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Showing 25 Results of 7796

Camera and the Body: Peculiar Ways of Knowing — DAN4142.01

Instructor: Elena Demyanenko Erika Mijlin
Days & Time:
Credits: 4
This hands-on course will utilize moving camera exercises, selected film screenings and improvisational games to give students an opportunity to expand and refine their own visual sensibilities, with the goal of creating collaborative dance-film projects. We will explore and analyze the creative choices available and practical tools needed when we instigate an

Camera and the Body: Peculiar Ways of Knowing — DAN2208.01

Instructor: Elena Demyanenko
Days & Time: TU 2:10pm-4:00pm
Credits: 2

This course delves into the interdisciplinary art of screendance, examining the mediatization of the moving body within cinematic and site-specific contexts. By exploring the dynamic collaboration between camera, body, and environment, students will study a range of methods used by film and video artists—both historical and contemporary

Camera and the Body: Peculiar Ways of Knowing — DAN4142.01) (cancelled 9/26/2023

Instructor: Elena Demyanenko
Days & Time:
Credits: 4
This hands-on course co-taught by dance faculty Elena Demyanenko, with guests video-artists present will utilize camera/iPhone exercises, selected film screenings (to understand a range of perspectives), and improvisational games to give students an opportunity to expand and refine their own visual sensibilities with the goal of creating collaborative dance and camera

Camera and the Body: Peculiar Ways of Knowing — DAN4142.01

Instructor: Elena Demyanenko with guest faculty Ray Sun
Days & Time:
Credits: 4
This hands-on course co-taught by dance faculty Elena Demyanenko and guest video-artist Ray Sun will utilize moving camera exercises, selected film screenings and improvisational games to give students an opportunity to expand and refine their own visual sensibilities, with the goal of creating collaborative multi-media projects. We will explore and analyze the creative choices

camera mounts — SCU2117.01

Instructor: John Umphlett
Days & Time: MO 1:40pm-5:20pm
Credits: 2

Have you ever wanted to mount a camera somewhere, or on something to capture a shot otherwise unreachable? Catapult a phone in a directed safe controlled path for a smooth shot of Jill smoldering her cigarette into the heel of her shoe.  Sure there are endless attachments for your devices on tiktok that someone else is making, but how

Camera Mounts I — SCU2117.01

Instructor: John Umphlett
Days & Time:
Credits: 2
Have you ever wanted to mount a camera somewhere, or on something to capture a shot otherwise unreachable? Catapult a phone in a directed safe controlled path for a smooth shot of Jill smoldering her cigarette into the heel of her shoe. Sure there are endless attachments for your devices on kickstarter that someone else is making, but how about you take a shot at it. This seven

Camera Mounts I — SCU2117.01

Instructor: John Umphlett
Days & Time:
Credits: 2
Have you ever wanted to mount a camera somewhere, or on something to capture a shot otherwise unreachable? Catapult a phone in a directed safe controlled path for a smooth shot of Jill smoldering her cigarette into the heel of her shoe. Sure there are endless attachments for your devices on Kickstarter that someone else is making, but how about you take a shot at it. This seven

Camera Mounts I — SCU2117.01

Instructor: John Umphlett
Days & Time:
Credits: 2
Have you ever wanted to mount a camera somewhere, or on something to capture a shot otherwise unreachable? Catapult a phone in a directed safe controlled path for a smooth shot of Jill smoldering her cigarette into the heel of her shoe. Sure there are endless attachments for your devices on kickstarter that someone else is making, but how about you take a shot at it. This seven

Camera Mounts II — SCU4117.02

Instructor: John Umphlett
Days & Time:
Credits: 2
This second part seven-week intensive course is a continuation of part one. Now you will be responsible for the image capture idea and will need to develop drawings, working products, and maintain a research and development log. The video or still camera must be considered seriously as now your image will carry and equal value as the mounting mechanism for your evaluation. You

Camera Mounts II — SCU4117.02

Instructor: John Umphlett
Days & Time:
Credits: 2
This second part seven-week intensive course is a continuation of part one. Here you will be responsible for the image capture theme and will need to develop drawings, working products, and maintain a research and development log. The video or still camera must be considered seriously as now your image will carry and equal value as the mounting mechanism for your evaluation.

Camera Mounts II — SCU4117.02

Instructor: John Umphlett
Days & Time:
Credits: 2
This second part seven-week intensive course is a continuation of part one. Now you will be responsible for the image capture idea and will need to develop drawings, working products, and maintain a research and development log. The video or still camera must be considered seriously as now your image will carry and equal value as the mounting mechanism for your evaluation. You

Camera Performances — PHO2114.01

Instructor: Luiza Folegatti
Days & Time: FR 8:30am-12:10pm
Credits: 4

This class will look at the intersection of photography and performance art inside the contributions of feminist and queer practices. Students will respond to different performance prompts, alternating between the roles of performers and photographers, and thinking about ways to use the camera as an artistic and documentation tool. They will also engage in readings and

Camera Performances — PHO2114.01

Instructor: Luiza Folegatti
Days & Time:
Credits: 4
This class will look at the intersection of photography and performance art inside the contributions of feminist and queer practices. Students will respond to different performance prompts thinking about the role of the camera as an artistic and documentation tool. They will also engage in readings and analysis of works from BIPOC and LGBTQIA+

Campaign Coverage in an Age of Disinformation — APA2350.01) (day/time change 7/8/2024

Instructor: Susan Sgorbati
Days & Time:
Credits: 2
Taking Hannah Arendt’s 1967 New Yorker article “Truth and Politics” as a foundational text, this course will examine how the 2024 election is being covered, and should be covered, in an age when basic facts about politics, history, and voting itself are in dispute. Truth and politics have always lived in a wary co-existence, as Arendt writes, but the modern tools of campaigning

Can Restorative Justice Work in Cases of Intimate Violence? — APA4163.02

Instructor: Susan Sgorbati
Days & Time:
Credits: 2
Restorative practices have been considered inappropriate and even dangerous for situations in which there has been sexual an intimate violence. Why is this and are there ways to bring a restorative approach to harms of this nature? In this class we will read trauma and feminist theory in order to ground ourselves in some of the background literature that has traditionally been

Canta che ti passa: Italian Commentary in Music — ITA4117.01

Instructor: Barbara Alfano
Days & Time: TBA
Credits: 4
"‘Canta che ti passa," (Sing and you’ll feel better), says an old Italian adage. Yet, Italians do not always sing to forget their troubles. Much of the Italian musical tradition expresses social and political commentary, seriously or ironically. Songs as diverse and far apart in time as Toto Cotugno’s populist "L’italiano" (An Italian, 1983), Giorgio Gaber’s intellectually

Canta che ti passa: Social Commentary in Music — ITA4117.01

Instructor: Barbara Alfano
Days & Time: TBA
Credits: 4
'Canta che ti passa,' 'Sing and you'll feel better,' says an old Italian adage. Yet, Italians do not always sing to forget their troubles. Much of the Italian musical tradition expresses social and political commentary, seriously or ironically. Songs as diverse and far apart in time as Toto Cotugno's populist 'L'italiano' (An Italian, 1983), Giorgio Gaber's intellectually

Canta che ti passa: Social Commentary in Music — ITA4403.01

Instructor: Barbara Alfano
Days & Time:
Credits: 4
Canta che ti passa,’ ‘Sing and you’ll feel better,’ says an old Italian adage. Yet, Italians do not always sing to forget their troubles. Much of the Italian musical tradition expresses social and political commentary, seriously or ironically. Songs as diverse and far apart in time as Toto Cotugno’s populist ‘L’italiano’ (An Italian, 1983), Giorgio Gaber’s intellectually

CAPA Advanced Workshop — APA4256.01

Instructor: Susan Sgorbati
Days & Time: WE 8:30am-12:10pm
Credits: 4

The CAPA Workshop is for Seniors who are engaged in their advanced work and want to complete a project as part of it in Public Action.Students are able to connect this work to any area of study at Bennington College. Each student will be required to assemble a digital portfolio that will include their research or thesis, along with a description and implementation of their

CAPA Advanced Workshop — APA4256.01

Instructor: Susan Sgorbati
Days & Time:
Credits: 4
This course is for students who are doing advanced work in public action. Students create a digital portfolio that includes a project in a specific local, national or international community. Students will build this portfolio over the term that includes their research, documentation and a final showing of work. Most students connect this project to work in another discipline

CAPA Advanced Workshop — APA4256.01

Instructor: Carly Rudzinski
Days & Time:
Credits: 4
This course is for Seniors who are focusing on Advanced Work in Public Action. It involves producing a digital portfolio that will be housed in the Crossett Library. The portfolio includes research, a mission statement, theory of change and a plan of action with supporting materials (video, photography, images, etc.). Students should be engaged in advanced work in a discipline

CAPA Advanced Workshop — APA4256.01

Instructor: Susan Sgorbati
Days & Time:
Credits: 4
This course is for Seniors who are focusing on Advanced Work in Public Action. It involves producing a digital portfolio that will be housed in the Crossett Library. The portfolio includes research, a mission statement, theory of change and a plan of action with supporting materials (video, photography, images, etc.). Students should be engaged in advanced work in a discipline

CAPA Advanced Workshop — APA4256.01

Instructor: Susan Sgorbati
Days & Time:
Credits: 4
This class is for Seniors who are completing their advanced work in public action. Students will complete a digital portfolio that will include a description of their project, their research, and how they will implement their work in a specific location. The project can be local, regional, national or international. Students are encouraged to connect their Field Work Term to

CAPA BYC Catalogue 2025 (Building Your Community) — APA2029.01

Instructor: Susan Sgorbati
Days & Time:
Credits: 2
In 1968, during the heyday of the '60s counterculture and the turmoil of the Vietnam War, the Whole Earth Catalogue was published. The publication's motto was "access to tools" providing readers with 'do it yourself' advice that could allow them to be more self-reliant and get more in touch with nature. This class is for students to envision the Future Community Catalogue 2025.

CAPA Workshop: Rethinking Education — APA4208.01

Instructor: Liz Coleman
Days & Time:
Credits: 4
We start with as deep and thoughtful an exploration as we can manage of what education should be, then look at what it is in order to take on the challenge of what it will take to close the gap between the two. We focus initially on the United States where its historic position as a model to the world with respect to public education has radically altered. Despite having a