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Course Criteria
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3.00 Credits
For course description, see East Asian Languages and Civilizations. S. Xiang. Spring.
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3.00 Credits
This course considers Soviet "montage cinema" of the 1920s in the context of coeval aesthetic projects in other arts. How di d Eisenstein ? theory and practice of "intellectual cinema" connect to Fernand Leger and Vladimir Tatlin What did Meyerhol d's "biomechanics" mean for filmmakers Among other figures and issues, we address Dziga Vertov and Constructivism, German Expressionism and Aleksandr Dovzhenko, and Formalist poetics and FEKS directors. Film screenings are three hours a week in addition to scheduled clas s time. Y. Tsivian. S
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3.00 Credits
Knowledge of Japanese not required. This course surveys Japanese cinema from its prehistory to the work of contemporary transnational auteurs. We focus on both aspects of the object of study: Japan and the cinema. A "moment" from the history of Japanese cinema is presented each week along with a methodological issue in film studies brought into focus by it. We pay attention to the masters of Japanese cinema (e.g., Mizoguchi, Ozu, Kurosawa), but we also study film in relation to broader cultural movements. Texts in English and the original. M. Raine. Autumn.
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3.00 Credits
Knowledge of Japanese not required. This class traces the deployment of cinema as both national culture and "optical weapon" during a time of total war. We study the Film Law of 1939 and the "national policy films" a nd "peop le's films" that attempted to raise the aesthetic and technical level of cinema in Japan in order to compete with the memory of Hollywood films both at "home" and in the Asian countries occupied by Japan. The class includes films made under Japanese sponsorship in the colonies of Taiwan and Korea as well as in the puppet state of Manchuria and the occupied territory of Shanghai. We also study local sources of wartime Japanese cinema-the prewar leftist film movement, the documentary film movement, the narrative avant-garde-in the context of the broader image culture of wartime Japan. Japanese and other Asian sources discussed in a separat e section. M. Raine
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3.00 Credits
Knowledge of Japanese not required. This course surveys the rise and fall of alternatives to studio cinema in Japan between the 1950s and the 1970s. Topics include the Nikkatsu and Shochiku new waves, union-based oppositional cinema, experimental filmmaking, radical documentary, Cahier's style auteurs, the Shochiku new wave, experimental theater, the Shinjuku and Shibuya film-theatre subcultures, and the institutional roles of the Sogetsu Art Center and the Art Theatre Guild. Optional Japanese discussion sessions offered. M. Raine. Winter.
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. Camera and light meter required. Photography is a familiar medium due to its ubiquitous presence in our visual world, including popular culture and personal usage. In this class, students learn technical procedures and basic skills related to the 35mm camera, black and white film, and print development. They also begin to establish criteria for artistic expression. We investigate photography in relation to its historical and social context in order to more consciously engage the photograph's communicative and expressive possibilities. Course work culminates in a portfolio of works exemplary of the student' s understanding of the medium. Field trips required . Lab fee $70. S. Huffman, L. Letinsky. Autumn, Winter.
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. Courses taught concurrently and can be repeated as part of an ongoing, developing photographic project. Camera and light meter required. The goal of this course is to foster investigations and explorations of students in photography (e.g., refine their craft in black and white or color, with a different format camera, or by utilizing light-sensitive materials). Students pursue a line of artistic inquiry by participating in a process that involves experimentation, reading, gallery visits, critiques, and discussions, but mostly by producing images. Primary emphasis is placed upon the visual articulation of the ideas of students through their work, as well as the verbal expression of their ideas in class discussions, critiques, and artist's statements. Lab fee $70. L. Letinsky. Spring.
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3.00 Credits
PQ: Any 10000-level ARTH or ARTV course, or consent of instructor. This course explores the concept of media and mediation in very broad terms, looking not only at modern technical media and mass media but also at the very idea of a medium as a means of communication, a set of institutional practices, and a "habitat" in which images proliferate and take on a "life of their own." Readings include classic texts (e. g., Plat o's Allegory of the Cave and Craty lus, Aristot le's Poe tics) and modern texts (e.g., Mar shall McLu han's Understanding Media, Regis De bray's Med iology, Fr iedrich Ki ttler's Gramophone, Film, Type writer). We also look at recent film s (e.g., The Matrix, e XistenZ) that project fantasies of a world of total mediation and hyperreality. Course requirements include one "show and tell" presentation that introduces a specif ic medium. W. J. T. Mitchell
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2.00 Credits
This course focuses on the making of independent documentary video. Examples of direct cinema, cinéma vérité, the essay, ethnographic film, the diary and self-reflexive cinema, historical and biographical film, agitprop/activist forms, and guerilla television are screened and discussed. Topics include the ethics and politics of representation and the shifting lines between fact and fiction. Labs explore video preproduction, camera, sound, and editing. Students develop an idea for a documentary video; form crews; and produce, edit, and screen a five-minute documentary. Two-hour lab required in addition to class tim e. Lab fee $70. J. Hoffman. Winter
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3.00 Credits
PQ: ARTV 23901 or consent of instructor. This course focuses on the shaping and crafting of a nonfiction video. Students are expected to write a treatment detailing their project. Production techniques focus on the handheld camera versus tripod, interviewing and microphone placement, and lighting for the interview. Postproduction covers editing techniques and distribution strategies. Students then screen final projects in a public space. Lab fee $70. J. Hoffman. Spring.
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