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Course Criteria
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4.00 Credits
Is adaptation translation or response? This workshop takes on all kinds of inspirational forms-music, science, painting, literature, dance, philosophy, etc.-and uses them as the basis for cinematic adaptation. Through a series of exercises, students engage an outside work and translate it to film.
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4.00 Credits
Students are guided through all phases of postproduction, from an assembly cut to sound mix to getting an answer print made. The course consists of in-class viewings, analysis of editing strategies, critiques of student projects from start to finish, and technical instruction. Advanced postproduction steps covered include creating a sound track, making and shooting titles, preparing the film for the lab (original cutting, hot splicing, A&B rolling), and obtaining corrected answer prints. Also discussed are options for labs, sound-mixing facilities, optical houses, grant writing, and future exhibition.
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4.00 Credits
Advanced digital video postproduction skills are taught in the context of human rights documentaries. Working with Witness, an advocacy organization that uses video technology and media campaigns to promote and secure human rights around the world, students produce short documentary projects for webcast. Using footage shot byWitness partner groups and working in teams, students produce short "Rights Alerts" fromstart to finish, including tape logging, research on issues and advocacy objectives, liaison with human rights advocates, script preparation, narrative strategy, sound and narration, editing and production, and webcasting.
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4.00 Credits
This workshop is designed for juniors and firstsemester seniors in preparation for shooting an ambitious video or film project (narrative, experimental, or documentary). The first portion of the course is devoted to script revision and development, with an emphasis on craft and production feasibility. Using the revised screenplay as a map, the second half of the course is devoted to creating a detailed production plan. Students are expected to present choices for media, stock, lighting, production design, editing strategies, sound, locations, tone, and casting as an extension of the central ideas expressed in their scripts. Students are also expected to bring a draft of a script they plan to shoot to the first class meeting.
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4.00 Credits
This workshop investigates the making of video art using the recently abandoned technologies of analog video. Students focus on the video signal as a carrier of luminance and chrominance that can be manipulated and degraded through a reexamination of closed-circuit performance and real-time processing and mixing. Prerequisite: permission of the instructor.
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4.00 Credits
A video production workshop designed for the virtual classroom Bard shares with Smolny College in Russia. Students produce individual video works in response to assignments but also collaborate with their peers abroad on projects that utilize such communication and exchange possibilities as e-mail, iChat, and file exchange. This course is an opportunity for critical investigation of virtual communication and related technologies as well as a chance to explore directly these new modes as they apply to art making. Demos and in-class exercises are supplemented by readings, critiques of work in progress, and screenings of related work.
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4.00 Credits
The 1960s was a decade of political upheaval, fast-paced social change, cultural ferment, and extraordinary creativity in cinema. This course, the first of a two-part series, presents and discusses the work of European directors who made their cinematic debuts in (or on the cusp of) the 1960s. Special emphasis is given to Italian filmmakers such as Pasolini, Bertolucci, Leone, Bellocchio, and Ferreri; the French New Wave (Godard, Truffaut, Resnais, Varda, Demy, Chabrol); and the British Free Cinema movement (Richardson, Lester, Anderson). Also examined is the work of directors from Germany (Kluge, Schl?ndorff, Fassbinder, Straub and Huillet) and Eastern Europe (Menzel, Forman, Jancsó, Polanski, Tarkovsky). A basic knowledge of European film history is highly desirable.
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4.00 Credits
This course traces the connections between surrealism and film culture, ranging from early 20th-century European experimental films to the narrative features of Luis Bu?uel and Cinema Novo to Japanese avant-garde cinema of the 1960s and 1970s. Through this spectrum of case studies, the course frames the critical project of surrealism as both an aesthetic discourse and a theoretical endeavor extending across the fields of art history, cinema studies, psychoanalysis, materialist philosophy, sociology, and anthropology. Readings include works by Georges Bataille,Michel Leiris, André Breton, Hal Foster, Rosalind Krauss, Linda Williams, and Fatimah Rony. Open to Upper College and qualified students by permission of the instructor.
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4.00 Credits
This course, the second of a two-part series on cinema in the 1960s, presents the work of filmmakers from Asia, Africa, and Latin America. Special emphasis is given to directors from the Japanese New Wave (Teshigahara, Oshima, Imamura, Fukasaku, Suzuki, Masumura); India (Ghatak, Sen, Kaul); the emerging national cinemas in postcolonial Africa (Sembène, Hondo, Chahine, Rachedi); and the New Latin American Cinema (Rocha, Andrade, Solanas, Alvarez, Gutiérrez Alea, Solas.
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4.00 Credits
An examination of the electronic networks of contemporary digital culture and its recent past, this course explores a variety of information systems, virtual communities, and online art projects and examines them critically in readings from cultural theory, policy, history, and aesthetics. Each student is expected to design and mount an online project.
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