Film, Video and New Media 2000 Mondays, 9 am — 4 pm 112 S. Michigan Bldg, Room 315

Melika Bass Lori Felker TA email: abass@saic.edu email: lfelke@saic.edu Emilie Crewe O!ce: MI 330 M" O!ce: MI 1401 TW" 2nd Year Grad Student, FVNM Meetings by appointment. Meetings by appointment. Please email in advance. Please email in advance.

"is class is designed to introduce students to the language and history of moving images and the ways in which a broad range of artists have used them. In addition it aims to introduce students to media making methods via hands-on production exercises and assignments. "e course will examine ideas of radical content and experimental form by establishing the normative models and procedures of cinema and video, as well as showing the ways artists have challenged these conventions. "e course will explore the dominant forms of the moving image -- film, video, new media, animation, and installation. We will combine lectures, readings, screenings, and discussion; collaborative production projects and critiques; and welcome visiting media artists.

"e class will meet every Friday from 9:00 a.m. - 4:00 p.m., with a one-hour lunch break usually at noon. Class will not meet during Graduate Critique Week or over Spring break. Attendance and punctuality are required. Attendance will be taken every class. You will be considered late if you arrive after 9:15 am. Attendance will also be taken at the beginning of the afternoon session; you will be considered late if you arrive after 1:15 pm. Two “lates” are considered one absence. "ree absences mean NO CREDIT for the class. Keep in mind that quizzes are given at the beginning of class and no make-ups will be offered. If you are late you will also miss the quiz; if you miss a quiz you will not earn the points for that quiz.

If you know in advance that you will miss class you need to notify one of the instructors via email IN ADVANCE.

PLEASE NOTE: 3 absences = NO CREDIT 2 lates = 1 absence Sleeping in class = # absence

Credit for the course is earned by completing “C” level or above.

Grades are based on the following 25% group projects 20% individual video projects (performance/in-camera edit & 30 sec. edit) 20% critical writing assignments (blog response & compare/contrast analysis paper) 15% class participation in discussions and demos 10% pre-production materials 10% quizzes

Each student is strongly encouraged to keep a journal or notebook not only for notes from class, but also for questions, ideas and sketches, plans for projects, storyboards, scripts, site maps, location notes, etc.

Inexpensive headphones (for editing in the lab) are available in the Media Center vending machines located in the 112 Media Center and 3rd floor of Sharp buildings; you can purchase items with your articard. Groups will split the cost of supplies needed for class and final projects. Film stock and processing fees will be provided for the in-class film project. If you choose to make a film for your final project, your group will have to pay for the stock and processing. Each 100’ roll of 16 mm film costs around $40 for both the stock and processing. Please see your instructors for more info.

Readings and links will be posted on the coursepage on the portal and/or handed out in class. Students are required to log in to the portal and access the class web page as assigned.

"e department of Film, Video and New Media presents a visiting artist/screening series called Conversations at the Edge (CATE) every "ursday evening at the Gene Siskel Film Center (located at 164 N. State Street). You are also strongly encouraged to see as many of these screenings as possible. "ey provide a rare opportunity to see innovative films and videos, and talk directly with the artists! "ere is a small admission charge ($4) for SAIC students. Please bring thoughts about what you see, hear, or are moved by to class.

Any student in need of academic adjustments or accommodations because of a disability should first contact SAIC’s Disability and Learning Resource Center (DLRC), formerly Services for Students with Disabilities. "e Disability and Learning Resource Center can be reached by phone at 312.499.4278 or by sending an email to Sara Baum at sbaum@artic.edu. DLRC will review the student’s disability documentation and will work with the student to determine reasonable accommodations. DLRC will then provide the student with a letter outlining approved accommodations. "is letter must be presented to the instructor before any accommodations will be implemented. Students should contact DLRC as early in the semester as possible.

"e Writing Center is located in MC B1-03 (the basement of 112 S. Michigan), where tutors are available to help you with any stage of the writing process. "e Writing Center is open Monday through Saturday. Sign-up sheets are posted in the hall outside of the tutoring suite. If you have any questions, contact the Writing Center Coordinator, Leila Wilson, at lwilson@saic.edu or 312.345.3588

WEEK 1 !! MONDAY, FEBRUARY 1

INTROS, EARLY MOVING IMAGE HISTORY

AMIntroductions; instructors and students discuss their background, interests and experience. Review syllabus, course expectations.

SCREEN/DISCUSS STRANGER WITH A CAMERA (Elizabeth Barrett, 2000, 58m)PMVisit Media Center & Editing lab.

LECTURE / DISCUSSION /HANDS!ON! Optical toys, pre-cinema, and the early moving image. Work individually to make drawn animations for the praxinoscope.

READING ASSIGNMENTS Roland Barthes, “Leaving the Movie "eater” Bordwell and "ompson – excerpts from “Film Art”

WEEK 2 !! MONDAY, FEBRUARY 8

FRAMING THE IMAGE

AMLECTURE/DISCUSS Framing, shot types, composition, mise-en-scene

"CLIPS FROM# LA CIENAGA (Lucrecia Martel, Argentina, 2001) MON ONCLE (Jacques Tati, France, 1958) L’AVVENTURA (Michelangelo Antonioni, Italy, 1960) CURE (Kiyoshi Kurosawa, Japan, 1997)

INSTALLATION WORKS by Jennifer & Kevin McCoy at www.postmastersart.comPMDEMO mini-DV video cameras (Cannon HV30)

READING ASSIGNMENT David Antin – “Video: "e Distinctive Features of the Medium” John Baldessari – “TV (1) is Like a Pencil (2) Won’t Bite Your Leg”

WRITING ASSIGNMENT #1 !! DUE SUN. 2/14 BY 4PM After reading the first 4 reading assignments, go to Extv.wordpress.com. Find ‘Media Practices Discussion.’ Each student is required to comment. Your entry must be: a critical response of at least 100 words, and can respond to either an instructor or student posting. See handout for details.

WEEK 3 !! MONDAY, FEBRUARY 15

DIY MEDIA MAKIN’/PERFORMANCE VIDEO

AMQuiz #1 Discuss ReadingPMSCREEN/DISCUSS SABOTAGING SPRING (Joe Gibbons, 1991, 10m) IT WASN’T LOVE (Sadie Benning, 1992, 20m) THE MEANING OF VARIOUS NEWS PHOTOS TO ED HENDERSON (John Baldessari, 1973, 14m) THE AMATEURIST (Miranda July, 1998, 14m) FEELING FREE WITH 3D MAGIC EYE POSTER REMIX (Shana Moulton, 2004, 8m)

IN!CLASS PERFORMANCE VIDEO ASSIGNMENT Create a performance-based, single-take -or- in-camera-edit video. Drawing on the works we’ve seen and discussed, create a short video that is shot in a single take (unedited) in which a performer directly addresses the camera (and the viewer) in some way of your choosing. "is could be a gestural performance, a monologue (written or improvised), a confession.

VIDEO ASSIGNMENT With the Cannon HV30, create a short performance video that you edit in-camera (turning the camera on and o$. You may NOT use any editing software), as Sadie Benning did. Find a partner in class, or work solo.

WEEK 4 !! MONDAY, FEBRUARY 22

EXPERIMENTAL PRACTICES & DISRUPTIONS !PT.1/VISITING ARTIST

AM Screen performance videos & critique.

PMSCREENING/LECTURE UN CHIEN ANDALOU (Salvador Dali & Luis Bunuel, 1929, 16m) BLOOD OF A POET (Jean Cocteau, 1930) [clip] HEART OF THE WORLD (Guy Maddin, 2000, 5m)

VISITING ARTIST Animator Chris Sullivan

READING ASSIGNMENT Explore New Media works posted on the portal under LINKS.

WEEK 5 !! MONDAY, MARCH 1

EXPERIMENTAL PRACTICES & DISRUPTIONS !PT.2 / VISITING ARTIST

AM

SCREENING/LECTURE WEATHER DIARY No.3 (George Kuchar, 1998, 23m) LA TOMBOLA (Ximena Cuevas, 2001, 7m) THE GIRL CHEWING GUM (John Smith, 1976, 12m) BOOMERANG (Richard Serra, 1974, 10m)PMSCREENING/LECTURE Found Footage/Appropraition/Ownership (intro to New Media ideas) THE CUT UPS (Anthony Balch/William Burroughs, 1966) + clips from Negativeland, Craig Baldwin, Cory Arcangel

VISITING ARTIST New Media artist Jon Satrom

READING ASSIGNMENTS Timothy Corrigan – excerpts from “Film Terms and Topics” in “A Short Guide to Writing About Film” Raymond Bellour - “System of a Fragment (on "e Birds)” from “"e Analysis of Film”

WEEK 6 !! MONDAY, MARCH 8

LANGUAGE OF THE MOVING IMAGE ! TIME AND SPACE

AMQuiz #2

Final Project / Group Assignments

DISCUSS Pre-production materials, manifestos, and film treatments.PMSCREENING/LECTURE/IN!CLASS ANALYSIS EXERCISE Spy on the spy: Hitchcock building blocks

VERTIGO (Alfred Hitchcock, 1958) [clip] ALONE. LIFE WASTES ANDY HARDY (Martin Arnold, 15m, 1998) 24 HOUR PSYCHO (Douglas Gordon, 1993) [clip] AT LAND (Maya Deren, 1944, 15m)

DISCUSS / DEMO Bolex 16mm camera, lenses, light meters, exposure

ASSIGNMENTS

Prepare for all-day film shoot -- Review Bolex handout.

Plan/prepare for final project -- meet with your group, begin pre-production!DUE 3/22:

Drawing on the examples provided in class, your group will: 1) write EITHER a one page film treatment for a hypothetical film you would like to make OR a film manifesto that expresses your unique and personal perspective on the practice and art of filmmaking. You will ALSO 2) create one visual pre-production material (storyboard, art direction descriptions, location photographs, etc.) to illustrate this prospective film production

WEEK 7 !! MONDAY, MARCH 15

LIGHTING DEMO/ ALL DAY SHOOT: ADVENTURES IN CELLULOID

AM & PMMeet in classroom and travel together to surprise location

GROUP PRODUCTION Exterior shoot on 16mm

Work with your assigned group to plan, rehearse, and shoot your film project. Each group will select from a hat a set of technical and conceptual

parameters provided by the instructors. "ese specific “restrictions” or “obstructions” will provide guidance and structure for projects. "e Shoot will take place for the remainder of the class day. All groups will shoot in the same general location and will set the aperture to the same f/stop. You will get one 100’ roll of 16mm film, which equals approximately 3 minutes of screen time.

ASSIGNMENT Group pre-production -- text & visual. Finalize individual roles.

WEEK 8 !! MONDAY, MARCH 22

PRE!PRODUCTION/INSTALLATION FIELD TRIP

AMPre-production materials DUE in group presentations.

LECTURE/SCREENING/DISCUSSION Intro to video installationPMInstallation field trip

READING ASSIGNMENTS “Video Installation: "e Characteristics of an Expanding Medium” from After Image

GROUP ASSIGNMENT Work on group proejcts

WEEK 9 !! MONDAY, MARCH 29

INSTALLATION!O!RAMA

AMIn-class screening of your 16mm footage

Discuss Reading and installation project / parameters.

PMIn-class installation project

REQUIRED READING ASSIGNMENTS Bela Balazs – excerpt from “"eory of Sound” Roland Barthes - “Listening” John Cage – “"e Future of Music: Credo”

GROUP ASSIGNMENT Work on Group Project

WRITING ASSIGNMENT #2 !! DUE 4/12 Write a paper that compares/contrasts 2 FVNM works we’ve seen in class (available for re-viewing in Flaxman or VDB). You must: reference at least 2 class readings to support your ideas. See handout for details.

WEEK 10 !! MONDAY, APRIL 5

PUTTING THE ‘A’ BACK IN A/V: INTRO TO SOUND FOR FVNM

AMQuiz #3

SCREENING/DISCUSS MOTHLIGHT (Stan Brakhage, 1963, 3m) IN THE MOOD FOR LOVE(Wong Kar Wai, 2001, clip) THE MIRROR (Andrei Tarkovsky, 1975, clip) THE MAGICIAN’S HOUSE (Deborah Stratman, 2007, 6m)

DEMO Marantz audio recorders, microphonesPMIn-class Audio Recording exercise/adventure

ASSIGNMENT Bring headphones and (if you have one) an external hard drive, to class.

DUE NEXT WEEK: compare/contrast analysis paper

WEEK 11 !! MONDAY, APRIL 12

EDITING: STITCHING IN TIME

AMDEMO x2 Transfer 16mm films to tape Introduction to editing with Final Cut ProPMMeet in Editing Lab - room 819 (112 S. Michigan)

Begin Editing Assignment in class: Each person has access to their transferred 16mm group shoot footage, as well as their sound recordings. Make a 30 second video with those two elements. Work individually in Final Cut Pro.

EDITING ASSIGNMENT !! Complete editing on your 30 second video. Export onto external hard drive in Quicktime.

WEEK 12 !! MONDAY, APRIL 19

EDITING PROJECT/GROUP MEETINGS WITH INSTRUCTORS

AMScreen editing projects & critique PMFinal group meetings with instructors. Meeting / Planning time with your group

ASSIGNMENT Work on group project.

WEEK 13 !! MONDAY, APRIL 26

ASSEMBLY EDIT PRESENTATIONS/CRITIQUE

AM

Quiz #4

In-class presentation of assembly edit / footage for group final project: Class critique and feedback.PMRoom 819 – Editing time. Finishing. Trouble shooting.

WEEK 14 !! MONDAY, MAY 3 !! *NO CLASS. CRITIQUE WEEK*

WEEK 15 !! MONDAY, MAY 10

FINAL PROJECTS DUE/BREAKFAST TREATS

AM & PMFinal projects DUE, in-class critique.

Instructor Evaluations