Capacity 12 Note(s): Limited to First Year Students 09/01/04 12/31/04 ASH 126 CRS MW 10:30AM 11:50AM C. Perry

This course will introduce students to the production of animated short films with the tools and techniques of three-dimensional (3D) computer graphics. Readings and lectures will cover the theoretical foundations of the field, and the homework assignments will provide hands-on, project-based experience with production. The topics covered will include modeling (the building of 3D objects), shading (assignment of surface reflectance properties), animation (moving the objects over time), and lighting (placing and setting the properties of virtual light sources). Regular attendance is expected, and due to the large amount of material being covered, additional workshops outside of class may be scheduled. Some familiarity with computers, camera-based image production (photography, film/video), geometry, and trigonometry is a plus. PRJ

HACU-0108-1 (122040) HAND MADE FILMS

Capacity 16 09/01/04 12/31/04 PFB CLASS SEM W 02:30PM 05:20PM 09/01/04 12/31/04 PFB CLASS LAB T 07:00PM 09:00PM W. Brand

While mainstream cinema developed as commercial entertainment, artists working on the margins created a parallel and often oppositional film history. This course will explore experimental and avant-garde films made in the artisanal mode often in political response to commercial culture or in concert with developments in modern and post- modern art. The course will focus on films that respond directly to the physical properties of the medium either by subverting the photographic process or by directly manipulating the materials through primitive animation or direct painting on film. Students will screen films from all periods of cinema history - from Winsor Mckay to Stan Brakhage - as well by artists working today. In each case students will attempt to understand films within a historical context with theoretical and historical texts. From a detailed study of films, students will write descriptive and analytical essays. Also, students will do their own hand made filmmaking through group and individual projects with pin-hole cameras, painting and drawing on film, cel and object animation and hand-processing techniques. EXP, REA, WRI


Capacity 8 09/01/04 12/31/04 FPH ELH SEM TTH 02:00PM 03:20PM K. Koehler

Throughout history, artists have sought to recreate the natural world in a myriad of ways. Indeed, the "desire to record the world" has been a driving force behind artistic representation from the earliest human-made images to the invention of photography and film to contemporary methods of computer generated images. In some cases this realist intention has meant designing the built environment to human scale; in others it has meant trying to record seasonal changes and scenes of simple agricultural activities; in others still realism has been used to provoke political change or suggest the presence of the divine in everyday objects or circumstances. Whether accurately or symbolically, through blatant use of materials or through scenes of virtuoso trickery, artists have consistently tried to transfer scenes from the 'real world' on to other surfaces or sites. This course will explore the artistic motivation to record the world from ancient times to the present--in paintings, sculpture, architecture, prints, photography, film and literature. Students will be responsible for two short papers, one longer research paper, individual and group in-class presentations and trips to local museums.


Capacity 8 09/01/04 12/31/04 FPH 101 SEM W 02:30PM 05:20PM 09/01/04 12/31/04 FPH 101 LAB TH 07:00PM 09:00PM J. Braderman

This course will offer an overview of the area through examination of some key issues and historical moments in the theorizing of filmic (and later TV/Video) representations. Three primary critical-theoretical approaches will be examined in close relation to the works to which they are addressed or helped bring into being. Students will study Eisenstein's developing notions of film as a language while looking at key works from the "heroic" period of Soviet Filmmaking, the link of his work to contemporary writing and avant-garde film practice where linguistic aspects of the medium are stressed, such as semiotics and structural film. Our work on spatial and phenomenological thinking about sound and image, mise-en-scene style as well as realist ideology will center on the work of Andre Baxin, Renoir, and the Italian Neo- Realists and continue into the 60's European New Wave, especially as students examine more current theories of film narrative. While economic contexts for production will always be considered as elements of the film process, as will cultural and psychoanalytic aspects of spectator ship, these factors will be particularly emphasized when students lay out analytic models for thinking about broadcast television and the independent video which evolves in direct relation to it. For this section of the course we will look at essays by Mattalart, Brecht, Schiller and other critical theorists. EXP,PRS,PRJ,REA

HACU-0209-1 (122000) VIDEO I

09/01/04 12/31/04 LIB B6 SEM F 09:00AM 11:50AM B. Hillman Capacity 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.


Note(s) Prerequisites Required

09/01/04 12/31/04 PFB CLASS SEM T 12:30PM 03:20PM 09/01/04 12/31/04 PFB CLASS LAB T 07:00PM 09:00PM W. Brand Capacity 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 and video. Students will submit weekly written responses to theoretical and historical readings and to screenings of films and videotapes which represent a variety of aesthetic approaches to the moving image. There will be a series of filmmaking assignments culminating in an individual final project for the class. 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. Prerequisite courses include a 100-level course in media arts (Introduction to Media Arts, Introduction to Media Production, Introduction to Digital Photography & New Media, or equivalent and must be completed and not concurrent with this course.)

HACU-0250-1 (122028) SOUND ART

Note(s) Prerequisites Required

09/01/04 12/31/04 LIB B3B SEM MW 01:00PM 02:20PM Capacity 21

This course will focus on the evolution of sound art from the early 20th Century to the present. Four areas will be covered: sound poetry, sound sculpture, sound installation, recordings, and performed works. A range of works by contemporary composers and sound artists will be presented. Students will be expected to complete regular readings and four sound art projects during the semester. Pre-requisite: one college-level course in computer music, video/film production, or studio art.


Note(s) Prerequisites Required

09/01/04 12/31/04 LIB B6 SEM M 06:30PM 09:30PM K. Lynch Capacity 16

This course is an intermediate level production class that concentrates on non-fiction media production. This course will interrogate the documentary format and expand the definition while introducing students to techniques and strategies for getting their non-fiction projects from concept to completion. Requirements for this class include: attendance, participation in discussions and in-class critiques, outside theoretical readings and film/video screenings, weekly journal entries, two production assignments, in-class workshops and a written proposal, treatment and budget for their final projects. Students will complete two major projects--one short group presentation and a final project. Through these projects, students will become familiar with three major stages of media production: pre-production (research and development of an idea, planning & scheduling), production (shooting, recording, execution) and post-production (editing and revision); they also now have cursory knowledge of distribution. Supplementary workshops will concentrate on skills necessary for work in digital, film/video and audio production, including: lighting, field and studio recording, and editing. The goal of the course is for students to produce non-fictional work from start to finish with a group and individually and practice their skills as producers and directors, writers, thinkers and artists. Prerequisites include: Video/film I or equivalent, media studies/theory class, and one related social theory/literature course.

HACU-0255-1 (122031) FILM WORKSHOP II

Note(s) Prerequisites Required

09/01/04 12/31/04 PFB CLASS SEM TH 09:00AM 11:50AM Capacity 16

The course will introduce the basics of 16mm sound-synch including pre-planning (scripting or storyboarding), sound recording, editing and post production finishing. The course will especially focus on 16mm cinematography with special attention to lighting, composition, camera placement, lenses, exposure and film stocks. Analogous issues in electronic cinematography (video) will also be covered. Students will be expected to complete individual projects as well as participate in group exercises. Reading and writing about critical issues is an important part of the course and students will be expected to complete one analytical essay. They will also write responses to the film and video works in documentary, narrative and experimental genres screened during the required evening screening sessions. Workshops in animation, optical printing, video editing, digital imaging and audio mixing will be offered throughout the semester. A $50 lab fee entitles students to use camera and recording equipment, transfer and editing facilities, plus video and computer production and post-production equipment. Students must purchase their own film and pay their own processing fees. Film/Video Workshop I will be considered a prerequisite.


09/01/04 12/31/04 LIB B3B SEM T 12:30PM 03:20PM J. Braderman Capacity 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, students 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.