Joan Braderman

T 12:30-3:20 Library Studio Cap 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 facilities. Students are responsible for providing their own film, tape, processing and supplies. EXP, PRJ. REA



Jenny Perlin

TH 9-11:50 FPH 101 Cap 16

This course will investigate the representation of immigrants and exiles in film, photography, text and video. In an effort to look at exile from inside and out, we will look at historical and contemporary examples of works both about exiles and immigrants and images created by them. On the flip side of immigration and exile, there exist complex concepts of home. How is home represented by those who have left it ˜ as an ideal or as a place from which to escape? In this course we seek to unpack the complex experiences of displacement that permeate our histories and our contemporary world. Class will consist of reading, writing, discussion, and hands-on workshops in a variety of media. Visual and written texts will be drawn from cinema, photography, video, literature, sociology, cultural studies and economics. Final projects can consist of a film or video, photo essay or literary text, plus an analytical text on the piece. Films include: Chaplin, Resnais, Tarkovsky, Dash, Tajiri, Trinh, Salloum, Akerman, Mekas, Portillo, Van Der Keuken, and others. Readings will be drawn from: Benjamin, Brodsky, Arendt, Said, Tarkovsky, Sassen, Trinh, Spivak, Walcott, Soyinka, Solzhenitsyn, and others.



Robert Seydel

M 1-3;50 PFB Class Cap 25

Collage has been called it the single most revolutionary formal innovation in artistic representation to occur in our century In this class we will examine the history and practice of collage across disciplines, looking at literary, visual, and other forms of the medium, which may be defined more aptly as a type of mentality peculiarly suited to a century of dislocation and fragmentation. Our studies will include an examination of collage workings as a central aspect of Cubism, Futurism, Dada, and Surrealism, among other groupings of the early and later avant-garde, and will proceed through to the present, following W.S. Burroughsí cut-up methods and the California artists of assemblage (George Herms, Wallace Berman, Jess, and Bruce Conner) to the New York School of Correspondence and contemporary photographic and electronic versions of the spirit of collage. Readings in the poetry and poetics of the early avant-garde will include selections from Americans such as Ezra Pound, T.S. Eliot, and William Carlos Williams, as well as texts by such European figures as Kurt Schwitters and Tristan Tzara. We will examine as well such later contemporary writers as Paul Metcalf, Ted Berrigan, and Susan Howe. Other primary texts will include writings by Walter Benjamin, Mary Ann Caws, and Marjorie Perloff. Students will be responsible for completing a number of collage-based assignments, the keeping of a journal/work, and a research paper



Kara Lynch

W 2:30-5:20 Lib B6 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. 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)



Jenny Perlin

W 9-11:50, Scr T7-9 PFB Class , Scr FPH 101 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 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.)



Robert Seydel

T 6:30 PM-9:20 PM PFB class Cap 16

This course emphasizes three objectives: first, the acquisition of basic photographic skills, including composition, exposure, processing, and printing; second, familiarity with historical and contemporary movements in photography and the development of visual literacy; third, the deepening and expanding of a personal way of seeing. Students will have weekly shooting and printing assignments and, in addition, will complete a portfolio by the end of the semester. A $50 lab fee is charged for this course. The lab fee provides access to darkroom facilities, laboratory supplies and chemicals, and special equipment and materials. Students must provide their own film, paper, and cameras. Prerequisite: 100 level course in media arts (Introduction to Media Arts, Introduction to Media Production, Introduction to Digital Photography &New media, or equivalent)



William Brand

TH 9-11:50 PFB Class Cap 16

This course is for students who have completed Film/Video Workshop I and are prepared to continue developing their own individual projects. While the film industry uses optical printing to create special effects and animation to make cartoons, this course instead, will emphasize work that uses these tools for expressive or exploratory purposes. The course will center on the use of the optical printer and the animation stand and will provide detailed instruction on planning and executing projects using these tools. The course assumes a basic knowledge of 16mm filmmaking and students are expected to independently extend their knowledge and mastery of basic production and post-production techniques. Films will be viewed in class presenting a variety of approaches to optical printing and animation as a medium for artists. Students will be expected to complete weekly exercises and a semester long independent project. While computers may be a part of a student's working process, this course does not cover computer animation and students will not be allowed to do computer animation projects for their semester project. Each student will be expected to research an artist and/or analyze a film, write a 5-8 page paper and make an oral presentation to the class. 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.




Kara Lynch

F 9-11:50 FPB class Cap 16

This course will further support interdisciplinary student work in diverse media: video, digital, audio, photo, film, installation, performance, plastic arts. This is a rigorous theory/practice workshop class designed specifically for upper division students.. We will look to a variety of texts for inspiration and insight, for example: films - 2001:A Space Odyssey and Last Angel of History, books - Almanac of the Dead and Dahlgren and the installation work of Janet Cardiff, Julie Becker and Ilya Kulbakov, among others. In this seminar students will develop their skills within their specific media and work collaboratively throughout the semester to produce work that engages questions of site, space, time, experience and vision within an historical context. We will challenge traditional modes of production and presentation collectively. Students will be encouraged to share their knowledge and talents with each other to hone their craft and learn new skills. Students will focus in on their critical skills and be required to produce written responses, two visual projects, and a research project/presentation. Class participation is paramount as each class meeting is a work session. This thematically based course will encourage students to broaden their perspective of artistic production. This will be a challenging course for serious students in the media arts. Prerequisites: 1 intro media production course or equivalent, any introductory course in digital, visual, media, or performing arts and/or creative writing; 1 critical or cultural studies course; recommended: 1 200 level course in either the humanities or social sciences.



Jacqueline Hayden

T 12:30-3:20 PFB Classroom Cap 16

The human form; nude, naked, clothed, full bodies, partial bodies, gendered and racial bodies, young and old bodies constitute a primary subject in contemporary artistic practice. In this class we will explore both the traditions of the photographic nude in western art and its subversions in late 20th century photography. Students will be expected to develop a “body” of photographs related to the topic that can intersect anywhere with the body: straight portraiture, nudes, abstractions of bodies or virtual Web bodies. Students will be instructed to use cameras, computers and materials to develop an aesthetic strategy that either embraces or challenges existing genres. Assigned readings will address issues of identity and representation. Workshops that give training for using equipment and software will occur outside regularly scheduled class and students who already have experience in color and large format are welcome in the course. Students must purchase their own film and paper and must pay their own processing fees. Required attendence at visiting artists lectures and workshops will be mandatory. There will be a $50 lab fee. Instructor permission required, Prerequisite Still Photography I.



Constance Valis Hill

M 7-10 PM FPH 101 Cap ?

This selected survey of choreography on film and video indulges in the purely kinesthetic experience of watching the dancing body on film. We will focus on works that have most successfully produced a true synthesis of the two mediums, negotiating between the spatial freedom of film and the time-space-energy fields of dance, the cinematic techniques of camera-cutting-collage and the vibrant continuity of the moving body. And discern the roles of the choreographer, director, and editor in shaping and controlling the moving image, and explore the relationship of music and the dancing body on film. Putting theory into practice, we will form small group collaborations to create an original study in choreography for the camera; students will be expected to engage in all aspects of production, from the concept, script, choreography and storyboard to performance, direction, lighting, sound and editing. This class is open to film/video concentrators and dancers/choreographers interested in exploring the relationship between dance and the camera and the creative processes involved in creating choreography for the camera.



Baba Hillman

T 9-11:50 PFB Class 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 expand 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. 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.



Joan Braderman

W 6-9 PFB Class Cap 16

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.



Joan Braderman, William Brand, Jacqueline Hayden

W 1-5 PFB Class Cap 16

This course is open to film and photography concentrators in Division III and others by consent of the instructor. The class will attempt to 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, various specific kinds of group experience will be offered including lectures and critiques by guest artists and professionals and workshops in advanced techniques. The course will include discussions of post-graduate options and survival skills including tips on fundraising, exhibition and distribution, and graduate school applications. 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 permission of the instructor.