse, The Wedding Banquet.

Instructor:  TBA
Time/place:  TBA Enrollment:  prereq Cap:  16
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.  Projects are designed to develop basic technical proficiency in the video medium as well as the necessary working skills and mental discipline so important to a successful working process.  Final production projects will experiment with established media genres.  In-class critiques and discussion will focus on media analysis and image/sound relationships. Prerequisites: 100 level course in media arts  (Introduction to Media Arts, Introduction to Media Production, Introduction to Digital Photography & New Media, or equivalent). There is a lab fee charged for the course.

Bill Brand
W 2:30-5:20 PFB Class   Enrollment:  Prereq Cap:  16
This course teaches the basic skills of film production, including camera work, editing, sound recording, and preparation and completion of a finished work in film or video. Students will have weekly assignments, and will also produce a finished film for the class. There will be weekly screenings of student work, as well as screening of films and videotapes which represent a variety of aesthetic approaches to the moving image. Finally, the development of personal vision will be stressed. The bulk of the work in the class will be produced in 16mm format. Video formats plus digital image processing and non-linear editing will also be introduced. A $50 lab fee provides access to equipment and editing facilities. Students are responsible for providing their own film, tape, processing and supplies. There are weekly evening screenings or workshops. 100 level course in media arts  (Introduction to Media Arts, Introduction to Media Production, Introduction to Digital Photography & New Media, or equivalent).

Michele Turre
W 9-11:50 PF B Enrollment:  prereq Cap:16
This course explores still photography as practiced in the 'digital darkroom.' Students can expect to acquire basic photographic skills, while being challenged to deepen and expand their personal vision.  Technical components to be taught include: camera work, lighting, and composition; digital image capture via film & scanner, and digital cameras; digital image manipulation; and inkjet printing.  A foundation in critical analysis and visual literacy will be stressed through the study of historical and contemporary photography.
There will be regular shooting and printing assignments, with students completing a portfolio of finished prints by the end of the semester.
Prerequisite: 100 level course in media arts (Introduction to Media Arts, Introduction to Media Production, or Introduction to Digital Photography & New Media, or equivalent). The prerequisite course must be completed and not taken concurrently with this course.

Sandra Matthews
TTH 10:30-11:50 Location: TBA  Enrollment:  Instructor’s permission  Cap:15
Perhaps the oldest and most enduring of visual images, portraits continue to mean many things to many people. In this theory/practice seminar we will make and study photographic portraits within a rich framework of possibilities.  Visual projects will alternate with written work as we explore the past, present and worldwide forms that portraits have taken. Through weekly readings and slide presentations, as well as field trips and visiting lecturers, we will cover the broad range of visual and cultural purposes portraits serve. Students are expected to have a firm grounding in black and white 35 mm. photography  (through the completion of a Photography Workshop I or the equivalent), and will have the opportunity to work with color, medium format and digital  technologies. Interested students should bring a portfolio of past photographic work to the first class session.

Bethany Ogdon
W 2:30- 5:20 Location:  TBA Enrollment:  Open Cap:  25
In recent years cultural theorists have begun to suggest the death of both cinema and city as collective imaginative spaces within the social field. These deaths, or impending deaths, have been attributed to what has been referred to as a "crisis of visual space" brought about by post-cinematographic imaging and information technologies.  This course will pursue the central question, "In what ways are we sustaining our visual relationship to the city now that the technological means have devolved from cinema to television and video?" We will explore the different ways that the city has been cinematically imagined over the course of the 20th century before turning to an examination of televisual "reality video" cities and virtual cybercities. We will end by looking at how the city is configured in a number of current "metaphysical" Hollywood films.  Our project will be to theorize the historical and visual transformation of the screen(ed) city as both a collective dreamscape and a central ideological node within US culture.

HACU 256  VIDEO II: RESEARCH AND PREPRODUCT: Location Shoot In Another Culture
Joan Braderman
W 2:30-5:20 Library B5 Enrollment: prereq Cap: 16
This course will serve as a preparation for students who wish to either go on the Hampshire College January Trip to Havana, Cuba to do video work for la Oficina del Historiador (the Office of the Historian has been charged with rebuilding and reinvigorating Old Havana, a UNESCO National World Historic Site,) or, who will be engaged in this kind of project in the future.  There will be some specific work on Cuban culture including visiting lecturers who work on Cuba from a variety of fields in the Five Colleges and elsewhere: economics, history, literature, architecture, the arts et al.  The course will also focus on accomplishing a smaller project to be taken on by the group locally.  For our local project this fall, we will produce video work for an  organization here in Massachusetts. Students will learn by doing the necessary research, preproduction and production on this local project.  The specific organization will be announced later. Students will learn to do library, city/county government-based research as well as interview based and internet research; prepare shooting scripts and contingency scripting; interview techniques will be tested and discussed, as will methods for making decisions to contend with the always unpredictable conditions of shooting on location, away from home. Students will learn to evaluate equipment needs - computers, cameras, lights, tripods, electrical demands, film, tape, sound equipment, microphones, etc., in relation to resources and prepare a budget as well as preparing all equipment for international travel.  It is suggested that those interested in the Jan Term Project also take a course in conversational Spanish unless you already possess some basic Spanish since interviewing will be a key component of our work Havana.  While taking this course does not assure you of a place on the trip it will provide invaluable preparation for it and will be considered strongly in applications. Prerequisite:  completion of Film/Video Workshop I, Video I, Photo Workshop I or an intro Digital Imaging class.

Eva Rueschman
MW 10:30-11:50 and evening screenings on M 6:30-9:30. Enroll: open Cap: 25
In this course, we will examine the ways in which selected literary texts and popular and independent films from both Australia and New Zealand engage in critical terms with questions of identity, nation and culture that lie at the heart of the two antipodean countries' self-image.  Of central interest in our discussions will be representations of landscape, mythologies of national identity, visions of gender and sexuality, and the complex history between Aboriginals and white European Australians and between Maori and the Pakeha, white New Zealanders. Our close readings of novels, short stories and films will be informed by postcolonial, feminist and cultural approaches to screen and literary culture.  Fiction by Janet Frame, Patrick White, Peter Carey, David Malouf, Sally Morgan, Keri Hulme and others. Films by Peter Weir, Jane Campion, Gillian Armstrong, Vincent Ward, Nicholas Roeg, Peter Jackson, Tracey Moffatt and more. There will be weekly or bi-weekly film screenings.

Abraham Ravett
Th 9-11:50  Location: TBA Enrollment:  prereq Cap:16
"As digital imaging techniques proliferate, the fiction/nonfiction border will become an ever more active site of contestation and play.  The insights regarding the ontological, epistemological, and ethical status of the image derived from documentary studies will become increasingly more pertinent" Michael Renov, Collecting Visible Evidence
This is a seminar geared for experienced film/video concentrators who would like to explore or refine their interest in documentary practice.  Students in this class will produce both non-linear web projects and linear time-based work.  We will discuss the difference between these two types of documentary practice and the strategies that each entails.  Utilizing a combination of film/video screenings, viewing of web-based and CD-ROM non-fiction work, technical workshops, and contemporary reading as a foundation for our discussions, the goal of the workshop will be to produce individual or multiple collaborative class projects. A lab fee will be charged to cover materials. Enrollment is limited to  Division II or Division III students.  Prerequisite:  completion of Film/Video Workshop I, Video I, Photo Workshop I or an intro Digital Imaging class.

Baba Hillman
M 1-3:50 PFB Class; Screening?  Enrollment:  Instructor’s permission  Cap:16
This is a production/theory course for video and film students interested in developing and strengthening the element of performance in their work. How does performance for the camera differ from performance for the stage? How do we find a physical language and a camera language that expands upon one another in a way that liberates the imagination? This course will explore performance and directing in their most diverse possibilities, in a context specific to film and videomakers.   The class will concentrate on the development of individual approaches to directing, performance, text, sound and image. Collaborative workshops will introduce students to methods of generating and shaping source material. We will explore the ways in which ideas of artifice, naturalism, theatricality and anti-theatricality function within scripted and unscripted fiction and non-fiction works. We will discuss visual and verbal gesture, variations of approach with actors and non-actors, narration and voice-over, camera movement and rhythm within the shot, and the structuring of performance in short and long form works. Screenings and readings will introduce students to a wide range of approaches to directing and performance. We will study works by Chantal Akerman, Jennifer Reeves, Yvonne Rainer, Wong Kar Wai, Agnès Varda, Kidlat Tahimik, Meredith Monk, and Ximena Cuevas among others. Division III students may use the class to develop final projects. Division II students will be expected to complete two film or video projects. Instructor's permission required

Abraham Ravett
F 10:30-11:50 & F 1-2:20  Film/Photo Clsrm  Enrollment:  Instructor’s permiss  Cap:16
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 concentrations requirements of the college with the creative work produced by each student. It will offer a forum for meaningful criticism, exchange of ideas, and exposure to each other’s work.  In addition, written assignments and a variety of readings by cultural workers will be given that are intended to relate to the development and articulation of each student’s formal and contextual concerns as they are expressed in their Division III projects. Participants are expected to present work in progress, complete written assignments, and actively participate in class discussions. There will be a $50 lab Fee. Enrollment is limited to Division III concentrators; contracts must have been filed prior to enrollment. All others must have instructor permission.

Kane Stewart
T12:30-3:20 Film/Photo Classroom  Enrollment:  Instructor’s permiss  Cap:16
This course will offer students alternative photo printmaking methods such as: gum-printing, platinum/palladium, cyanotype, kallitype, and carbon printing. In order to print with these mediums negatives must be made the same size as the desired print. We will make these negatives using digital and analog resources.  This course is designed for experienced photo students with reasonable darkroom and basic Macintosh skills. Ideally, students interested in this course will have had at least one semester of Photo II and be moderately familiar with Photoshop. Although there will be a great deal of technical application covered in this course, the overall objective is to learn processes that will add creative options to students wishing to further develop their personal vision. A $50 lab fee is charged for this course to defray the expense of chemicals and supplies.