Film, Video, and New Media FVNM 1101 Contemporary Practice: Film, Video, and New Media: 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 1101 introduces student to the moving image through an assigned series of group exercises. Prerequisite: Open to Freshmen only. FVNM 1102 Contemporary Practices: Animation, Visualization, and Storyboarding This production class focuses on idea development for time-based media through the use of storyboards, treatments, location photos, sketchbooks, and script readings. Students working in film, video, animation and performance learn classical and experimental ways to integrate these techniques in the production of time-based work. The final project is a loose-leaf volume containing treatment, storyboards, and a research scrapbook for a new work. Prerequisite: Open to freshman only. FVNM 1111 Beginning Film/Video Projects For students taking Contemporary Practice: Film, Video, and New Media: The Moving Image interested in beginning individual media projects, a critique-based seminar that allows for project development, conceptualization, introduction to the critique process, 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. Open to freshman only. Corequisite: FVNM 1101. 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. 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. 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. 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. 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-scne. 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. 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. 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. 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. 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 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. 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. 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. FVNM 3000 Media Practices: About Meaning Extending ideas from the course The Moving Image to the 3000 level, students are expected to specialize in film, video, digital authoring, or other related areas. This in-depth focus prompts a broader discussion, bringing diverse positions together in critical dialogue which concern how meaning is created, expressed, and disseminated. Why be a filmmaker? videomaker? installation or media artist? This Media Practices seminar addresses sign theory, auteurism, genre, audience, reception; and a range of dominant regimes and marginal practices for producing meaning. This level calls for a more traditional research seminar, with students making formal presentations and critical arguments. Prerequisite: FVNM 2000 or FVNM 1101. FVNM 3002 Video Production II This course introduces students to more sophisticated forms of image/sound manipulation, editing, and theory. Pre-production planning (storyboards, scripting, budgeting), further refinement of digital editing techniques, and basic post-production/visual effects are covered, as well as studio production techniques, such as chroma-keying and work with advanced cameras. Students are expected to achieve a level of technical competence and confidence necessary to undertake more ambitious independent work. The class views and discusses key contemporary works and related critical writings. Prerequisite: FVNM 2002. FVNM 3013 Editing Aesthetics and Strategies II An advanced post-production workshop for students working in Film or Video. Conducted as an advanced 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 and methods for developing and finishing work, particular attention is paid to sound/image relationships, structural continuity/discontinuity, professional practices, and non-traditional working procedures. Students are expected to enroll with a work-in-progress and finish with a lock-cut of their film or video project. Prerequisite: FVNM 2010 and FVNM 2013. FVNM 3020 Directing Actors for Film and Video This production workshop explores different ways of directing actors for camera, particularly within the framework of narrative and character-driven film and video. The course covers the history of directing by reading theorists, such as Stanislavski, Brecht, Grotowski, Mamet and others. Students study the work of directors such as Lumet, Frankenheimer, Kazan, Altman, and others. Students should be prepared to write, direct, and perform scenes in class exercises. Prerequisite: FVNM 2010 or FVNM 3002 or PERF 2000 or PERF 2001 or PERF 2004. FVNM 3024 Beginning Screenwriting This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week. FVNM 3025 Writing For Film, Video, And Performance An interdisciplinary studio that develops skills specific to the challenges of writing for time-based projects, especially works in film, video, installation, and performance. The primary focus is in-class writing, a range of textual experiments, and workshop /critique of students' writing in relation to their own works-in-progress. We pay attention to "invisible" texts - the writing before the script, free-writing, conceptual issues - as well as overt ones. Special emphasis is placed on developing the ear in work on monologue, dialogue, and voice-over. The class reads and discusses selected scripts and writings by artists, screens films and videos, attends exhibitions and performances, and performs close analyses (another form of "reading") of texts. Prerequisite: FVNM 2002 or FVNM 2005. FVNM 3026 Experimental Film/Video Narrative This course is a production class designed for students interested in alternative modes of narrative production in film and Video. Through workshops on writing, acting, and directing, students learn to work with actors, dialogue, and alternative narrative structures. Students apply the concepts covered in class to their selected projects, from production through editing. Throughout the course, a wide range of narrative films utilizing experimental modes of production are screened. Technical issues are covered in cinematography workshops, but it is assumed that students have a solid technical grounding in their medium of choice. Though the body of this class focuses on film and video production, the class is also appropriate for students working in performance and sound. Prerequisite: FVNM 2002 or FVNM 2005. FVNM 3027 Image Making-The World of Do-It-Yourself Image Making Filmmakers often run into a problem of depending too much on equipment. This makes one believe that it is impossible to be creative without elaborate "tools." Artists of film can produce images in any circumstance with or without complicated tools. If a filmmaker understands the process and mechanism of how images can be generated, equipment can be as minimal as one paper clip. This class is designed to introduce a variety of skills and ideas to make images with simple tools. Students are encouraged to make their own equipment in order to produce their own image effects. The course mainly focuses on reproduction of images without using large equipment. Some of the ideas introduced in this course are making images without camera and/or lenses; animation; pixilation; time exposure; time lapse; images using slides, stills, and newspapers; all phases of in-camera effects; rephotographing frames; printing in camera; optical printing; and contact printing. Prior enrollment in Intermediate Film Workshop recommended. Prerequisite: FVNM 2005. FVNM 3028 Music and the Moving Image This class examines aesthetic, historical and economic factors critical to understanding the role of the music video/film in contemporary visual culture. Advertising, documentaries, music videos, and experimental media are analyzed. The class engages in various aspects of music-oriented production, with an emphasis on diverse approaches to cinematography and editing/compositing. Students produce critical writings, presentations, and time-based media. Prerequisite: FVNM 3002. FVNM 3029 Fusions of Performance, Film, and Video How can physicality and spatial properties of performance be transformed through a flat rectangular projection of light? How can a film director's shot list be influenced by the acting techniques of Meisner? What can a cinematographer learn from the breath control and movement techniques of Japanese Butoh dance? When film/video and performance are approached as a hybrid form, exploring and exploiting the unique properties of each, fusions between these mediums can truly be successful. This course gives an introduction to established theories and methods in four areas: 1. Dance/ Movement for the camera. 2. Experimental theater/Performance Art combined with film/video. 3. Acting for the camera. 4. Directing performers for film/video. Prerequisite: FVNM 2002 or FVNM 2005. FVNM 3030 Sound for Film I: Practice This course focuses on recording methods, transferring procedures and analog mixing. It covers acoustics, microphones, recorders and other tools of production. The class incorporates a number of group shoots as well as individual exercises to illustrate wild and sync sound recording stratagem. The class also covers the logic and techniques behind using mix studio. In addition to class assignments, students start developing sound tracks for their independent projects. Prerequisite: FVNM 2010. FVNM 3031 Film Adaptation Students select an adaptable story, unravel it, and piece it back together as a solid screenplay. The class reads various stories, views the films made from them, and argues the success and/or failure of each adaptation. The first draft of a 30-page script is written, based on a short story selected for the class. Prerequisite: FVNM 3024 or permission of instructor. FVNM 3035 Sound for Film 2: Concept and Projects This course focuses on the theories and concepts fundamental to sound editing and design strategies, and expands on the technical information introduced in Sound for Film 1. Students work on existing-film sound tracks and discuss the concepts behind them, particularly how sound works in relation to image. The course addresses problems of mixing, and includes training on the ProTools system. Students develop sound tracks for their own independent project. Prerequisite: FVNM 3030. FVNM 3037 Advanced Photo and Optical Processes This course is an extended and advanced version of the Imagemaking class (FVNM 3027), and may be taken as a sequel to it. This class focuses on film image production utilizing a variety of film printing techniques. Non-camera emulsion-to-emulsion contact printing, JK optical printing, Oxberry optical printing and contact printing are introduced as advance level production. Many phases of cinematographic special effects are introduced in this course. Prerequisite: FVNM 3027. FVNM 3050 Video Strategies This intermediate-level course covers a wide range of aesthetic concerns, and investigates genres, methods, and strategies for working with video. Prerequisite: FVNM 3002. FVNM 3110 Light, Time, and Space This intensive studio course examines special topics and methods of lighting for film and video. The technical details behind light including color and the malleability of space are examined. There are weekly studio practicums directed by the instructor and set-up by students as model solutions to lighting tasks. The following considerations are included: diffusion and reflection; lighting hardware; molding natural light; day for night; miniatures; filtering for mixed light sources; and contrast manipulation. Prerequisite: FVNM 2002 or FVNM 2005. Corequisite: FVNM 3111. FVNM 3111 Sculpting with Light Workshop This reading course offered in conjunction with Light, Time and Space explores the ideas and writings of seminal figures from the history of cinema who use the poetic and sculptural qualities of light and would include, for example, Renoir, Bergman, Bresson, Ozu, Tarkovsky, Berkeley, Wells and Godard. The course looks particularly at the use of light as metaphor, simile and as mode of condensation. How these properties function as abstract elements and contribute to the mise-en-scene in the films of these directors is a major focus. Students are required to write analytical papers and participate in discussions. Prerequisite: FVNM 2002 or FVNM 2005. Corequisite: FVNM 3110. FVNM 3204 Literature in Film Literature in Film is a course in adaptation, designed to provide the tools to adapt a literary source into a functional and precise shooting script or storyboard. The course focuses on close comparisons of literary works and their motion picture adaptation. The process of adaptation, the different options available in the different media, and the issue of "translation" are the central themes throughout the course. Literary sources to be addressed may include novels, poems, journals, or expository writings. Film genres which may be covered include narrative, experimental, and documentary. Prerequisite: FVNM 2005. FVNM 3205 Recent Film and Video Unfamiliar with new developments in the world of independent and alternative film and video? There is a rich, messy, irreverent, and diverse pile of new work emerging: Crossovers, Queer New Wave, Crime Films, Video Narrative, Low Budget Features, Documentaries, Action, Experimental, Underground. From high end to low end, from the the popular to the obscure, this studio course exposes the student to the world outside Blockbuster Video, surveying recent releases and current trends, tracing their roots, and theorizing the future. Through readings and class discussion, the class analyzes, bashes, critiques, and cajoles meaning. Students from all departments and disciplines are encouraged to enroll. FVNM 3207 Visiting Artists Seminar In association with the screening series "Conversations at the Edge," visiting artists in the Department of Film, Video, and New Media present their work, and critique students' work over the semester. Students attend screenings at The Gene Siskel Film Center, and participate in workshops and group projects, and attend lectures by visiting artists. The instructor lead discussions and facilitates visiting artist presentations, lectures, and workshops. Evaluation is based upon collaborative projects, class participation, and papers. FVNM 3208 Bordering on Fiction "Reality television," despite the furor, is not a particularly new idea. Direct precedents for shows like Survivor and Big Brother can be traced back to 1970, to An American Family or its subcultural counterpart, The Continuing Story of Carel and Ferd. Some of the most powerful and provocative independent film and video being produced today draw on the age-old fascination with the border between "document" and "fiction." The class provides a context for producing and critiquing student work, and provides a historical/critical grounding in examining work of video and cinema "verite" as well as "experimental narrative" and "new documentary." Prerequisite: FVNM 3002. FVNM 3212 Respect: Visual Genealogies of Money and Power Privilege-whether the aristocracy of beauty or cultural, economic, or inherited advantage-is a fundamental differentiating factor in America life, but one that, ironically, is rarely acknowledged. In this course students examine the unspoken assumptions about privilege that inform both daily life and social history. This class is grounded in a series of screenings of films by Antonioni, Rosselini, Godard, Benning, and Chaplin, among others. It also draws extensively on texts in sociology and cultural studies, such as Pierre Bourdieu's Distinctions, Carolyn Kay Steedman's Landscape for a Good Woman, and the work of Richard Sennett. Students search for answers to questions about hierarchies of power that usually haunt rather than provoke. Prerequisite: FVNM 3005. FVNM 3215 Motion Graphics and Visual Effects I Students learn a wide range of post-production digital techniques for 2D animation, compositing (layering, collaging), and creating visual effects for video productions. Students produce projects that incorporate manipulated still images, animation, desktop video, and audio. Those who are intrigued by this kind of image manipulation will find the capabilities of the software dynamic and inspiring. Screenings and analysis focus on the use of such techniques in the world of video art, television, and film. Prerequisite: FVNM 3002 or FVNM 2100. FVNM 3221 Super 8 Filmmaking This production course explores the history, theory, aesthetics, and culture of 8mm and Super 8 filmmaking. Students produce moving images on Super 8 film, and experiment with various sound sources. Screenings of work by Super 8 filmmakers such as Jem Cohen, Bruce LaBruce, Thomas Allan Harris, Rebecca Devlin, and many others, provide insight into the complexities of production in this medium. Students receive thorough technical instruction to familiarize them with the workings of the Super 8 camera, film stocks, light, sound, and processing labs. Students learn to transfer film to Mini-DV and projects will be edited on Final Cut Pro or Avid Xpress DV. Final projects will be exhibited on DVD or Super 8 film. FVNM 3222 Microcinema and the Short Although the term "Microcinema" is fairly new, this course explores historical and contemporary aspects of small scale exhibition in an international context. In addition to looking at historical pre-cursors to the modern "miocrocinema" (e.g. Cinema 16 and the New American Cinema Group), this course looks at worldwide examples of alternative exhibition opportunities for the public (e.g Travelling Cinema of Mozambique, Nigerian Video Films and the South American La hora de los hornos) and for independent media-makers (e.g. microcinematic film tours and DIY exhibition). It also covers the practical side of running microcinemas: students produce- program, promote and run- their own public screening events. A combined production/studio/critique class and seminar for undergraduates, this class brings together students working across a number of media and platforms and provides a critical framework to emerging film and video makers. Prerequisite: FVNM 2010 or FVNM 3002. FVNM 3224 Independent Distribution for Film/Video/New Media This course begins with the premise that film/video makers should consider distribution and audience during pre-production. This course explores the history of independent distribution and exhibition but strongly focuses on contemporary practical information for students. It focuses on the business of media-making-how to self-distribute; the basics of promotion, press, film festivals, and print traffic; and seeking distributors and markets appropriate for your project. FVNM 3226 Film Festival Production I Part One of a student-run SAIC Film Festival, the first semester focuses on the practical, long-term aspects of running a festival including funding, calls for entry, and programming. Students look at models of film festivals internationally and determine the nature of an SAIC festival. They secure sponsors, make promotional decisions, and begin a call-for entry and selection process. To be continued in Film Festival Production II. FVNM 3228 Film Festival Production II The sequel to Film Festival Production I continues its focus on practical aspects of running a festival, including programming, promotion, public relations, and print trafficking. The class culminates in an SAIC Film Festival at the end of the semester. Students promote the event, and deal with makers and distributors, press and programming. Prerequisite: FVNM 3226. FVNM 3420 Puppet Animation. This Class introduces students to the design, construction, and filming of 3D-puppet animation. Students build puppets, construct sets, and film their work either digitally, or on 16mm film. Students learn to build armatures and puppets, practice pose-to-pose movement, replacement animation, and work on set design. In the second half of semester, students present storyboards for a final project that involves sets, puppets, and shooting two minutes of frame by frame animation. During this time framing, micro-cinematography, and camera movement are covered. Sound is optional. FVNM 3430 Advanced Drawing for Animation Students further develop 2-D drawing animation skills, with focus on complex movement, animating dialogue, and drawing with backgrounds. Drawings on paper are scanned into Toon-Boom Studio for digital cell production. Time is spent on creating backgrounds and camera moves in the program. Some Knowledge of Final-Cut Pro, After Effects or Flash is recommended. Prerequisite: FVNM 2425 or permission of instructor. FVNM 3423 Animation III: Sound and Image This class introduces methods of animating to a soundtrack, and covers use of narrative language, both classical and experimental, more advanced animating skills, and Digital Ink and Paint. There are group projects as well as individual projects. DAT recorders, ProTools, and Final Cut Pro are introduced. Work is shot in a variety of formats: Frame Thief, Lunch-Box, 16mm, Flash, and After Effects. Assignments include: drawing from clay models; storyboarding; analyzing and animating to soundtracks; adding sound to image; and making animatics. Students can animate in any style or medium; Maya Students are welcome, though the program is not taught in this class. Prerequisite: FVNM 2425 or FVNM 3420 or ARTTECH 3211. FVNM 3500 Animation IV: Advanced Animation Projects This class is for students who have made a commitment to animation as a primary medium, and who wish to work towards a completed animation. Students may work in any animation medium-Puppet animation, under-camera drawn Flash, After Effects, Toonboom, Maya. The class consists of working in class on individual projects, and alternates between presenting works in class, and individual meetings with the instructor. Lectures include animation techniques and professional practices, exhibition, job reels, and independents vs. industry. Prerequisite: FVNM 3423 or ARTTECH 3213. FVNM 3600 Documentary and Non-Fiction Film This course considers the use of film as it pertains to the recording of events and the documentation of phenomena. Forms are studied that relate to these uses, and the class considers various aspects of film production. Prerequisite: FVNM 2010. FVNM 3605 Autobiographical Strategies There is no other media in which the figure of the artist appears so often as object, model, or protagonist as in video. Since its beginning, an important leitmotif of video art has been the survey of the relation between the image of the body, the self, and identity. The course focuses on a genealogy of video from the "narcissistic mirror" in the early years, to the latest artists' strategies of "opening up one's own history" towards fiction. Examples are screened and discussed. Students are required to develop and present their own work within this genre. Readings outside of class are required. Prerequisite: FVNM 2000 or FVNM 1101. FVNM 3610 Documents: The Mechanics of Memory This studio course chronicles the evolution of documentary theory and questions the traditional definitions of the genre. Students explore the implications of the Grierson-British documentary in relation to the personal portrait, diary films, propaganda, educational, and Hollywood narrative works. Students complete four short films in the class. FVNM 3705 Video Installation I Multi-monitor projects, live feeds, interactive environments, political interventions, meditative spaces: video installation offers artists a rich and multi-layered vocabulary with which to address a host of issues in contemporary culture. In public life, video is "installed" everywhere as a permanent fixture - in the high-tech spectacle of Nike-town and the surveillance and security systems of parking garages, shopping malls, and prisons. This class combines studio practice, site visits, screenings, readings, and critiques of student work to examine the diverse languages and practices of video within an installation context. Students experiment with monitors, projectors, and other media while addressing concerns of site and scale, issues of narrative, identity, reception and audience, and private/public space. Students who enroll in this class should already have basic knowledge of video production; however students with backgrounds in all media-video, film, sculpture, painting, or photography-are encouraged to enroll. Prerequisite: FVNM 3002 or permission of instructor FVNM 3710 Video Installation II An intermediate to advanced level course, this class continues exploration of topics and techniques begun in FVNM 3705. Students develop advanced projects relative to their own installation-derived production, and install a completed work in the FVNM Department, in a studio, in a Student Union gallery, or another location t.b.a. (with instructor's permission). Students preparing for either the BFA and MFA shows are encouraged to use this class as a laboratory for their projects. Prerequisite: FVNM 3705. FVNM 3720 Issues in Video Installation: The Social Site How do installation artists insert their work into the world? How are the points of contact between expressive and mundane, personal and public, created and pre-existing finessed? Installation art exists in acknowledgement of the worlds, both geographic and historical, in which it resides and to which it refers. Practicing a hybrid of 3- and 4-D forms, video installation artists lead viewers through immersive experiences that are choreographed explicitly in anticipation of viewers' participation. This advanced course offers a focused exploration of the social quality of this discipline. Students develop a site-specific video installation project over the course of the semester. The versions/revisions or the "same" project are produced and critiqued, with each version/revision being presented and assessed as finished work (not "work in progress"). This process allows students to incorporate feedback from previous critiques, develop and articulate continuity within a body of work, and participate in prolonged engagements with each other's artistic processes. All works will be sited off-campus to encourage substantial development. Class time is devoted to site visits and rotating critiques, in-class workshops, research and homework presentations, screenings, and reading discussions. Prerequisite: FVNM 3705 or permission of Instructor FVNM 3810 DotVideo Pixilated and pulled across the web, dotVideo maps ways in which media artists can use the web and internet. From online venues, to networks and devices specifically designed to distribute and share media, the web and internet rapidly alter the way artists produce, distribute and conceive of media art. This course enables students to analyze and create works online with approaches as diverse as webcams, streaming media, and interactive web-based projects. The politics and practices of downloading, recoding and repositioning media are analyzed from the perspective of New Media art and artists. Prerequisite: FVNM 2100 or FVNM 2002 or FVNM 2005. FVNM 3812 Realtime Realtime explores audio-visual systems and performances of live experimental new media art. Artists create, control, effect and transform digital media in realtime using systems created by and for artists. Digital and computational systems allow improvisation, live audio-video performance, and synthesis of complex works and projects. Students learn, play and perform with artware, open source tools and systems (PureData, GEMS and dyne:bolic!) and commercially available software (Max/MSP and Jitter). This studio course includes a historical approach to realtime systems, and features use of the Sandin Image Processor, an analog patch programmable computer optimized for video processing from 1971 - 1973. Current praxis is discussed in relation to the earlier realtime forms from early cinema (such as Oskar Fischinger's Lumigraph), video (such as the Dan Sandin's Sandin Image Processor) and New Media. Prerequisite: FVNM 2100 or FVNM 2002 or FVNM 2005 FVNM 4000 Independent Study: Film, Video, and New Media Independent Study provides the opportunity to explore a specific problem in the student's area of concentration, carried out independently with a faculty adviser. A schedule of conferences is established at the start of the semester. Instructor signature required for registration. FVNM 4002 Advanced Cinema Projects Students work independently on a selected filmmaking project, and consult with a department faculty adviser. Occasional meetings of the entire group may be scheduled. The student may choose to work with more than one adviser, with a number of credits taken with each adviser. Prerequisite: FVNM 2010. FVNM 4003 Advanced Video Projects This course is for undergraduate students with a sustained interest in using video technology as part of their art making. Participants work on a project-oriented basis that includes individual critiques, special class meetings, practicums, and equipment workshops. Students should be both self-directed and interested in developing a support system for producing each other's work. This course is offered on a semester-to-semester basis, but students who wish access to the video department during the winter interim must enroll both semesters. Prerequisite: FVNM 3002. FVNM 4011 Cinema and the City Cinema and the City is an advanced film/video production studio exploring new ways to create moving images of urban social space. Close analysis and critique of representations of the city in popular culture, from local TV news and hip-hop videos, to classical city symphonies such as Berlin, Symphony of City or Manhatta, and Frederick Wiseman's documentary studies of urban institutions lead students to new theoretical/practical positions. Dramatic features by Krzysztof Kieslowski, Spike Lee, Fritz Lang, and Ozu, as well as other film and videos that use the city's social topography, offer additional perspectives. Using diverse film and video tactics, students experiment with form, technique, and genres of fiction and non-fiction to interpret Chicago. Prerequisite: FVNM 3002 or FVNM 2010. FVNM 4025 Advanced Screenwriting Students complete the first draft of a feature-length screenplay (at least 90 pages) based on an original idea that they propose and develop in the first or second class. No adaptations or partially-completed scripts are allowed. Weekly class sessions include group reading of script pages and critique by classmates and instructor. Prerequisite: FVNM 3024. FVNM 4030 Visualization and Storyboarding This production class focuses on idea development for time based media through storyboards, production drawings, treatments, writing, sketchbooks, location photos, and scrapbooks. Students working in animation, film, video, graphic comics, and performance integrate classical and experimental techniques in the production of time based work, or text and image. Students work on individual projects, but also switch roles, creating visuals for other students' ideas, and having their own ideas interpreted as well. The final project for this class is a loose-leaf and digital volume containing treatment, full storyboards, and research for a major work. This volume is used for idea development, and presentation of the project to collaborators, granting agencies, fellowship organizations, and most importantly, as a reference for the maker. Prerequisite: Any 3000 level course in Writing, FVNM, ARTTECH, SOUND, PERF, or permission of instructor. FVNM 4055 Optical Printing Optical printing is a powerful tool for the manipulation of time and image in cinema. Aspects studied in this course include: bi-packing, double exposure, color correction, mattes, zooms, wipes, time manipulation, color separation, and densitometry. Prerequisite: FVNM 2010. FVNM 4070 Cinematography for Film and Digital Video This is an intensive studio course for advanced students of film/video to explore the creative uses of light in their projects. Through the examination of cinematographic approaches across the various genres including narrative, experimental, and documentary, students apply advanced techniques of lighting and composition to their work. Emphasis is placed on the changing role of the cinematographer in the world of digital media. FVNM 4225 Film, Video, and New Media Undergraduate Seminar Offered as a forum for contemporary issues, specific thematic approaches in response to issues in the field, or political, social, or cultural conditions that demand the imperative for public discussion. Topics vary. FVNM 4230 How to Curate and Program Film, Video and New Media This class deals specifically with questions of programming, curatorial ethics, curatorial styles, prominent curators and programmers, contexts, curatorial theory, to curate vs. programming in the realm of Film/Video/New Media. After critically examining curatorial practices of moving image curators and programmers, students perform programming exercises, launch their own public exhibitions, and write critical texts about film/video programming. FVNM 4232 Cinematic Spaces The history of the architecture and design of screening venues is explored. The course examines the psychological and cultural implications of entertainment and cultural architecture specifically designed for the experience of watching moving images. Interior architecture students and moving image makers collaborate on designing new venues for experiencing the moving image while considering the needs of both artists and audiences. FVNM 4234 Film and Video: It's Public, It's Audience This course explores the public role of independent and experimental film and video, and considers the role of the audience in advancing the field and the form. The class considers such crucial questionsas How do you build audience for non-commercial work? How do audiences respond to the unfamiliar? Do filmmakers or programmers have a role in relating with their audiences? Why is there a lack of critical writing on contemporary film/video exhibition? Students read critical texts about how audiences receive information in the form of moving images. With these questions in mind, students launch their own public exhibitions and write critically about exhibitions/screenings they attend. FVNM 4255 Terrorism: A Media History An investigation of media and cinematic representations of "terrorism" through the 20th century to the present. Primary "texts" are films, videos, and photography, supported by readings from a wide range of sources: historical, political economy, fiction, media criticism, oral histories. Students screen and study propaganda films, narratives, film and video essays, and experimental works whose subject directly or obliquely addresses the subject of political violence. The course examines the mobilizing effects of these works, and seeks to unpack a hefty suitcase of current debates about moral relativism, just and unjust wars, the problem of evil, and uses of violence in film FVNM 4830 Radical Software/Critical Artware Radical Software, published from 1970-1974, facilitated an exchange of ideas, media, and tools for video-makers engaged in the early phases of video art. Currently, through distribution and use of noncommercial art-oriented software, artists build communities online that address software culture. Radical Software/Critical Artware examines New Media practices of producing artware or software art in, on, and through networks and communities. Students will learn to program, develop and discuss artware, including tools for generating or manipulating audio-visual data, plug-ins, surface hacks, instruction sets and code as found material. Through screenings, readings, and the production of artware, this course critically analyzes the power of technoseduction while actively engaging in New Media arts practices. Prerequisite: FVNM 2100 FVNM 4850 Digital Video Editing The convergence of video and computer technologies has resulted in the creation of digital editing tools with an unsurpassed ability to structure images and sound. This course gives students the opportunity to comprehensively explore the school's higher end, industry-standard devices in this realm, bringing to bear the power and versatility of these tools on their creative projects. Special attention is given to issues such as HDTV, compression, color correction and matchback for film conforming. The in-depth shot by shot critique of students' works-in-progress is also a feature of this course. Prerequisite: FVNM 3002 or FVNM 2005. FVNM 4860 Interactive Forms This course explores issues of design, interactivity, and technological considerations in the creation and distribution of media art, primarily on DVD, and related explorations in Director and web authoring software. Students create, critique, and present interface designs utilizing professional and consumer tools, and examine trends in the authoring industry. Emphasis is placed on designing with the audience/user in mind, as well as options for distribution and presentation. Prerequisite: FVNM 3002 or FVNM 2100. FVNM 4865 playFull, playMe playFull, playMe considers computer based games as New Media artworks and art as a game-like system. Computer-based games constitute a significant form of new screen media and cultural activity. Artists work with game-like structures and approaches to create New Media projects. Students will play, discuss and develop art games that share relationships to forms of gameplay from text-based adventure games to first-person shooters, strategy games and simulators to conceptual games of chance. This advanced level studio course enables students to hack, modify, and critique existing games, and independently author games as New Media artworks. Prerequisite: FVNM 2100 FVNM 4866 Machinima Machinima literally combines "machine" and "cinema" using computer-based games to develop film and media art. Machinima views video games and game culture as New Media. Video game engines become artistic toolsets and authoring systems allowing artists to use the underlying code structures to create their own media artworks. Students play video games, learn to render artworks in realtime with low cost, commercially available game engines and free and open source software systems, discuss online distribution, and screen machinima artworks. Prerequisite: FVNM 2100 FVNM 4867 OnEvent OnEvent fosters code-based approaches to public programming of New Media arts events and activities. Students curate, develop and organize collaborative, web-based and physical New Media arts events. New Media events are discussed in relationship to the historical theory/practices of microcinema, alternative venues for experimental media arts, decentralized structures, network cultures, and various forms of transient artistic cultural action. Prerequisite: FVNM 2100 or FVNM 3222 FVNM 4900 Motion Graphics and Visual Effects II Motion graphics-compositing-visual effects are highly involved and multi-faceted. Students deepen and expand what they have learned in Motion Graphics and Visual Effects 1. More involved and advanced techniques are covered, such as working in space with lights and cameras, and integrating effects with 3D software applications. Motion tracking and image stabilization, advanced rotoscoping and painting techniques, audio for image manipulation, and issues in working with film are covered. Students pursue solutions to visual problems that would be encountered in the professional post-production world. Prerequisite: FVNM 3215.