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Course Criteria
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4.00 Credits
This course considers the emergence of American avant-garde film from the influences of European avant-garde filmmaking and literary modernists (like Pound, Stein, Beckett, Olson and Creeley). We will look at the aesthetics of avant-garde film as an alternative to mainstream film and to narrative film, focusing on aesthetics and philosophies that influenced the films and theories of filmmakers like Stan Brakhage, Kenneth Anger, Hollis Frampton, Maya Deren and Marie Menken.
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4.00 Credits
In this seminar, we will discuss ways in which fiction films have been influenced by the creative strategies of documentary films. These strategies include location shooting with non-professional actors, the creative use of chance, contingency and improvisation, the implementation or real-time or hidden cameras, and combining different styles and recording technologies, such as camcorders, web cams, news reporting, or video diaries. Filmmakers to be discussed include Pier Paolo Pasolini, Jean-Luc Godard, John Cassavetes, Claire Denis, Jean-Pierre and Luc Dardenne, Philippe Grandieux, Mike Figgis, and Brian de Palma.
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4.00 Credits
Focuses on relations of cinema to French culture from the silent era to the age of video. Explores film in dialogue with cultural and historical events, development of a national style and signature, a history of criticism. Correlates study of cinema to cultural analysis. Takes up Renoir and poetic realism, unrest in 1930s, France and other filmic idioms (Italy, Hollywood, Russia), new wave directors, feminist and minoritarian cinema after 1980.
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4.00 Credits
This class explores the films, career and legacy of Alfred Hitchcock, one of the legends of the American cinema and arguably among the most influential artists of the twentieth century. Using a range of diverse critical approaches to closely study key examples of Hitchcock's intricate and obsessive tales of murder and suspense, this course also traces a history of the classical Hollywood studio system that Hitchcock's remarkably successful career helped define.
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4.00 Credits
What role does a studio "foundation" play in a technologically and ideologically diverse moment? This will be a painting foundations course, with an emphasis on building skills and exposure to different materials and methods; yet, we also aim to question what the grounds for a painting practice could be, with consideration of conceptual and personal motivation, technical proficiency, and openness to process and experimentation.
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4.00 Credits
Titled after Phillip Guston, this course has two agendas: technical assignments that improve your ability to move paint around, and laying conceptual groundwork for personal projects. One task of an artist is to have a relationship with a world. We will discuss the social role of artists and the boundaries between interior and exterior discourse, with an emphasis on artists' writing, both critical and self-reflexive, treating self-expression as well as abnegation: auteurs, flaneurs, ventriloquists.
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4.00 Credits
A studio course, for making things out of other things, attending to the realms of demolition, waste, surplus, and detritus.
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4.00 Credits
A course in which to undertake individual and collaborative projects, while considering site-specificity, ecology, ephemerality, and sustainability.
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4.00 Credits
Introduction to still photography through individual and group exercises, with an emphasis on the medium as a vehicle for expression, documentation, and personal vision. Covers necessary technical, historical, and aesthetic aspects of the medium.
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4.00 Credits
Introduction to still photography with an emphasis on the medium as a vehicle for expression and personal vision. Covers technical, historical, and aesthetic aspects of the medium. Class is organized around slide lectures, individual meetings, group critiques, and readings.
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