HACU 109 INTRO. TO MEDIA PRODUCTION: IMAGES OF WAR
Kara Lynch Open Cap:16 T-Th 10:30-11:50 FPH or ASH
This course will introduce students to interdisciplinary work in media production. Students in this class will be active readers, lookers, thinkers, and makers. Whether through first-hand oral accounts, painting, photography, film, video or live web-streaming, war is imaged for our consumption and contemplation. This class will consider the relationship between images and military proliferation within daily life. We will look at how images function in both pro and anti-war debates and how they are crucial to our understanding of death and violence when associated with war. We will concentrate on modern warfare and the camera’s framing of these engagements. This class will introduce students to critical skills that will enable them to describe, interpret and evaluate the ways in which images represent the world around us. At the same time, video, photo and digital production workshops will introduce students to a range of production skills. Response, research, reflection and revision are key concepts within the structure of this class. Weekly reading and looking assignments will provoke written and visual responses. Students will participate in group work and dynamic class discussions. This class will prepare students for continued work in media and cultural studies, media production and the social sciences. There is a lab fee charged for the course.
HACU 118 MAPPING TIME: HIST & PRAC OF FILM/VIDEO INSTALLATION
TBA Open Cap:16 W 9-11:50 PFB classroom
In this course we will investigate the multiple histories, strategies, and concepts around film and video installation. Perceptions of time and space function differently in the museum than in the theatrical setting. Installation uses space as an integral part of creating meaning. In this course we will look at film, video, and media works that use, sound, site-specificity, multiple channels, loops, and absences as tools for communicating ideas. The presentation of motion pictures in a non-theatrical setting dates back to the early days of cinema. We will look at histories of projection performance, multi-channel video works, and installations from the days of magic lantern slides, through Dada, Fluxus, and Happenings to contemporary installation practice. Students will be expected to read from a variety of historical, theoretical, literary, and art historical texts, write papers, and give in-class presentations on historical and contemporary installation artists. EXP, PRS, REA, WRI
HACU 133T THE PHOTOGRAPHIC PORTRAIT
Sandra Matthews Tutorial Cap:12 T-Th 9-10:20 FPH 107
Growing out of the traditions of drawn, painted, and sculpted portraits, photographic portraits have become embedded in contemporary life, and serve multiple purposes. In this seminar we will examine portraits made throughout the history of photography in several cultures, looking at individual and group portraits, formal and informal portraits, portraits made for specific purposes, and self-portraits. We will analyze them as cultural artifacts, always keeping historical context in mind. We will read widely, view an astonishing range of pictures, and take several field trips. Students will keep a reading journal and complete a visual project, several short papers, and a longer research paper. There is no darkroom access associated with this course. MCP, PRJ, PRS, REA, WRI
HACU 209 VIDEO I
Joan Braderman Prereq Cap:16 T 12:30-3:20 Library B6
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. There is a lab fee charged for the course. Prerequisite: 100 level course in media arts (Introduction to Media Arts, Introduction to Media Production, Introduction to Digital Photography & New Media, or equivalent)
HACU 210 FILM I: SIXTEEN, SILENT, SPLICING, SOUND
TBA Prereq Cap: 16 Th 9-11:50 & T 6:30-9:30 (screening) PFB Classroom
The course begins with an intensive introduction to 16mm filmmaking and the wonders of cameras, lenses, projectors, and editing. In the “silent” section, we proceed to a study of the silent film genre, viewing historical and contemporary works by filmmakers from the Lumiere brothers to Andy Warhol, from those who worked with silence and piano accompaniment, to those who deliberately choose not to add any sound to their work. “Splicing” will investigate editing as a primary locus for the creation of meaning in film. We will examine concepts and practices of cutting film and make our own forays into traditional and experimental editing. The "sound" section of the course will examine audio as a technical aspect of filmmaking, as well as an aesthetic world with a life of its own. Students will be expected to challenge their expectations of what film is and what film can be. There will be numerous readings and assignments, all of which you are expected to complete with delight and enthusiasm. There are several production assignments, in small groups and pairs. Additional screenings and workshops are held on Tuesday evenings. Final projects entail the creation of one or more films of your own devising. A $50 lab fee is required for this course.
HACU 211 STILL PHOTOGRAPHY I:DIGITAL PHOTOGRAPHY
Jacqueline Hayden Prereq Cap:16 T 9-11:50 PFB Classroom
This course explores the intersections of digital and traditional photographic imaging in terms of technique, critical theory, history and aesthetics. Three objectives will be emphasized: first the acquisition of basic photographic skills including composition exposure processing and printing in digital format (both b & w and color, production and post production techniques with Adobe Photoshop); second, familiarity with historical and contemporary movements in photography and the development of visual literacy; and third to begin the process of realizing each individuals creative goals the students will be directed to work in a variety of photographic forms. Projects are designed to develop basic technical proficiency in the photographic medium as well as the necessary working skills and mental discipline so important to a successful working process. Students will have weekly shooting and printing assignments and in addition will complete a portfolio by the end of the semester. Technical workshops will meet once a week for two hours (outside of class time). A lab fee of $50 entitles the students access to digital laboratory and special equipment and materials. Students must provide their own paper. It is expected you will have your own digital camera, although you may take cameras out from the Film/Photo/Video equipment room. Prerequisite: 100 level course in Media Arts (Introduction to Media Arts (photo, film or video), Intro to Digital Photography & New Media or its equivalent).
????ARTST 200 STILL PHOTOGRAPHY I (MT HOLYOKE)
Stewart Prereq Cap:16 Th 2:30-5:20 PFB Classroom
HACU 253 MEDIA PRODUCTION II:THE NARRATIVE
Kara Lynch Prereq Cap: 16 W6:30-9:20 Library Studio
This course is an intermediate level production class that concentrates on narrative media production. This course will interrogate this form and expand the definition while introducing students to techniques and strategies for getting their projects from pitch to final cut. Requirements for this class include: attendance, participation in discussions and in-class critiques, outside theoretical readings and film/video screenings, weekly journal entries, production assignments, in-class workshops and a written treatment, script and budget for their final projects. Students will work in crews to complete 2-4 final narrative projects. 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 will also acquire cursory knowledge of distribution. Supplementary workshops will concentrate on skills necessary for work in digital, film/video and audio production, including: lighting, field + studio recording, and editing. The goal of the course is for students to produce narrative work from start to finish with a group and practice their skills as producers and directors, writers, thinkers and artists. There is a lab fee charged for the course. prerequisites include: intro to media production or equivalent, Video/Film I or equivalent, one media studies/theory class, and one related course in the humanities, arts or social sciences.
HACU 254 STILL PHOTOGRAPHY WORKSHOP II: COLOR & MEDIUM FORMAT
Kane Stewart Instructor perm Cap: 16 M 2:30-5:20 PFB Classroom
This class is a forum in which students can develop their creative vision in photography through the acquisition of skills with larger format cameras, color and digital technologies. Knowledge of the aesthetic and social context of photographic practice will be emphasized. Students can expect bi-weekly to monthly assignments, reading relevant texts in the history and theory of photography and digital imaging and writing short papers. Additionally, this course will be enhanced through attending visiting artist lectures and exhibitions as well as film and video screenings. The lab fee of $50 entitles the student to darkroom facilities, lab supplies, and chemicals. Students must supply their own film and paper. Extensive additional lab time will be available. Technical workshops will meet once a week for two hours. Instructor Permission. Prior photographic experience is required.
HACU 255 FILM II: ARCHITECTONICS OF BODY & URBAN SPACE: FILM/INSTALL/PERFORMANCE
Brand & Hillman Inst.Perm Cap: 20 T 12:30-3:20 & T 7-9 (screening) PFB Classrm
“Bodies are like cities, their temporal coordinates transformed into spatial ones…”
- Celeste Olalquiaga
“One’s body takes root in the asphalt.”
- Siegfried Kracauer
This is an advanced interdisciplinary film production and theory class that explores movement, image, text and space in the context of relationships between the body in motion and the visual kinetics and social organization of urban space. Students will complete individual and group projects based on experimentation with a range of aesthetic, conceptual and experiential possibilities in installation, performance and film. The class will explore relationships between biological and architectural bodies and will consider a range of performative and cinematic representations of the city as a utopian or dystopic space. The class will study installations and films by Gerhard Richter, Pipilotti Rist, Marguerite Duras, Chantal Akerman, and Peter Greenaway and readings from Guy Debord, Celeste Olalquiaga, Walter Benjamin and the Critical Art Ensemble. 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 animation supplies and pay their own processing fees. Required screenings and workshops sometimes occur in the evening. Registration is by instructor permission.
HACU 262 VIDEO II: MAKING MEDIA FOR DEMOCRACY
Joan Braderman Prereq Cap: 16 W 2:30-5:20 Library B6B
In the current election cycle, corporate consolidation and ties to the White House have intensified the usual myopia of the “mass” media in the US. But a range of new and independent news and culture jamming strategies are emerging rapid-fire to crack open the media landscape. In addition to video and text websites, there are a skyrocketing number of streaming sites, experiments with low power radio, progressive entrepreneurs buying up satellite space, bandwidth space, independents crashing the gates of box offices and dreaming up ways to grow a huge underground of information and culture that the current regime does not want you to see. Though CNN, Fox, et al, are still where most Americans learn what they know, independent media-makers act on the belief that there can be no democracy without a wide range of sources of culture and news to educate and inspire real citizenship. In this workshop, we will look at historical and current strategies for democratizing the media and creating and effectively distributing sounds, images and words that are inaccessible in the dominant media. These range from the Situationists in Paris in the 60’s to indymedia.com and the Hip Hop Convention today. As we examine experiments with media monopoly busting, students will work individually and in groups to plan, design and produce their own strategic media interventions – which will include video, TV, film, digital media, writing, photography, drawing, postering, installation, theater, music, radio and whatever else students invent. Substantive experience in at least two of these areas and completed coursework in at least one, are pre-requisites for this course.
HACU 299 DIVISION II INDEP PROJECTS IN FILM/PHOTO/VIDEO
Jacqueline Hayden Inst. Perm Cap: 16 W 3:30-6:30 PFB Class
This course will provide an opportunity to Division II students who wish to pursue their own work, creating at least one completed new work for inclusion in the Division II portfolio. We will enter each work where it is at the beginning of the course, whether in pre-production, production or post. Each student will be required to present his/her work to the group several times during the semester for critique and discussion. The group will provide critical, technical and crew support for one another. Team projects are fine as long as each participant has a distinct and responsible role in the making of the work. Technical workshops will be offered where necessary, although students must have some level of mastery over his/her form of expression before joining the course -- and college level course work and evaluations in that area.
We will unpack the conceptual process of creating and realizing new works. Readings, screenings and museum/gallery visits which address the specific problems faced by class members in developing the works-in-progress will be added as we go. All of these activities including active verbal contributions to all sessions are required of each student under the guiding principle that tracking each others’ intellectual and creative process will help them refine their own. A lab fee of $50. covers the use of Hampshire equipment and technical staff (although only one lab fee per semester is expected of each student whether participating in one or more courses.) For those interested in “re-radicalizing” the Hampshire curriculum, this new course provides a structured context in which to do independent work at the Division II level. Prerequisites: good mastery of form in which you will work and evaluations from several courses in the area.
HACU 310 ADVANCED TOPICS IN FILM/PHOTOGRAPHY/VIDEO
Bill Brand Inst. Perm Cap: 16 W 6:30-9:30 PFB Class
This course is open to film, photography, and video concentrators in their final semester of the Division III. First semester Division III students may also enroll if room permits and 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. In addition, written assignments and a variety of readings by artists and others will be given that are intended to relate to the development and enunciation of each student's formal and contextual concerns as they are expressed in their Division III projects. There will be a $50 lab fee. Enrollment is limited to Division III concentrators; contracts must have been filed prior to enrollment. Registration is by instructor permission.
HACU 336 THE COLLECTOR: THEORY & PRACTICE
Robert Seydel and Sura Levine Prereq Cap: 35 W 1:00-3:30 PFB Class
The collector has become a primary figure or type in the world of contemporary art, and much of the most advanced work of the modern and postmodern periods can be tied to a collecting mentality. The early Wunderkammern of the sixteenth century and Dutch oil painting of the century following forms the prelude to our own century of collection mania and mad taxonomies. From Marcel Duchamp’s Box in a Valise and Joseph Cornell’s voluminous files to Claus Oldenburg’s Mouse Museum and Daniel Spoerri’s An Anecdoted Topography of Chance, from Joseph Beuys’s and Christian Boltanski’s installations to Marcel Broodthaer’s Museum of Modern Art, artists have employed the mentality of the collector in a variety of ways and to a variety of ends. In our examination of these and other works by contemporary artists we will research the mentality of the collector and attempt to understand its resonance for the modernist and postmodernist periods. The course is designed to emphasize photo-and-other-installation based work, but is simultaneously open to students from any concentration, including art history and writing. For students making use of the photography facilities, a $50 lab fee is charged for this course.
PART II: Hampshire College Non-Production Courses:
PART III: * Film Component or Film-Related Courses: [please check course restrictions for Film Studies program(s) at your home campus]
*HACU 266 DADA AND SURREALIST VISIONS
*Film-Component course only
Sura Levine & Eva Rueschmann M 2:30-5:20 & F 2-5:30 (screening)
In this course, we will explore Dada and Surrealism as twentieth-century international movements in the visual arts, architecture, performance, and film. We will place the emergence of Dada and Surrealism in their modernist European contexts and discuss major artists, writers, and filmmakers of the 1910s-1930s, including Hans Arp, Marcel Duchamp, Hannah Höch, George Grosz, and Louise Bourgeois, as well as Rene Clair, Luis Buñuel, Man Ray, Jean Cocteau and Germaine Dulac in cinema. From Dada's anarchic politics and word/image play to Surrealism's use of Freudian psychoanalysis and experiments with automatism, chance, and dream language, we will study the key aesthetic and cultural features of selected images and texts. The course concludes with the influence of Dada and Surrealist aesthetics and politics on contemporary art, evaluating their potential as powerful modes of critique and aesthetic response to a world gone awry. Assignments will include critical reading, reports, papers and events.