TBA Cap 16

TH 2-4:50 PFB Class

This course will introduce students to interdisciplinary work in media production. Students in this class will be active readers, lookers, thinkers, and makers. 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. There is a lab fee charged for the course. EXP, PRS,REA,WRI



TBA Cap 15

W 1-3:50- Library B studio

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)



TBA Cap 15

W:9-11:50, Scr. T 7-9 PFB Classroom

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.)



Seydel Cap 15

T 12:30-3:20 PFB Classroom

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.



Rueschmann Cap 23

MW 2:30-3:50 CLASS, M 7-10 SCR ClassFPH 101 or 102, Screening :Ash Aud, ELH or WLH

This course offers a sampling of the richness and diversity of contemporary world cinemas from the early 1990s to the present, including European film (German, Swedish, French, Spanish and British), new Mexican cinema, the Chinese “Fifth Generation,” the Hong Kong New Wave, Australian film, “Bollywood” popular Indian film, African and Brazilian cinema, and films from post-revolutionary Iran. We will focus on the narrative tradition of feature filmmaking, examining different cinematic styles, authorship, genre conventions, and politics of representation as they have developed in different parts of the globe. Students will be introduced to the concepts of world cinema and national cinemas, the role of the individual director as auteur, and the historical, political and cultural contexts of contemporary world cinema. Essays on film history and theory, national and cultural frameworks, and critical analyses of films will supplement our own reading of selected works of world cinema.



Seydel Cap 15

Th 9-11:50 PFB Classroom

Since the beginning of the photographic arts in the mid 19th century, photographs have most often been displayed in books or bound portfolios. Most photographs continue to be encountered in book form, intimately held in the hand, rather than seen on the wall behind glass. As photography has moved into the digital age, its evolution has paralleled an increased interest in the materiality of the form of books. Artist’s books can be made out of birch bark or cylinders of glass, or exist only on the WEB in html. They fan out like accordions or roll in a scroll, or simply are turned page to page. The emphasis of this class is in designing an artist book using your photographs as the content material. The relationship of content with the structure of the book is paramount. This class explores the marriage of the mechanics of creating order with craftsmanship to create a visual book. A review of contemporary book artists will augment the skills learned.



Lynch/Ogdon Cap 35

W 2:30-5:20 T scr. 7-9, Cls Kiva+ googie Withers Scr:PFB or

"Where’s the…?" "What's the…?"

Our livestock and top athletes are pumped up with hormones and chemicals. We are on low carb diets watching Reality TV. Porn stars are parliamentary reps, weight-lifters are governators. Anything is possible. Shock and awe. Hasta la vista, baby. Break out the cattle prod. Did you say the anal probe? There’s no place like home. Got milk? Conform conform conform. This one goes to 11 baby! "Beef" is a Cultural Studies Workshop that will probe the Xtreme, the absurd, the outrageous, and the spectacular as symptoms of and strategies for the 21st CenturyFox. Force-fed on the corporate IV, a steady diet of synthetic shock and designer succor … can we give a damn? In this time of homogeneous overproduction, a delirium of misrecognition, diffuse cynicism and reality TV brought to you live from Bagdad, Falluja, and Gilligan’s Island, we must embrace the absurd. This advanced theory/praxis course is open to div ii students working in all aspects of cultural production. Students will collaborate on projects across disciplines. This course will develop critical thinking, writing and making skills and prepare students for further work in cultural and visual studies/production. Prerequisites: intro to media studies or equivalent, intro to media production or equivalent, 2 courses in cultural/visual studies, social science, literature, philosophy or the arts and an interest in science and technology.



Ravett Cap 15

F 10:30-11:50 & scr 1:30-3 PFB Class

"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

A seminar geared for experienced film/video concentrators who would like to explore or refine their interest in documentary practice. Utilizing a combination of film /video screenings, viewing of web-based non-fiction work, technical workshops, and contemporary readings as a foundation for our discussions, the goal of the workshop will be to produce an individual or collaborative project. Students will have the option to produce non-linear, web projects. Limited to Division II or Division III students. Prerequisite: completion of either Film/Video Workshop I, Video I, or Photo Workshop I. Instructor's permission is required. Lab Fee.



Braderman Cap 15

T 12:30-3:20 Library Studio

Video sketchbook is an intermediate video production course in which students will learn to make casual work, or, put differently, to work with sound and moving images casually. Often film and video production involves a long process of preproduction, fundraising, research, production, post-production, distribution, and on and on. Because it is a relatively capital intensive and multi-person activity, this is most often necessary to make solid work, whether industrially or independently. In this course we will approach working in these media as one might approach the making of a sketch, a rough drawing, a draft of a script or essay, a limerick or composing a short tune. The idea here will be to learn to produce work regularly and quickly with the strong sense that there will always be more work, more ideas and that the current one may be a sketch for a future final version. Students will learn to work quickly, as if they were doing studies for a final painting or drafts of a final piece of writing. That is not say that roughcuts of projects will not be critiqued, re-edited and tightened but participants in this seminar can expect to make 5 or 6 pieces, rather than one or two across the term, as is usually the case. Pre-requisites: Video I or Film I and some critical work in film, video and/or media studies.



Elyanow 15

M 9-11:50 FPH108 w/media

This 200-level course is open to advanced students currently working on projects and/or less advanced students seeking to develop basic understandings and skills in screenwriting. Students are expected to work on writing exercises, bring in pages to read in class, and/or continue developing an existing idea or work-in-progress such as a divisional project. The focus of the class will be on screenwriting structure, with specific attention paid to the paradigmatic Three-Act Structure of narrative feature films. Alternative approaches to understanding structure and story will also be discussed, such as The Hero's Story, The Dual-Lead Story, The Multi-Protagonist Story, The Cyclical Story, The Bookended Story and Kristin Thompson's Four-Act Structure Paradigm. Other issues to be addressed include Character Development and Arc, Dialogue, Scene Structure, Scene Transitions, Point of View, Writing Directive Paragraphs, Creating Forward Movement, Plot Vs. Story and Understanding Theme. Examples of both screenplays and movie scene selections with audio commentary will be used in class. Registration is by instructor permission and will be posted after the first class. This course satisfies Division I distribution requirements. EXP, PRJ, PRS



Matthews Cap 23

TTH 10:30-11:50 FPH 108Seminar w/slides project & Comp.Proj (or Ash)

Photography was invented in England and France, but quickly spread across globe. Yet most history of photography texts do not reflect the global scope of the medium. We will begin by looking at the many roles photography has played in the US and Europe, and then turn to the study of photographic works made in other countries, with an emphasis on Asia, Africa and Latin America. We aim to expand the canon of photographic history, and to study vernacular as well as artistic uses of the medium. Students will be exposed to a wide variety of materials - written and visual - and will have the opportunity to do original research.



Prof. Barton Byg

Wed 7-10PM, screening M 7-9 PFB classroom

Note: an alternate screening time may be scheduled at UMASS on Thurs evening. Investigation of the influence of the German playwright, poet and theorist Bertolt Brecht on international cinema, particularly since the 1960s. We will consider key texts on and by Brecht plus film and video works from European new waves, New German Cinema, East German cinema, Hollywood, U.S. feminist film/video, as well as Latin American and African films. Artists include: Fritz Lang, Glauber Rocha, Jean-Luc Godard, Rainer Werner Fassbinder, Alexander Kluge, Wolfgang Staudte, Slatan Dudow, Yvonne Rainer, Helke Sander, Harun Farocki, Martha Rosler, Hans Juergen Syberberg, Daniele Huillet and Jean-Marie Straub. The major critical question is the continued relevance of "political modernism" in cinema. By the end of the semester, I hope to have discussed the most controversial and "unfinished" issues related to Brecht and film: "Brechtian" theory in the Cold-War era and after; Brecht's appropriation of Asian theatrical forms; Brechtian aesthetics and gender; Brecht and the "essay film;" and the question of avant-garde vs. "popular" aesthetics in film.



Ravett/ Braderman Cap 30

W 1-5PM PFB Classroom

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.