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Course Criteria
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3.00 Credits
This course explores the role of film music in the history of cinema. What role does music play as part of the narrative (source music) and as nondiegetic music (underscoring) How does music of different styles and provenance contribute to the semiotic universe of film And how did film music assume a central voice in twentieth-century culture We study music composed for films (original scores) as well as pre-existent music (such as popular and classical music). The twenty films covered in the course may include classical Hollywood cinema, documentaries, foreign (including non-Western) films, experimental films, musicals, and cartoons. This course typically is offered in alternate years. B. Hoeckner. Autumn.
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3.00 Credits
This course attempts to define nonfiction cinema by looking at the history of its major modes (e.g., documentary, essay, ethnographic, agitprop film), as well as personal/autobiographical and experimental works that are less easily classifiable. We explore some of the theoretical discourses that surround this most philosophical of film genres (e.g., ethics and politics of representation; shifting lines between fact and fiction, truth and reality). The relationship between the documentary and the state is examined in light of the genre's tendency to inform and instruct. We consider the tensions of filmmaking and the performative aspects in front of the lens, as well as the performance of the camera itself. Finally, we look at the ways in which distribution and television effect the production and content of nonfiction film. J. Hoffman. Spring.
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2.00 Credits
PQ: Prior or concurrent enrollment in CMST 10100. This is the first part of a two-quarter course. Taking these courses in sequence is strongly recommended but not required. This course introduces what was singular about the art and craft of silent film. Its general outline is chronological. We also discuss main national schools and international trends of filmmaking. J. Lastra. Autumn.
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3.00 Credits
PQ: Prior or concurrent registration in CMST 10100 required; CMST 28500/48500 strongly recommended. The center of this course is film style, from the classical scene breakdown to the introduction of deep focus, stylistic experimentation, and technical innovation (sound, wide screen, location shooting). The development of a film culture is also discussed. Texts include Thompson and Bordwell's Film History: An Introduction; and works by Bazin, Belton, Sitney, and Godard. Screenings include films by Hitchcock, Welles, Rossellini, Bresson, Ozu, Antonioni, and Renoir. Y. Tsivian. Spring.
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3.00 Credits
PQ: ARTV 10100 or 10200, and consent of instructor. Using the Macintosh platform, this course introduces the use of digital technology as a means of making visual art. Instruction covers the Photoshop graphics program and digital imaging hardware (i.e., scanners, cameras, storage, printing). In addition, we address problems of color, design, collage, and drawing. Topics of discussion may include questions regarding the mediated image and its relationship to art, as well as the examination of what constitutes the "real" in contemporary culture . Lab fee $70. J. Salavon. Winter.
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3.00 Credits
PQ: ARTV 10100 or 10200, or consent of instructor. This course is an introduction to video making with digital cameras and nonlinear (digital) editing. Students produce a group of short works, which is contextualized by viewing and discussion of historical and contemporary video works. Video versus film, editing strategies, and appropriation are some of the subjects that are part of an ongoing conversation. Lab fee $70. C. Sullivan, S. Wolniak. Winter, Spring.
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3.00 Credits
PQ: ARTV 23800 or consent of instructor. This is a production course geared towards short experimental works and video within a studio art context. Lab fee $70. C. Sullivan. Spring.
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3.00 Credits
This intensive lab introduces 16mm film production, experimenting with various film stocks and basic lighting designs. The class is organized around a series of production situations with students working in crews. Each crew learns to operate and maintain the 16mm Bolex film camera and tripod, as well as Arri lights, gels, diffusion, and grip equipment. The final project is an in-camera edit. Lab fee $100. J. Hoffman. Autumn.
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3.00 Credits
PQ: Consent of faculty adviser and Director of Undergraduate Studies. Students are required to submit the College Reading and Research Form. This course may be counted toward distribution requirements for the major. Autumn, Winter, Spring.
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3.00 Credits
PQ: CMST 10100. Required of students majoring in Cinema and Media Studies. This seminar is designed to provide fourth-year students with a sense of the variety of methods and approaches in the field (e.g., formal analysis, cultural history, industrial history, reception studies, psychoanalysis). Students present material related to their BA project, which is discussed in relation to the issues of the course. J. Lastra. Autumn.
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