courses in film and new media  

designed and taught
 Students' Films and Videos

DIGITAL MEDIA / ARTF445

Occidental College / Film and New Media Program

Prof. Dana Plays Office Hours: M: 10-11:30; W 4:30-6pm

(323) 259-2883 dplays @ oxy.edu

Technical Assistant: Eric Otto Cage

Phone: (323) 259-2883 ericotto@erathlink.net

Cage Hours: MWF: 4-6pm

Class meets: Mondays, 2:30-5:30, W 10

Lab: Thursdays, 7-9, W117

Required Text: Filmmaker's Handbook: A Comprehensive Guide for the Digital Age, Pincus and Ascher.

DIGITAL MEDIA is an advanced course in video production and post-production, through which students will learn non-linear editing and digital audio mixing, and the interface between a variety of software for multi-media production and digital filmmaking. The impact of digital technology on aesthetics, production, post-production and distribution of independent and mainstream film will be addressed. All students will be required to respond to a series of assignments in the AVID and New Media Labs, while simultaneously developing and completing a course project. Technical demonstrations and assignments will include AVID Media Suite Pro, Protools 4.2. Adobe Premiere 5.0, Radius Edit DV. Seniors will complete the shooting of the all primary material for their comprehensive film/video as a final project for the course. A special Los Angeles River video will involve assistant editing by students, with associated assignments on the AVID for the first half of the semester.

1) WEEK 1-4: AVID EDITING demonstrations and 3 assignments Audio and Video Capture demonstrations Los Angeles River Video Project and AVID Editing. Concept Development: Course Project. Schedule Individual meeting.

2) WEEK 4-7: PREMIERE AND EDITDV / 2 assignments Shooting Course Project. Schedule Individual meeting

3) WEEK 7-10: PROTOOLS 4.2 / 2 assignments Schedule Shooting Course Project

4) WEEK 10-12: INTERFACE BETWEEN SOFTWARE: Compression, file types, transferring files, jazz drives, internet, email. Schedule Shooting Course Project

5) WEEK 12-14: COMPLETE PORTFOLIO OF ASSIGNMENTS AND COURSE PROJECT. Schedule Shooting Course Project

COURSE REQUIREMENTS

SCHEDULE INDIVIDUAL APPOINTMENTS 1) to discuss your course goals within the first 2 weeks of the semester, and by September 13; and 2) at least 4 individual appointments in the lab throughout the semester and for course project: a) initial concept or plans prior to October 11; b) screening rushes; c) rough cut; and d) critique of final cut.

ASSIGNMENTS: Complete all assignments independently by assigned dates.

COURSE PROJECT: Conceive, shoot and edit your course project or comp. Complete course project ; for seniors complete the shooting and gathering of all primary material for the comp, by assigned dates. Complete post-production of projects through digital technology. Use only high end video equipment for projects and assignments SVHS video, High-8, MiniDV; Sony DAT, and CalRad dual Microphones.

courses in film and new media  

designed and taught
 Students' Films and Videos

Artf350: DOCUMENTARY VIDEO PRODUCTION / SPRING 2000

Dana Plays

Occidental College, Department of Art History and the Visual Arts, Film Program

Required Texts:

Catherine Russell, Experimental Ethnography

Michael Rabiger, Directing the Documentary

Course Overview:

This upper division video production course is designed as an intensive practical, conceptual, theoretical and historical investigation of documentary. Four readings from Experimental Ethnography, by Catherine Russell, will be used to conceptually frame four video production assignments, and will situate the making of the work within a post-modernist and post-colonialist perspective, by examining various historical problematics such as technology and representation, subject and filmmaker relationships, cinematography and the gaze, and use of the archive within the documentary film. Screenings will include historical documentary films, relevant experimental and structural films, and a variety of videos. We will start with the early sequential photographic work of Eadward Muybridge, and "actualities." shot by the Lumiere Brothers, to examine the interrelationship between technology and representation. Students will shoot a series of actualities in video and present them in critique. We will look at the work of Andy Warhol, Ernie Gehr, Bill Viola, Chantal Akerman and Peter Kubelka, Trihn T. Minh-ha in relationship to the Gaze, the Structural film and "the Fixed Stare." Students will respond with a video production assignment and critique. We will explore the use of Found Footage as Ethnography, in the work of Craig Baldwin, Ken Jacobs, Bruce Conner, Nina Fonoroff, and others. Students will learn to transfer film to video, and work with manipulation of that material, through the transfer and in the digital SVHS suite or new media lab, and bring them to class for discussion. Finally we will focus on Autoethnography and look at the work of Sadie Benning, George Kuchar, Chris Marker, and Kidlat Tahimik. Students will be asked to create a short video in response to this material and present it to the class. The final project for the course, may be a compilation of the material collected through the various assignments, or it may be something that expands on one of the four assignments. These works will be short 8-12 minute pieces.

In addition to these four conceptually based assignments, students will use Directing the Documentary by Michael Rabiger, to hone their skills in video production even further, by working in teams and groups to complete a series of 5 assignments. Two or more of these will be shot in class and the others will be shot and edited outside of class time. The teams and groups will pair up for the duration of eight weeks to complete these exercises prior to the mid-semester, and which will be turned in as a video portfolio in lieu of a mid term exam in production. These exercises will provide students with a level of control over production values that are required for the final project.

Class will be comprised of screenings and discussion of the identification of basic documentary concepts from the readings and analysis of work screened; technical demonstrations for video production; critique of student work; and possible field trips and visiting speakers. Announcements will be made through out the course for relevant screenings and events off campus.
Syllabus     Screenings    Policies    Videos    Supplies    Hours
Week 1: Class 1/20

Introduction to the course: Discussion of syllabus, course objectives, requirements and student plans. Exchange phone numbers, meet new tech assistant.

Films: Muybridge, The cinematograph and "actualities." Lumiere films, Arriving at the Station, Workers Leaving the Factory, Feeding the Baby, and Lumiere and Company, 26 Bathrooms, Peter Greenaway.

Equipment: Go over new check out policies. Basic set up of equipment available for the course. Use of external microphones, hot shoes, boom cradle, and basic improvising.
    Assignments:

Video Assignment #1 Due 2/3: The Body as the Main Attraction. SVHS or High-8; 4 1/2 minutes: Shoot a series of at least three 1/1/2 minute actualities based on the concepts defined in assigned reading. The videos will be presented with the live sound from the event recorded and should not be intercut. Be prepared to present these in class on 2/3 with a one page statement from the reading. Also refer to Directing the Docuemntary pp 104--110 for basic handling.

Read before next week: The Body as Main Attraction, Russell, pp 51-75, and be prepared for discussion before next week. Write a one page essay in response to the reading in three paragraphs, identifying and discussing three concepts for your shoot.Send by email or web before class.WEB FORM
    Tech Demo

Friday: 2-3; 3:30-4:30 sign-up

High-8, and SHVS camera.

Must be authorized on this before taking equipment.

Week 2: Class 1/27

Film screening and Discussion of Reading: Identify main concepts from reading.

Seashore, Rimmer.
    Assignments:

Continue with the Body Assignment

Reading: Directing the Documentary: Read Part 1 , 2 & 3.

Week 3: Class 2/3

Critque of Assignment #1: The Body as the Main Attraction:

Bring your video and a one page statement on how your project relates to the reading. Be prepared to critique others around the main concepts identified last week.
    Assignments:

Reading: Rabiger, Directing the Documentary, Part 1,2,3.

Week 4: Class 2/10

Film Screening: Unsere Africareise Hide and Seek, Peter Kubelka, Making of Boys Don't Cry,
    Assignments:

Production: Assignment #2: Structural Film and the Gaze: The Fixed Stare, Due Febrarury 24: Create video constructed with one to three long takes in response to concepts defined in the Framing People: Structural Film Revisited. Or you may choose concepts from the Zoology, Pornography, and Ethnography reading. Maximum length of video presentation will be 5 minutess. Bring to class a one page statement on how your project relates to the reading and be prepared for the critique that will address the central issues.

Read: Framing People: Structural Film Revisited: pp157-193, from Russell. Read and submit webform before next week and be prepared for discussion. WEB FORM

Week 5: Class 2/17

Film Screening and Discusson Akerman, News from Home; Rimmer, Real Italian Pizza; I Do Not Know What it is that I am Like; Unsere Africaeise, Kubelka.
    Assignments:

Reading: Directing the Documentary: Part 5: Production. pp 153-211.

Week 6: Class 2/24

Critque of Assignment #2: Structural Film and the Gaze.

Bring your video and a one page statement on how your project relates to the readings and films presented.

Tech Demo:16mm transferring to SVHS.

.
    Assignments:

Production: Assignment #3: Found Footage as Ethnography, March 9: Shoot a series of 10 shots from found footage that are related by a theme Manipulate your footage in the digital mixer room or new media lab. Bring to class your selections on two tapes, manipulated and unmanipulated.

Read before next week and be prepared for discussion. Found Footage as Ethnography, pp 238-274. Read before class and be prepared for discussion. WEB FORM
    Tech Demo

Digital Mixer Suite.

Week 7: Class 3/2

Film Screening: Leslie Thorton: Peggy and Fred in Hell; Craig Baldwin; Tribualtion, Atomic Cafe, A Movie, Metamyan etc.
    Directing the Documentary: page 321-387.
Week 8: Class 3/9:

Critque Assignment #3: Found Footage as Ethnography:

Present rushes of found footage and your manipulated material. Bring your video and a one page statement on how your project relates to the reading.

Mid Term Exercises DUE.
    Production: Assignment #4: Autoethnography and the Self. Due April 6

Bring to class a one page statement on how your project relates to the reading and be prepared for the critique that will address the following issues.

Read before next week and be prepared for discussion, Autoethnography and the Self. pp.275-314. On a type paper or web form bring to class or send before class, a list of three concepts from the reading that interest you in terms of your shooting idea.WEB FORM

Week 9: Class 3/16

SPRING BREAK
    SPRING BREAK
Week 10: Class 3/23

Film Screening: Kidlat Tahimik, Perfumed Nightmare Chris Marker, San Soleil, Sadie Benning It wasn't Lovely, Kuchar Weather Diary.
    Read

Directing the Documentary: Post Production The Paper Edit: Designing a Structure Chapt 20 pp 247-267..

Week 11: Class 3/30

Critique Assignment #4: Autoethnography and the Self.

Bring your video and a one page statement on how your project relates to the reading.
    Assignments: Submit email to class list of your final project proposal.
Week 12: Class 4/6

Field Trip/ no class

CBS Studio Center

Hollywood Looks at the River and River Madness screening.
    Reading: Directing the Documentary: Chapter 21, Editing: The First Assembly. pp 253-267

Post Production: Begin Post Production Editing.
    Tech Demo

Friday 2-4pm

Arrange

Week 13: Class 4/13

In-class presentation of raw material for final Project.
    Assignments: Editing Final Proejct
Week 14: Class 4/20

Screening: Dick, Jo Menell, 15 minutes, 1989; Los Ninos Abandandaos, Danny Lyon, 63 minutes 1975; Clips from The Cruise, Bennett Miller, 76 minutes, 1998; Notebook on Cities and Clothes, Wim Wenders, 80, 1991; Buena Vista Social Club, Wim Wneders, 1999 105min.
    Assignments:

Post Production: Continue Editing.

Week 15: Class 4/27

Critique Last Class

Critique present your final project.

ARTF360: NARRATIVE FILM PRODUCTION Spring 2004
Occidental College / Film and New Media Program
Prof. Dana Plays Office Hours: W: 4:30-6; R 4:30-6pm
cage policies / printable syllabus / supplies

ARTF360 Narrative Film Production Spring 2004 Syllabus

Required Texts:

Film Production Technique, David Mamer; Directing, Film Techniques and Aesthetics, Michael Rabiger; Alternative Screenwriting. Ken Dancyger and Jeff Rush

This course in sync sound 16mm filmmaking with a focus the short film, and on the adaptation from fact, fiction or film from a pre-published source (short story newspaper article or film). After a pitching session by all students, the most interesting story ideas will be identified by students and groups of three or four students will be formed to direct, shoot and edit a dramatic narrative short in 16mm sync-sound a 5-7 minute short film. The basis of the film will be on a published story, however the treatment will be an original film concept for the material. The focus of the adaptation will be on the transformation of the original and the intentional and critical disparity between the two texts to reset the original through placement in contemporary time or place; casting and characterization; and through formal development such as cinematic visualization; film and sound relationships. You might bring an older text into contemporary time or make an interesting casting alteration to the re-set the story. The story should be told visually and through dialog with at least 50% sync-sound production. Students will shoot 16mm color negative film stocks and edit digitally from telecine transfers in Final Cut Pro.

After the class agrees on which projects to produce groups of director/editor, cinematographer/editor and sound/editor (capture, designer and editor) will be formed in consultation with the professor. Students from outside the class may not participate in these primary roles, although they may be actors, or grip. The groups will breakdown the screenplays into a storyboard and prepare for shoots. You will need to scout locations, cast and plan your shoots. Once agreed, the idea will not be substantially changed. All material will be shot by mid-semester. The second half of the semester will be spent on editing and developing sound with music, dialogue and sound effects. All students will edit versions or segments of the film in Final Cut Pro of the film for agreement within the group of the final cut. You will also be expected to help other groups with their shoots as necessary. It is required that the groups have three rough-cut session critiques in digital media lab to the final presentation. We have two sync-rigs (cameras and nagra recorders) for sync-sound shooting, and Bolexes and Beaulieus for non-synchronous material. Film stock and processing for the color or black and white negative should cost approximately $300. for each student including telecine cost. You will share costs for the film in your groups and should be prepared to contribute. Lab fee is $55. and is used for maintenance and repair of the production and post-production equipment.

You are required to attend technical demonstrations outside of class for training on the Eclair Camera and Nagra Recorder. All production and post-production aspects for sync-sound filmmaking will be covered through the course. Final Cut Pro Demos are also required. Students with previous digital experience will be required to attend several sessions.

Artf440 Syllabus Fall 1997
Professor Dana Plays

REQUIRED TEXTS:

Bordwell, David, Narration in the Fiction Film
 

Blacker, Irwin, The Elements of Screenwriting, 1986.
 

Field, Syd, Screenplay, The Foundations of Screenwriting, Dell, 1979.

Mamet, David, On Directing Film, Viking Press, 1991.

Murch. Walter, In the Blink of an Eye: A Perspective on Film Editing,

Silman James Press, 1995

F440. NARRATIVE STRUCTURES IN FILM AND VIDEO PRODUCTION

Production course in sync sound film and advanced video focusing on the theoretical and historical aspects of a diverse range of narrative strategies and independent practices. Further issues of concept development, script, visualization, directing, and editing will be discussed. Students will be required to participate in the production of group and individual projects in video and 16mm sync-sound film. Labs will meet for film screenings, field trips and/or technical instruction including 16mm sync sound cameras; basics in digital and analog field recording, sound studio; High-8 Video; A/B Roll and non-linear video editing; and 16mm flatbed editing.

ARTF 440 Narrative Structures in Film and Video Production Calendar

Week 1: Thursday, August 28:

Class: Intro to the course: Define Classical Hollywood Narrative and Discuss Metz’ Grand Syntagmatique.

Senior Comprehensive Proposals Due.

Evening Lab: Film Screening: Chinatown
 

Film Analysis Assignment: Due next week in class: Film Analysis: Form partners to discuss the eight synagmatic types and together choose one syntagmatic type that you will both use for your assignment. With your partner cut one example each of the chosen syntagmatic type from the source tapes available in the edit suites and dub onto video tape. Clip should be approximately 10 seconds.

Read: Screenplay, Chapt. 1-8
 

Narrative Structures Anthology, “Eight Syntagmatic Types”

Week 2: Thursday, September 4:

Class: View and discuss syntagmatic clips. Screening and discussion of narrative short films. Discussion of storyboarding.

Lab: Illusions, Julie Dash; Anondale Dogs; Jane Campion Shorts
 

Read: Screenplay, Chapt.8 -16
 

Narrative Structures Anthology, Composing Shots: Spatial Continuity.

Web: SOFIA, Camera

Video Assignment: Using your examples from last week as a storyboard for blocking shots and characters, shoot and edit a ten second video tape in the mode of your syntagma, in teams. Due next week. Bring with your original clip, to share and discuss.

Seniors schedule individual appointments re: your proposals

Week 3: Thursday, September 11:

Class: Present and discuss your video syntagmatic movies. Discuss alternative narrative films. Screening:

Lab: TBA
 

Read: Narration in the Fiction Film, Part One: Some Theories on Narration, 1. Mimetic Theories of Narration, 2. Narration and Film Form

Narrative Structures Anthology, Problems in Film Preception definitions.

Assignment: Screenwriting on email and web forms.
 

Week 4 Thursday, September 18:

Class: Sync Sound equipment demo. Nagra and ACL Eclair camera.
 

Lab: Screening, Cassavettes, Shadows. and Primary.
 

Read: Narration in the Fiction Film, Part Two: 3. The Viewers Activity, 4. Principles of Narration & 5. Sin, Murder and Narration.

Web: SOFIA

Assignment: Screeningwriting on email assignments completed.
 

Scouting locations for class shoot.

Seniors: Full proposal, budget, synopsis, shooting schedules and revisions due.

Week 5 Thursday, September 25:

Class:Plan in class shoot. Discuss locations.Lighting and Grip Equipment Demo, High-8 camera demo. Discussion of Reading

Discuss Production and create shooting script.

Lab: TBA.
 

Read: Narration in the Fiction Film, Part Two: 6. Narration and Time, 7. Narration and Space

Course Project Proposals due.

Week 6 Thursday, October 2:

Class: In class shoot, exterior location.
 

Lab: In class shoot, interior location.
 

Read: Narration in the Fiction Film Part Three: Historical Modes of Narration 8, pp 147-166; Modes and Norms, 9. Classical Modes

Thursday, October 9 Fall Holiday/No School

Read: Feature Filmmaking at Used Car Prices
 

Week 7: Thursday, October 16

Class: Transferring sound and syncing up the rushes.
 

Lab: TBA.
 

Read: Narration in the Fiction Film Part Three: Historical Modes of Narration 10. Art Cinema Narration,pp. 205-228 11. Historical Materialist Narration, pp. 234-241, 12. Parametric Narrration, pp 274-280

Web: SOFIA

Week 8 Thursday, October 23

Class: Editing the picture.
 

Lab: Stranger than Paradise, Jim Jarmusch
 

Read: Narration in the Fiction Film ,12. Parametric Narrration, 13. Godard and Narration

Web: SOFIA, Editing

Week 9 Thursday, October 30:
 

Class: Cutting the negative and preparing the film for the lab.
 

Lab: TBA.

ARTF220: FILM IMAGE AND SOUND Fall 2003
Occidental College / Film and New Media Program
Prof. Dana Plays Office Hours: Wednesay and Thursday W 4:30-6pm
cage policies


REQUIRED TEXTS:The Filmmaker's Handbook, A Comprehensive Guide for the Digital Age. Bookstore.Film Image and Sound Reader, compiled by Dana Plays. Distributed in class.

OVERVIEW

Film Image and Sound is a course in 16mm filmmaking with a focus on the short non-synchronous, experimental and independent sound film. Class will be comprised of screenings, demos, in-class shoots, and critiques of student films. Students will create a series of short 16mm assignments in film and sound to explore formal and conceptual aspects of filmmaking. Technical demos will include Bolex and Beaulieu 16mm cameras, Seconic light meters, Sony DAT and Walkman Pro recorders, Magnasync 16mm fullcoat recorders, Steenbeck and Moviola editors. Students should expect to spend at least 7-10 hours per week outside of class working on projects associated with the course. The cost of filmstock, processing and supplies (above the $55 lab fee) will be approximately $200 - $300. Lab fees are used for the maintenance and repair of equipment, and rental of films and videos. Interactive email and website will be used for assignments and announcements.

ASSIGNMENT #1: DIALECTICAL FOUND FOOTAGE MONTAGE FILM

Using found footage create a 50' montage with 50 edits exploring conflict inspired by Eisenstein's article A Dialectical Approach to Film Form and montages as seen in Midnight Cowboy, Altered Spaces, Mayhem, and other examples shown in class. (Use heads and tail leaders for labeling). Due week two to turn in on a one inch core.

ASSIGNMENT #2: CHANCE OPERATIONS SOUND TRACK. Create a 50' 16mm sound track with approximately 10 edits, from 5 sounds selected from the 1/4"collection. The track should include two pieces of slug for silence. You will not refer to any particular picture track when constructing this, and any associations that occur with your picture will based on John Cage's concepts of "Chance Operations" and Indeterminacy . (Use heads and tail leaders for labeling).

ASSIGNMENT #3: DIRECT APPLICATION / OPTICAL SOUND / METRICAL PROJECT. Create a 10-30 second film that involves scratching, bleaching, hand tinting, or hole punches, or shoot another roll of raw stock and attend a hand processing workshop. (Use heads and tail leaders for labeling.

ASSIGNMENT #4: SILENT STORY TELLING AND THE MONTAGE SEQUENCE. Shoot one roll of film with a sequence of at least ten shots that tells a story with the use of elliptical montage sequence based on assigned readings.

ASSIGNMENT #5: EXPANSION AND COMPRESSION OF TIME. Shoot a roll to explore the expansion and compression of time by using pixilation, slow motion and fast motion. Explore concepts of expansion and compression of timebased on concepts from Deren's Creative Use of Reality.

ASSIGNMENT #6: IRONY IN VOICE OVER SOUNDTRACKS. Choose a selection from a text of your choice, prose, newspaper, theoretic text, statistics, etc. to read in class for a group recording session, that you think would be an ironic track if coupled with film. Bring xerox selected text to class to read and turn in. Concepts from Sarah Kozloff, Irony in Voice Over Narration.

ASSIGNMENT #7: SUPERIMPOSITION. Shoot a roll of film to create both superimposition and split screen effects through double exposure.

FINAL PROJECT: SOUND / FILM. Your final project should be derived from a selection of assignments and course material, and your final two rolls. Create found or recorded sound, including music, however the sound track may not be made exclusively with music. The film will be presented with heads and tail leaders, properly labeled (your name, title, pix or sound, head or tail) and will be presented in class in 16mm film and sound on the flatbed.

CALENDAR AND DUE DATES Reading is listed day to be completed.

8/28 CLASS: Editing and Splicing 16mm film. Screening: Eisenstein clips from Ten Days that Shook the World; Abigail Child, Mayhem, etc.

9/4 ASSIGNMENT #1: DIALECTICAL FOUND FOOTAGE MONTAGE FILM Using found footage create a 50’ montage
with 50 edits exploring conflict inspired by two of the 10 examples of conflict listed in Eisenstein’s article A Dialectical Approach to Film
Form. (Use heads and tail leaders for labeling). Due week two to turn in on a one inch core.
Reader:
1-14: Sergei Eisenstein, A Dialectic Approach to Film Form, from Film Form
15-19: Gunvor Nelson, Editing
20-36: James Petersen, The Logic of the Absurd: The Assemblage Strain, from Dreams of Chaos Visions of Order
Filmmakers Handbook: Editing Film pp 261-382.
Class: Short films: Conner's Mongoloid, and America is Waiting, Clips from Pat O'Neill's Trouble with the Image, and Craig Balwin's
Tribulation 99. Listening to John Cage, Indeterminacy.. Magnasync Demo. Transferring and cutting audio.

9/11 DUE: ASSIGNMENT #2: CHANCE OPERATIONS SOUND TRACK. Create a 50’ 16mm sound track with approximately
10 edits, from 5 sounds selected from the 1/4” collection. The track should include two pieces of slug for silence. You will not refer to any
particular picture track when constructing this, and any associations that occur with your picture will based on John Cage’s concepts of
Chance Operations and Indeterminacy . (Use heads and tail leaders for labeling)
Reader:
37-38: S.M. Eisenstein and V.I. Pudovkin, A Statement [on Sound], from Film Form;
39-40: Chirstian Metz, Aural Objects
Class: CRITIQUE / ASSIGNMENT #1 & #2.

9/18 DUE: ASSIGNMENT #3: DIRECT APPLICATION / OPTICAL SOUND / METRICAL PROJECT. Create a 10-30 second
film that involves scratching, bleaching, hand tinting, or hole punches, or shoot another roll of raw stock and attend a hand processing workshop.
(Use heads and tail leaders for labeling). Peter Kubelka, The Theory of the Metrical Film, from The Avant Garde Film Reader
Reader:
41-51: Peter Kubelka, The Theory of the Metrical Film, from The Avant Garde Film
50A-69A: Lincoln Johnson: Sound
52-64: Bela Belazs, Chapter Sixteen, Sound, from The Theory of Film
Filmmaker’s Handbook Chapter 2: Camera and Chapter 3 Lens.
Class: Bolex camera and seconic light meter demo.
Tech Lab: Bolex / Seconic Q & A and Practice Sign up for scheduled times
Cinematographjy Quiz from Filmmakers Handbook readings.

9/25 DUE: Web Reading Response Due. . Viewing spliced animations.
Reader:
65-67: Bordwell and Thompson, Ellipsis Definition from Film Art and Introduction
68-77: Cherry Potter, Montage to Story: Persona, from Image Sound and Story
78-81: David Mamet, Storytelling from On Directing Film
Read Filmmakers Handbook Chapter 4: The Film Image. pp 111-150 and Chapter 8 Shooting. Chapter 16 The Film Laboratory, pp 472-475.
Class: Beaulieu camera demo. In-class shoot. Lights.
Tech Lab: Beaulieu/Seconic Q&A and Practice session. Sign up for scheduled times
Cinematography Test from Filmmakers Handbook reading and demo.

10/2 DUE: CRITIQUE ASSIGNMENT #4: SILENT STORY TELLING AND THE
MONTAGE SEQUENCE. Shoot one roll of film with a sequence of at least ten shots that
tells a story with the use of elliptical montage sequence based on assigned readings.
Filmmaker’s Handbook Lighting Chapter 11.

10/9 FALL BREAK - no class


10/16 DUE: ASSIGNMENT #5: EXPANSION / COMPRESSION OF TIME
SUPERIMPOSITION
DUE:
Reader: 82-91: Maya Deren, The Creative Use of Reality, from the Avant Garde Theory
Filmmakers’ Handbook Sound Recording Systems
Tech Lab: Magnasync transferring open lab. Sign up for scheduled times.

10/23 DUE: ASSIGNMENT #6: SOUND PROJECT: IRONY AND VOICE
OVER NARRATION
92-104: Sarah Kozloff, Irony in Voice-Over Films
105-119: John L. Butler, C.A.S., Sound Bits and Bytes: An Introduction to Microphones
120: Eleven Commandments of Film Sound
DUE: Web Reading Response. Class: Screening and discussion.

10/30 Two web forms due:
Web Reading Response Maya Deren Reading
Web Reading Response Irony in Voice Over Narration

11/6 DUE CRITIQUE ASSIGNMENT #7: SUPERIMPOSITION FILM

11/13 DUE: ROUGH CUT with SOUND FINAL PROJECT: SOUND / FILM. Your final project should be
derived from a selection of assignments and course material, i.e., expansion and compression of time,
temporal ellipsis, irony in voice over narration, etc. Use material that you have shot, or recorded through
your assignments this semester as source material for a 3-5 minute sound/film. You are not required to use
all of your material, and you may shoot more material if you want to although that is not required. Additional
sounds may also be added with the exception of music. The film will be presented with heads and tail leaders,
properly labeled (your name, title, pix or sound, head or tail) and will be presented in class in 16mm film and
sound on the flatbed.

11/20 CONTINUED

11/27 THANKSGIVING NO CLASS

12/4 LAST CLASS FINAL CRITIQUE FINAL PROJECT: SOUND / FILM