|
|
Course Criteria
Add courses to your favorites to save, share, and find your best transfer school.
-
3.00 Credits
In conjunction with visiting professionals/faculty, students will get real world experience helping to create the regional online arts journal, RADAR REDUX. Involves critical writing, video, webcasings, and podcasting. This course is cross-listed with and will meet at MICA.
-
6.00 Credits
Prereqs: 061.145 or 061.150 In this production course, to be taken simultaneously with Seminar on Narrative Production (061.357), students participate in the production of short narrative films, from the pre-production stage to post production. Students are required to present their own screenplays for a short, 15-20 minute fiction film at the beginning of the course, two to three of which will be selected for production. The class divides into production teams, each focused on developing one of the chosen scripts, and sees their film through all stages of filmmaking: budgeting, location scouting, casting, shooting, editing, and promoting. All films will be premiered at an open screening at the end of the semester. This course is a collaboration between the Maryland Institute, College of Art and Johns Hopkins University. Students from both institutions are eligible to enroll. The course will be co-taught by cinematographer Allen Moore (MICA) and independent feature filmmaker Matt Porterfield (JHU).
-
3.00 Credits
Through a series of workshops and lectures on production design, directing, cinematography, and art direction, students will be guided through the process of making a feature film for Narrative Production (061.356). The art and craft of fiction filmmaking—how and why we tell stories through cinema—will be the underlying theme of the course. We will also discuss effective strategies for completing a successful film. Required screenings and workshops with visiting filmmakers, as well as regular readings and assignments, will augment class lectures and discussions.
-
1.00 Credits
Writing a screenplay and physically shooting are the easy part of filmmaking; it's the pitching, rewriting, developing, packaging, and ultimately "selling" it that are the tricky parts. We will discuss how production companies and studios decide to option or purchase articles, stories, novels, screenplays, or ideas and put them into development and why sometimes it can take a minimum of a year and a half to 10 or more years for them to ultimately be made. The roles of writers, directors, producers, financiers, studio executives, agents, and even actors in the continued development process will be discussed. What is "packaging" and how does it work? What pitfalls exist that might put your project/script into "turnaround" thus ending your "development hell" (or maybe even starting it all over again)?
-
3.00 Credits
Prereqs: 061.140 or 061.141 or permission: lbucknell@jhu.edu. $40 Lab fee Violence, ritualized and anarchic, celebrated and deplored in popular film from silent era melodrama and slapstick comedy to contemporary sports, crime, and combat films. Twice-weekly screenings; oral presentation; two essays, 6 & 12 pp. Lecture Wednesday 4:30-7pm, Screenings Monday/Tuesday 7:30-10pm.
-
3.00 Credits
Conducted in English. An exploration of French cinema of the 1930s and the movement that produced some of the most influential masterworks of world cinema; focus on close analysis of films. Lecture Tuesday 1:30-4pm, Screening Monday 7:30-10pm. $40 Lab fee
-
3.00 Credits
This course is run in close conjunction with the Johns Hopkins Film Society. Half of the work you will be doing in this class will be geared toward the Film Society’s 2011 Film Festival in its programming, marketing, budgeting, organization, scheduling, and interaction with both filmmakers and the community. In this class, you will learn to program, execute, and run a film series and gain the tools to create and run a Film Festival. You will, then, learn how to do historical and aesthetic research to craft a project proposal, hone it so it is the best possible version of your idea, market it so that it succeeds, project its films on 35mm, introduce its films with short lectures to an audience, answer a Q&A about your films, interact with audiences, make connections with filmmakers and "curate" a film of your choice, and, essentially make the entire thing come off without a hitch. We focus, then, on a set of interlocking skill sets: film programming and projection, series organization and planning, and audience outreach as well as event management.
-
3.00 Credits
This course explores the intersection between historiography – that is, the theory of history – and its relationship to the moving image. How does film as a medium relate to history as a concept? How does film express its own form of an idea of history? How is film, perhaps, itself historical in the way it works? In this course, we will read the work of Walter Benjamin, Frederich Neitzsche, and Jeffrey Skoller, among others. Students are expected to enter the course ready to engage in discussion. Lecture Tuesday 1:30-4pm, Screening Monday 7:30-10pm. $40 Lab fee
-
3.00 Credits
Not Available
-
3.00 Credits
Not Available
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|