Winter 2016 Courses

Winter 2016 Courses

AAH 222 History of Photography — MWF 11 :45-12:50 (Ogawa)

An introductory survey of the history of photography from its pre-history to the present. We will explore the evolution of photographic expression in the period, and focus on relationships between photography and fine art, photography and popular culture, and photography and theory. We will spend time studying first-hand the original photographic works housed in Special Collections, Schaffer Library and in the Union College Permanent Collection. CC: HUM

ATH 117. Stage Lighting and Design — TTh 10:55-12:40 (Bovard)

This course seeks to introduce students to the world of stage lighting design and technology. Initial emphasis will be on electrical theory, photometrics and the wide variety of fixtures and control boards in use in the modern theater. The class will then progress to basic lighting theory and analysis of lighting techniques. In the final weeks, the class will actively participate in the design, hang, focus and programming of the lighting for a departmental production. CC: HUM

AVA 120. Photography 1 – TTh 9-12:20 (Pamkowski)

A course in black and white silver halide film and gelatin silver printing. Students learn the basics of the art’s aesthetics, the camera, processing, printing, and evaluation/assessment of photographic prints. Three separate projects lead students through making their own photographic prints in various themes and genres of contemporary fine art photography. Students study important works in photography that relate to each project and have critiques of their work. A 35mm film camera with a light meter and adjustable focus is required. Limited enrollment, by permission of instructor. CC: HUM Note: For 2015-16, AVA 120 will be a digital-only course during the renovation of the Visual Arts Building.

AVA 160. Digital Art – TTh 9-11:55 (Orellana)

This introductory course focuses on the fundamentals of using the computer as an art tool in the production of two-dimensional content. Topics covered include essentials of digital imaging, digital printing, and posting information to the Internet. Class lectures and hands-on studio will incorporate technique demonstrations, discussions, technical exploration, aesthetic inquiry and historical information relevant to computer multimedia, hypermedia and telecommunications. Students are encouraged to pursue areas of interest and explore new ideas throughout the course. Outside work required. No previous experience necessary.  CC: HUM

AVA 220. Photography 2 TTh 1:55-4:40 (Pamkowski)

This class experience is two-fold. The first half involves advanced black and white film/chemistry/printing that encourages a refinement of technique and increased sophistication of aesthetics and ideas. The second half involves color digital photography, learning the basics of Photoshop® editing software as used by photographers. Students do “Language of Photography” projects and make printed portfolios. Prerequisite(s): Photography I; limited enrollment, by permission of the instructor. CC: HUM Note: For 2015-16, AVA 120 will be a digital-only course during the renovation of the Visual Arts Building.

CSC 385. Computer Graphics MW 3:05-4:45 (Cass)

Implementation and use of algorithms for computer graphics. Rendering and representation of 3D objects. Lighting, shading and texture mapping surfaces of 3D objects. Programming interactive graphics applications. Constructing 3D models of real-world objects Prerequisite(s): MTH 197 and a C- or higher in CSC 150. MTH 199 can substituted for MTH 197.

EGL 101-5. Introduction to Study of Lit: Fiction (Adaptation, Appropriation, Convergence) — TTh 10:55-12:40 (Troxell)

PLEASE NOTE:  Only this section of EGL 101 is eligible for Film Studies credit and only as taught by Professor Troxell in the Winter 2016 term.  This class will explore short stories, novels, and films and the media they inspire. Over the course of the term, we will focus on themes of haunting, trauma, and memory in works by Virginia Woolf, Sally Potter, Joseph Conrad, Francis Ford Coppola, Alfred Hitchcock, Ousmane Sembène, and Marjane Satrapi among others. Moving beyond questions of fidelity, we will perform close readings across media, examining theories of adaptation, authorship, identity, intertextuality, and genre. We will also consider the ways in which adaptations serve as important works of cultural translation, facilitating communication across temporal and geographic expanses.  CC: HUL

EGL 288. Film as Fictive Art: Transnational Perspectives — TTh 1:55-3:40 (Troxell)

The designation “world cinema” has customarily denoted cultures of filmmaking existing outside the Hollywood monolith and has generally focused on traditions of national cinema. Today more than ever, however, the film industry is enmeshed in systems of TV and cable networks, digital technologies, and capital flows, which exceed national boundaries. Over the course of the term, we will investigate the heuristic, political, and affective force of the concept of “national cinema,” while at the same time, analyzing the complex formations of identity, citizenship, and ethics, portrayed on screen and constructed through transnational networks of production, exhibition, and distribution. We will play close attention to methods, terminology, and tools needed for the critical analysis of film and will link the analysis of such formal features as editing, mise-en-scene, and sound design to specific historical and cultural distinctions and changes, ranging from the coming of synchronized speech to the digital convergences that shape screen studies today.  CC:HUL, WAC

FLM 303. Cinematic Montage — TTH 10:55-12:40 (de Seve)
Learn and practice cinematic montage in this fun, hands-on course. From Dziga Vertov’s Man with a Movie Camera to modern movie chase scenes, montage takes the basic building blocks of film and combines them to evoke the condensation of space, time, and information. The course will review the history of montage as a starting point to help you practice shooting, editing, sound and effects to create your own montages.

FLM 340. Suspense! Making a Thriller — TTh 1:55-3:40 (de Seve)

MLT 201. Chinese Cinema MW 3:05-4:45 (Zhang)

From the glitzy production studios of 1930’s Shanghai to the contemporary hinterlands of China, the backstreets of Hong Kong, and the towns of Taiwan, this course examines the development and transformation of Chinese cinema. It explores questions of aesthetics, Chinese identity, transnationalism, and representation. All films subtitled. CC: HUM, LCC

MLT 281. Identities in Latin American Cinema MW 3:05-4:45 (Garcia)

A survey of the main trends in film production in Latin America since the 1950s (Mexican Golden Age Cinema, Brazilian Cinema Novo, Cuban Imperfect Cinema, Mexican New Wave, the 1990’s and beyond). Readings and discussions on issues of film history, aesthetics, representation and reception will frame our critical reflection on the construction of identities (inner-city youth, gender roles, masculinities, race and ethnicity, and US Latinos). CC: HUM, LCC

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