Period research (20%): in groups of two, students will make use of on-line and DVD resources to produce an oral presentation on a key artist + period in experimental film. These presentations will act as preparation for in-class screenings—the students will teach the class! Presentations should be concerned with identifying the social and cultural context giving birth to the film style/movement, its principle stylistic and/or narrative features and critical concerns, the key participants and representative films. Presentations should be illustrated with clips from relevant films. Each presentation should be approximately 20 minutes in length, with the work shared equally. Presentations should end with questions designed to test the classes understanding of the period and practitioners discussed. If films are unavailable at school or in your local video store, check with Boite Noire (locations throughout the city) to see if they have it. Check with me and on-line as well—at least two weeks before the presentation date.
1 New York Movements: John Cassavetes + Jonas Mekas October 1/2
2 American experimental film + Stan Brakhage
October 9 Anthony
October 10 Kevin
3 Structuralist Film: Andy Warhol + Michael Snow
October 15 Bridget, Sarah
October 16 Danny, Matthew A.
4 Feminist Filmmaking: Chantal Akerman, Lisa Steele, Monique Moumblow
October 22 Patrizia, Chelsea, Clemence
October 23 Oliver, Matthew C.
5 Canadian Experimental Film + Video: Peter Mettler, Mike Hoolboom, Jan Peacock, Steve Reinke
October 29 Jordon, Mnuela
October 30 Ashley, Corrine
6 Diary Films + Pixelvision: George Kuchar, Sadie Benning, Michael Almreyda
November 5 Kristina, Ally, Sabrina, Sam, Angelica
November 6 Amit, Elena, Sophie
7 Web Cam, Internet + Data-base Filmmaking: Jenny Ridley, Cheryl Sourkes and Lev Manovich
November 12 Farrah
November 13 Francis, Clara, Kim
Style analysis (20%): students are asked to analyse the formal attributes of an avant-garde film screened in class, with a view to interpreting the film’s meaning. These analyses should be presented in ‘essay’ form, beginning with a brief ‘thesis’ statement followed by a short description of the film and the analysis itself, which will identify the recurring visual motifs and formal patterns in the film, as well as a brief interpretation of the film based on the description and analysis and, an equally brief conclusion. 500 words/2 typed, double-spaced pages: due October 9/10
Journal (20%): each student is expected to keep a journal noting the names, styles and concerns of experimental films screened in class. Students must include a short paragraph interpretation for each film. Each of you are expected to make an appointment to see me, at some point over the course of the term, to show me the progress made in your journal. In addition to my regular office hours, time will be set aside on a regular basis during the last half-hour of the class for these meetings, beginning the week of September 24/25. In-class meetings need to be booked in advance. Completed journals (12 entries) are to be handed-in November 19/20.
Film: (25%) working in groups of two, students will conceive and develop, script, storyboard and shoot a short, in-camera, experimental video work. ‘Treatments’ are due October 23; scripts and storyboards are due November 5/6; production will take place November 19/20; screenings November 26/27.
- ▼ 2007 (18)