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  • FILM 302: Advanced Projects in Nonlinear Editing

    4.00 Credits
    Bard College

    An investigation of the mutual influence of sound and picture in audiovisual perception that is two parts postproduction (hands-on individual and collaborative sound projects) and one part theoretical analysis. Students explore the process of building tracks on digital nonlinear editing systems and the technical, aesthetic, and sonic relationships between sound and image in the production of cinematic, electronic, and digital works. Students should be familiar with the fundamentals of computer-based electronic media. Prerequisite: Film 300, equivalent experience, or by permission of the instructor.
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  • FILM 307: Landscape and Media

    4.00 Credits
    Bard College

    Designed for junior film and video majors, the course compares film and painted representations of the American landscape to those of television and video. Students are required to complete a short film or video referencing these issues. McKibben's Age of Missing Information is the primary text.
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  • FILM 311: Seminar in Contemporary Narrative Film

    4.00 Credits
    Bard College

    An open-ended, investigative seminar on several prominent narrative filmmakers whose international reputation emerged within the last 25 years. Special emphasis is placed on those artists whose work presents a particular challenge to or innovation in narrative form. The list of screenings may be augmented or altered by current releases or student interest, but includes films by Jim Jarmusch, David Lynch, Abbas Kiarostami, Aleksandr Sokurov, Peggy Ahwesh, Claire Denis, GuyMaddin, Hou Hsaio-hsien,Michael Haneke, Lars von Trier, Peter Greenaway, and Chantal Akerman. Enrollment limited to Upper College students, with preference given to those with a background in film criticism and history.
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  • FILM 312: Advanced Screenwriting

    4.00 Credits
    Bard College

    An intensive writing workshop in which students create a long-form screenplay that reflects a complex original idea. Weekly writing assignments and class critiques are at the core of the workshop, although issues such as adaptation, production-imposed practicalities, and the role of the marketplace are also discussed. Enrollment is by permission of the instructor.
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  • FILM 315: Cinemagic IX

    11.00 Credits
    Bard College

    This course, offered every two or three years, journeys through the idyllic times of pre-World War II, through the horrors of war, and into the wonders and magic of cinema. Many films are screened-some good, some bad, and a few that will long endure. Each screening is preceded by a theme song, a short film, and a lecture. The highlights of the course are the screenings of Masaki Kobayashi's The Human Condition, an 11-hour trilogy, and The Gospel According to St. Matthew, directed by Pier Paolo Pasolini. Priority is given to film majors.
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  • FILM 317: Film Production Workshop:Cinematography,the Film Image

    4.00 Credits
    Bard College

    This junior-level production workshop gives students working in film a more thorough understanding of a wide range of cinematic vocabularies and aesthetics unique to the language of film. Students finish short films that explore the qualities of film through extensive in-class exploration of film stocks, lighting techniques, and cinemagraphic strategies. The class visits a New York motion picture lab to better understand the photo/chemical implications of film in the age of digital imaging.
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  • FILM 319-320: Film Aesthetics Seminar

    4.00 Credits
    Bard College

    Special film-related topics, both theoretical and practical, are studied in depth. The seminar is designed for students who have already taken a film course or who, through personal experience and interest, have acquired some knowledge of the medium. Weekly screenings are held and a strong emphasis is placed on supplementary reading. Recent seminars have included the following.
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  • FILM 323: Thinking about Video Games

    4.00 Credits
    Bard College

    STS An analysis of computer gaming through philosophy, history, cultural theory, and art. Topics include the nature of games and their function in society; the qualities of human-computer interaction; depictions of gender, race, national identity and war; aesthetic theories of game design; ludology versus narratology in game studies; "serious games," game worlds, and virtualreality; videogame modification, machinima, and artist-made videogames. Readings include Wittgenstein, Winnicott, Huizinga, Caillois, McLuhan, Jenkins, Nakamura, Dibbell, Aarseth, Juul, Frasca, Poole, Atkins, Manovich, Bogost, and Galloway. Prerequisite: previous course work in film and electronic arts, art history, or philosophy.
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  • FILM 324: Seminar in Science Fiction

    4.00 Credits
    Bard College

    A critical examination of science fiction film from the silent era to today, with a special focus on the relationship between science fiction and the avant-garde. Readings include essays by Susan Sontag, Parker Tyler, Annette Michelson, Vivian Sobchak, Jean Baudrillard, and Scott Bukatman, as well as fiction by J. G. Ballard, Ursula Le Guin, Hugo Gernsback, Bruce Sterling, Philip K. Dick, William Gibson, and others. Topics include visualizing technology, gender, and sexuality; alien and robot as human countertype; futurism, utopia, and dystopia; Cold War and post-ColdWar politics as seen through science fiction; camp and parody; the depiction of consciousness and interior states; abstraction, special effects, and the sublime; counterfactuals and alternative history; and the poetics of science fiction language. Past course work in film is required.
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  • FILM 327: Cinematic Time

    4.00 Credits
    Bard College

    STS This course brings together critical and theoretical views regarding the cinematic representation of time. Topics of discussion include the aesthetics of time ("long-take style," ellipsis,realism, flashback); the narrative poetics of time (history and memory, the everyday); the relationship of cinema and photography; and how the ideas of duration, ephemerality, chance, stasis, and repetition are articulated through the technology of cinema. The screening program emphasizes work by East Asian filmmakers, including Akira Kurosawa, Hou Hsiao-hsien, KenjiMizoguchi, TsaiMing-liang, ShinjiAoyama, and Jia Zhangke. Readings consist of theoretical writings by Barthes, Bazin, Benjamin, Deleuze, Doane, Kracauer, and Pasolini, among others.
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