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Zoetropes and phenakistascopes, flip books, sand or rice, charcoal, clay, multiplane and 2d puppets, as well as paint will be the 7 ways to create animated objects, abstractions and figures. These are just a few examples of ways to explore the elements of movement in time-based media. In this course, we will explore the above ways to create or imply movement as well as
This semester-length, 2-credit course, intended for students who will continue to the Advanced Projects in Film/Video II course in spring 2023, supports advanced students in planning, pre-production, and early production (or for 8th term students, post-production and finishing) for more complex, larger-scale, longer-duration, self-directed
Students will work towards completing one moving image piece or body or work of their own devising during the course of the semester. This course is primarily intended for seventh- and eighth-term students with a Plan concentration in Film/Video who have already taken Advanced Projects I in the prior fall, but exceptions may be made by permission of the instructor. Students
Students will work towards completing one moving image piece or body or work of their own devising during the course of the semester. This course is primarily intended for seventh- and eighth-term students with a Plan concentration in Film/Video who have already taken Advanced Projects I in the prior fall, but exceptions may be made by permission of the instructor. Students
This production course is designed to get students producing video immediately: we will look at basic techniques with an emphasis on simple and self-devised methods of media production, efficient approaches to lighting and sound, and emphasize quick turnover time to create a great amount of work in a relatively short period of time. The course will address hybrid methods
Self-reflexive narratives, improvisation, non-linearity, slow cinema, alternative representations of time and space, experimental film grammars, poetic scripts, collective direction, Brechtian techniques. All of these processes and more will be explored in this hands-on production based course. Working collaboratively and on your peers’ work in various roles is
In his re-interpretation of psychoanalytic structures, Jacques Lacan described the feminine position not as a gender or an identity but as a form of “jouissance”, a word that is related to enjoyment, but in his use is more akin “getting off on”. This feminine jouissance is available to any subject regardless of gender. According to this proposition, the
This is an intensive seminar on films about film, films that undo themselves, films that analyze their own methods of construction, and films that examine the assumptions of filmic grammar. The course is a primer on film theories through the work of the filmmaker-as-theorist such as Harun Farocki, William Greaves, Straub and Huillet, Jean-Luc Godard, Laura Mulvey,
In this one-credit film course, students will watch 5 out of the 10 international films screened in Kinoteca and Tishman on Saturday September 5, between 6pm and 6am. The films, all selected for their thought-provoking nature, cover a variety of cinematographic genres. The event is designed to enhance filmic appreciation in a collective experience. Assignments will
This course engages students with authentic texts, audio, and visual materials drawn from traditional and contemporary literature, film, and other art forms. Through these sources, students will critically explore issues of gender, gender inequality, and sexuality, including LGBTQ perspectives, in Chinese and Taiwanese cultural contexts.
French literature and film have always reciprocally inspired one another – as early as 1897, Lumière represented the main characters of Hugo’s "Les Misérables". This course will offer students the opportunity to analyze literary representations of women and their film adaptations in terms of intermediality and intertextuality. Adaptations will include: "The Nun" (Diderot
Intermediate Video builds on the concepts and technical skills introduced in Intro to Video, and has a different theme each term. This semester of Intermediate Video will be focused on the following thematic, conceptual and formal questions. Documentary as a form or genre has expanded over the past century to encompass a wide range of
Since the early 20th century cameras have been on the move, not always stuck to a fixed point of view but rambling, sometimes overhead or moving as fast as a train. Cameras take on the movement cues from the culture—peering over the shoulder, through keyholes, onto phone screens in moments of cultural paranoia,or drone-ing about like the all-seeing eye of warfare. In
Intermediate Video builds on the concepts and technical skills introduced in Intro to Video, and has a different theme each term. This semester of Intermediate Video will be focused on the following thematic, conceptual and formal questions. What are the truth claims made by different genres and forms of film and video? How have artists
An introduction to 16mm film techniques, students will shoot and edit analog 16mm film, develop by hand and finally will transfer film to video. Through screenings, experiments and hands-on workshops students will learn about cinematography and the photochemical process. Taking advantage of the special tactile, tangible nature of
An introduction to 16mm film techniques, students will shoot and edit analog 16mm film, develop by hand and finally transfer film to video. Through screenings, experiments and hands-on workshops students will learn about cinematography and the photochemical process. Taking advantage of the special tactile, tangible nature of analog
This production course introduces students to the fundamentals of working in video and the language of film form. Drawing on the energy, intensity and criticality of avant-garde film and contemporary video art practices, students will complete a series of projects exploring all basic aspects of film/video production (centered on DSLR cameras), such as cinematography, mise-en
This production course introduces students to the fundamentals of working in video and the language of film form. Drawing on the energy, intensity and criticality of avant-garde film and contemporary video art practices, students will complete a series of projects exploring dimensions of cinematography, mise-en-scène, editing and sound design before producing a final self
This production course introduces students to the fundamentals of working in video and the language of film form. Drawing on the energy, intensity and criticality of avant-garde film and contemporary video art practices, students will complete a series of projects exploring dimensions of cinematography, mise-en-scène, editing and sound design before producing a final self
Since its inception, film has been used for propaganda - disseminating information with a particular slant, whether subtle or obvious - by regimes and independent players across the political spectrum. As the means of production and circuits of distribution become ever more accessible to individuals, we have moved from an era of focused
Speculative fiction is storytelling that starts with something real, some phenomenon observable in the present or recent past, and asks “What if?” - extrapolating into the future or alternate realities. Critical fabulation, as coined by Saidiya Hartman in the essay “Venus in Two Acts,” is a method for recovering unwritten histories. By
In this course, students will explore contemporary Taiwanese society, one of Asia’s safest, happiest, and most progressive, through audio, video, and print media. They will examine everyday life, social trends, and Taiwan’s political landscape, including women’s 42% representation in the legislature, the rise of single women keeping pets, and Taiwan as the first Asian
Taiwanese films are characterized by a distinctive human warmth, a grounded and realistic portrayal of everyday life, and a strong sense of place conveyed through natural landscapes and local settings. Many films focus on the perspectives of ordinary people, addressing social issues and expressing concern for real-life experiences. Themes often explore identity, gender, and
This course is a seminar focusing on films that were made by filmmakers and collectives which saw themselves as inaugurating a new kind of filmmaking modeled neither on the commercial American filmmaking, nor on the European “Auteur” Cinema, instead crafting a third position, a cinema that was implicated in anti-capitalist and anti-imperialist struggles of the time. These
