Lecture—3 hours; laboratory—3 hours; film viewing—2 hours; project. Prerequisite: recommended: course 5/Technocultural Studies 5 and/or Film Studies 1. Introduction to filmmaking concepts, principles, and methods. Hands-on exercises build critical and creative capacities. Emphasis on form, content and the historical dialectic between classical narrative filmmaking conventions and artists’ challenges to these conventions. Weekly Lab, Lab Preparation, and Evening Screening. GE credit: ArtHum | AH, VL
An introduction to the intricate, inter-related strands of media history since the Second World War, focusing on the rise of the digital computer and network technology. First, in Military/Industrial/Academic research centers during the Cold War, and then across society in the last thirty years as it spread from the office to the home to our hands. Lecture 3 Hours, Section 1.
What is the impact of movies around the world? Films are international products with global audiences, and that’s how we’ll study them in this class, from the very beginning of cinema to World War Two. The spectrum of films viewed includes silent films and sound films, black and white films and color films, cartoons and live-action, made by Charlie Chaplin, Walt Disney, and many other of the era’s great filmmakers from the United States, France, Russia, China, Mexico and elsewhere.
Lecture—2 hours; discussion—1 hour; film viewing—3 hours. Analysis of film form and narrative, including cinematography, editing, and sound. Issues in film studies, including authorship, stardom, race, gender, class, and cultural identity. Includes introduction to selected cinematic movements and national film traditions. GE credit: ArtHum, Wrt | AH, OL, VL, WC, WE.
Lecture—3 hours; extensive writing. Contemporary developments in the fine and performing arts, media arts, digital arts, and literature as they relate to technological and scientific practices. GE credit: ArtHum | AH, VL, WE.
Lecture/discussion—3 hours; laboratory—3 hours; fieldwork—6 hours. Prerequisite: Cinema & Technocultural Studies 20 or equivalent; one course in Women and Gender Studies, or consent of instructor. Media production as a mode of cultural criticism, furthering feminist and social justice goals. Fundamentals of camera, editing and distribution via a social engagement model. Study and hands-on response to key historic and contemporary feminist and social justice media discourses. (Same course as Women’s Studies 165.) Offered in alternate years.
Study of the ubiquitous presence of CCTV, face recognition software, global tracking systems, biosensors, and data mining practices that have made surveillance part of our daily life. Study boundaries between security and control, information and spying.
Lecture/discussion—3 hours; film viewing—3 hours. Prerequisite: course 1, upper division standing, or consent of instructor. Group study of a special topic in film, focusing on a national tradition, a major filmmaker, or a specific era. May be repeated three times for credit. GE credit: ArtHum, Wrt | AH, OL, VL, WE. —F, S. (F, S.) Clover, Constable, Fisher, Heyer-Caput, Lu, Simmon, Smoodin
Lecture/discussion—3 hours; laboratory—3 hours. Experimental approaches to the making of film and video in the age of digital technologies. Opportunities for independent producers arising from new media. Instruction in technical, conceptual and creative skills for taking a project from idea to fruition. GE credit: VL
Lecture/discussion—3 hours; laboratory—3 hours. Prerequisite: course 1. Introduction to object-oriented programming for artists. Focus on understanding the metaphors and potential of object-oriented programming for sound, video, performance, and interactive installations. GE credit: VL.—S. Ostertag
Lecture/discussion—3 hours; laboratory—3 hours. New feature and documentary production for radio and other audiophonic media, including audio streaming Web sites and installation. Emphasis on new and experimental approaches to audio production for broadcast on community radio and in international arts programming.
Lecture/discussion—3 hours; term paper. Recent evolution of the documentary. The personal essay film; found-footage/appropriation work; non-linear, multi-media forms; spoken word; storytelling; oral history recordings; and other examples of documentary expression. GE credit: ArtHum
Starting with a Super Mario Bros. cartridge and a Nintendo Entertainment System (NES), in this class each student will modify or “mod” vintage videogame equipment in order to explore the rich materiality of technical media, the intimate relationship between analog electronics and digital code, and the complex ecologies formed around both hardware and software.