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Lisa Barcy
Woman Without a Past
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Jesse Seay
Likes to Do Other Things
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MakeOut Club
Grad Screening @ Busker
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Film, Video and New Media Curriculum
Undergraduate
2000 Level
FVNM 2000
Media Practices: The Moving Image
This course introduces students to the language of the moving image, its history, and the ways artists have used moving images for over a century. We explore the idea of radical content and experimental form by introducing the norms of cinema and video, and then showing the ways artists have challenged these conventions. The course defines and differentiates two dominant forms of moving image, film and video, and considers new forms and sites for the moving image. A prerequisite to Film 1, and Video 1, FVNM 2000 introduces student to the moving image through an assigned series of group exercises.
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FVNM 2001
Beginning Film/Video Projects
For students taking Media Practices: The Moving Image interested in beginning individual media projects, a critique-based seminar that allows for project development, conceptualization, critique, and dialogue. Individual critiques with students are scheduled alternately with group meetings. Students are required to produce individual projects and formally present their work for review to the group. Prerequisite: FVNM 2000 or FVNM 1101.
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FVNM 2002
Video Production I
This basic production course introduces video as a medium for artistic expression and social inquiry. Students learn the video image-making process and develop skills working with portable video equipment (digital cameras, microphones, light kits) and non-linear editing systems. Strategies for using video as an art-making tool are explored. Works by video artists are viewed and discussed. Prerequisite: FVNM 2000 or FVNM 1101.
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FVNM 2004
Editing Strategies, Critical Histories
A critique-based seminar that reviews histories of montage, narrative film editing, documentary practices of construction, making meaning with images, and independent art media practices. Students taking Film As Capture must be concurrently registered. Students who are working on their own independent or advanced projects are also welcome. This is a theory-based seminar. Students may choose to use their own work for
critique and analysis, or may use an existing film (or films) of their choice for in-depth analysis. Readings, discussion, screenings and close analysis of films are the focus of the class. Individual advising with students is scheduled for project conceptualization and development along with in-class critiques, presentations and peer dialogue. Corequisite: FVNM 2005.
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FVNM 2005
Film As Capture (Film I)
This course is an intensive, total immersion in cinematography which includes a thorough review of camera operation, film stocks, lighting, and mise-en-scĪne. Rigorous emphasis is placed on camera language, framing, and shooting material for editing. Several in-class "problems" are set up and shot in groups of students. Students are required to shoot material on their own, which may be a part of a larger project carried over into other classes. Be prepared for in-depth analysis of selected works and discussion of the aesthetics, mechanics, and contexts of the filmed image. Prerequisite: FVNM 2000 or FVNM 1101. Corequisite: FVNM 2004.
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FVNM 2010
Intermediate Film Workshop (Film II)
This intensive technical workshop class offers three consecutive five-week sessions on special topics that may include but are not limited to:
The sync shoot.
The field recording.
Introduction to the JK Optical Printer.
Hand processing.
Editing techniques in 16mm and
Taking film to print
Students choose workshops based on their course of study and interest.
Prerequisite: FVNM 2005 and FVNM 2004.
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FVNM 2011
Sound and Image
This course deals with technical and aesthetic issues concerning soundtrack composition and its relationship to visual concerns in cinematic works. Technical aspects are covered by thorough instruction in the use of Pro Tools for audio post-production, including its coordination with Final Cut Pro and OMF files; editing, mixing, and mastering; synchronization to image; and final output to video and film. Aesthetic and conceptual issues pertaining to sound-image relationships and strategies are covered by analyzing examples from cinematic practice and through readings, including writings by Michel Chion, Abigail Child, Rick Altman, Walter Murch, and others; and cinematic works by Abigail Child, Walter Verdun, Martin Scorsese, Gary Hill, and others. Prerequisite: SOUND 2001 or SOUND 1101 or FVNM 2002.
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FVNM 2012
Sculpture for Video/Sculptural Video
This course combines the practices of video production and sculpture in an interdisciplinary studio. Students work collaboratively and independently on a variety of projects. Sculpture is used for construction of video spaces, props and subjects, as well as for new kinds of camera apparatus. In addition to this, concepts of video installation are presented as models for spatial intervention and the sculptural uses of video. Historical references include Jacques Tati's "Playtime", Fischli and Weiss' "The Way Things Go", Todd Hayne's "Superstar", Mathew Barney, Bruce Nauman, film effects from the 1970s and more. Prerequisite: FVNM 2002.
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FVNM 2013
Editing Aesthetics and Strategies I
An intermediate post-production seminar for students working in Film and Video. Conducted as a seminar/workshop in which students present unfinished work forcritique and as the basis for demonstrations, this course provides methods for the organization and structuring of materials in short- and long-form works. While concentrating on practical problem-solving, particular attention is paid to sound/image relationships, structural continuity/discontinuity, professional practices, and non-traditional working procedures. Time is reserved for close analysis of films and videos, readings, and discussionon a regular basis. Students are expected to enroll with a work-in-progress, and to finish with a lock-cut of their film or video project. Corequisite: FVNM 2010
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FVNM 2100
New Media O1
This introductory course focuses on screen-based new media works, their historical contexts, their specific aesthetics and theoretical concerns. Students gain an understanding of the emerging culture and historical antecedents of new media. Interactive, network and web-based technologies are introduced from the perspective of media art making. New media works are screened, discussed and demonstrated. Prerequisite: FVNM 2000 or FVNM 1101 or ARTTECH 2101.
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FVNM 2420
Animation I: Drawing for Animation
Students learn the basics of creating character animation through sequential frame-by-frame drawing. These concepts are the root of all forms of animation, both 2-D and 3-D. Projects include: metamorphosis; straight-ahead animation; in-betweening; key drawings; one minute drawings; walking cycles complex cycles; trajectory-template; squash and stretch; blur and resistance; figures and backgrounds. Work is shot on the Lunch-Box and Pencil tester VHS. Students complete a series of weekly assignments, and a final project. Films illustrating drawn-animation technique are screened regularly.
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FVNM 2425
Animation II: Experimental Methods
This class introduces a variety of analogue and digital animation techniques and materials. Materials include paint, conte, plasticine, colored pencils and paper, sand animation, evolving charcoal drawing, paint on glass, cutout animation, replacement animation, digital rotoscope, Xerox techniques, direct animation on films, and compositing images in Flash. Students learn camera techniques such as dollies, pans, and lap dissolves. Work is shot on Frame Thief, Lunch-Box and on 16mm. Students complete several assignments and a final project. Films illustrating a variety of techniques are screened. Prerequisite: FVNM 2420.
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