Lecture—3 hour(s); Laboratory—3
hour(s). Prerequisite(s): CDM 130 or TCS 130. The
art of character animation in three dimensional computer
animation. Movement theory, principles of animation, animation
timing. Development of technical and practical skills. Not
open for credit to students who have taken TCS 131. GE
credit: AH, VL. Effective: 2018 Fall Quarter.
Lecture/Discussion—3 hour(s); Laboratory—3
hour(s). Prerequisite(s): CDM 020 or ART 012; or
Consent of Instructor. Experimental approaches to the making
of film and video in the age of digital technologies. Builds upon
the foundation provided by CDM 020. Instruction in technical,
conceptual, creative, and critical skills for taking a project
from idea to fruition. GE
credit: AH, OL, VL. Effective: 2019 Winter
Quarter.
Lecture—3 hour(s); Term Paper. Evolution of media
technologies and practices beginning in the 19th century as they
relate to contemporary digital arts practices. Special focus on
the reconstruction of the social and artistic possibilities of
lost and obsolete media technologies. Not open for credit to
students who have taken TCS 005. GE
credit: AH, SE, VL, WE. Effective: 2019
Summer Session 1.
Lecture—3 hour(s); Film Viewing—3
hour(s). Prerequisite(s): CDM 001; or Consent of
Instructor. Study of an aspect of American film history
(such as the silent era; the studio system; U.S. avant-garde
cinema), including the influences of technological, economic,
regulatory, cultural, and artistic forces. May be repeated
up to 2 time(s) when topic differs. . GE
credit: AH, VL. Effective: 2021 Winter Quarter.
Lecture—3 hour(s); Laboratory—3 hour(s). Creative
application of electronic technology relevant to media and fine
arts involving both electronic principles and hands-on
application. Effective: 2019 Spring Quarter.
Seminar—1 hour(s). Workshops in technocultural digital
skills; Topics in Digital Production. May be repeated for
credit. GE credit: VL. Effective: 2012 Fall
Quarter.
Students majoring in TCS or Film Studies will have:
The basic technical and analytic vocabulary of film and media
form and criticism
The ability to historicize, situate, and reflect on the links
between aesthetics, technology, modes of production, sociology
and politics in moving image and audio media in different times
and spaces
A comparative perspective on film, media, and audio from
different historical periods, their styles, and national and
transnational contexts, in writing and orally
Introduction to different forms of critical analysis of media,
with focus on creative responses to the media within visual arts,
media arts, and net culture. Response of artists to the power of
mass media, from early forms of photomontage through contemporary
“culture-jamming” and alternative media networks.
Issues arising from historical and contemporary encounters
between the arts and sciences, with emphasis on comparative
notions of research, experimentation, and progress.
Lecture/Discussion—3 hour(s); Term Paper. Evolution of media
technologies and practices beginning in the 19th Century as they
relate to contemporary digital arts practices. Special focus on
the reconstruction of the social and artistic possibilities of
lost and obsolete media technologies. GE
credit: AH, SE, VL, WE. Effective: 2012
Fall Quarter.
Issues of technological and scientific developments as conveyed
through mass media and popular culture with special attention to
public spectacle, exhibitions, broadcasts, performances,
demonstrations and literary fictions and journalistic accounts .
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
Continuation of course 100 with further exploration of digital
cinema creation. Additional topics include new modes of
distribution, streaming, installation and exhibition.
This course will introduce students to the fundamentals of
creating interactive screen-based work. Subjects will include
theories of interactivity, linear versus non-linear structures
and audience involvement and participation. Students will utilize
various digital production tools to produce class projects.
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.
Included here are images of several music apps students created in TCS 110.
