Cinema Alternative Processes: FILM 3030
Students learn to process motion picture film in order to gain creative control over the cinematic image. Topics include negative, reversal, and print processing. Students will also be exposed to both the contact and optical printers through hands on activities. Alternative photographic processes are explored in order to relate them to the moving image. Students are encouraged to approach film as an art form and focus on creative control of image quality in order to explore new forms of visual expression.
Excavation Filmmaking (topic): FILM 4010 / ARTF 5010
Moving-Image Production course that combines research and ambitious field trips to produce short films and videos that emerge from an intense engagement with the past, present, and future of the world around us.
Recycled Images (topic): FILM 4010 / ARTF 5010
This course is a hands-on DIY workshop environment where students will create handmade short films without cameras, combined with an analytical film studies approach to screenings and discussions of artistic and historical practices in the art of cinema. Expect particular focus on direct animation and found-footage pioneers, from Len Lye to Craig Baldwin as well as the various and often anonymous creative defenders of free culture. Our adventures begin with the film-material itself, by the direct creation of images and sound on 16mm film using a variety of practical processes including etching, bleaching, painting, and collage. Students are encouraged to discover their own tools and methods, inventing a personal vocabulary of techniques.
Visiting Filmmakers Seminar: FILM 4030 / ARTF 5030
Examines creative issues in contemporary cinema art. Graduate and advanced undergraduate students explore filmmaking ideas with guest artists within a seminar setting. Filmmakers, videographers and programmers of national and international reputation, with an emphasis on "experimental" practice, interact with graduate and advanced undergraduate students, and discuss their work at seminar meetings, public lectures or events.
Elective Affinities: Avant-Garde Film and the Arts: FILM 4453 / ARTF 5453
Traces the history and aesthetics of avant-garde/experimental films in light of similar ideas found in the other arts, particularly painting, poetry, photography and music. Topics covered include Dada and the early avant-garde; surrealism and psychodramas; Brakhage and abstract expressionism; feminist arts and film since the 1980s; the idea of the sublime in painting, music, and film; landscape in painting, photography, and film; post-modernism and the cinema; queer theory, gender/identity politics, and aesthetics of recent films; and specific multiple disciplinary artists such as Andy Warhol, Michael Snow, Helen Levitt, and Gunvor Nelson.
Cinema Production 2: Experimental Option: FILM 4500 / ARTF 5500
This course will focus on the art and techniques of poetic/experimental/fine art filmmaking. Topics covered will include optical printing, contact printing, hand processing and chemical treatments, hand-painting, in-depth use of Pro Tools 5, sync sound cameras, and the Avid.
Creative Digital Cinematography: FILM 4600 / ARTF 5600
May be offered as “experimental” or “collaborative” option.
Experimental Option: Explores creative approaches to single camera digital cinematography through short projects, discussions, and screenings. Relates creative photography and poetic approaches to the digital cinema camera. Collaborative Option: Taught in tandem with FILM 3010-002, Audio Environments, and DNCE 4053/5053, Adv. Dance Composition. The classes will address a range of art making strategies from site-specific work, music concrete, to poetic moving image making. These three classes will work in parallel, meeting in the new ATLAS building’s 2700 square foot performance space throughout the semester to view, discuss and work on projects. Dance And Film -- A Poetics of Movement: Body/Sound and Image is an experimental approach to the creation of art for choreography, sound and the moving image within the context of everyday experience. All three of these elements will have equal footing in our collaborative exploration of movement, sound and moving image. The horizon of everyday experiences of sounds, images and movements which we take for granted become the fabric of our bricolage.