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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
How do we read images? How do they act on us? What do they ask us to do––to feel? In Camera Lucida, Roland Barthes illuminates a crucial link between feeling and photography, positioning
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
