Department of Advertising Design & Graphic Arts
FNAR
T/Fr, 10:40am - 1:30pm, Semester: Spring 2014
Prof. Michael Marfione
marfionm@stjohns.edu
Office Hours: Friday 9:30 -10:30 in SJH B3 Adjunct Lounge
ALL material is posted on SJUVideoart@
department account:
username: sjuart
password: design1
Course Description
“Our invention can be exploited for a certain time as a scientific curiosity, but apart from that, it has no commercial future whatsoever.”
Auguste and Louis Lumiere
“An occasion to laugh is never to be despised.”
Ernst Lubitsch
This course is an introduction to the basic components and practices of pre-production and production methodologies for content creation in video art. We will be exploring ways in which video has become a multi-platform medium in conjunction with other modes such as sculpture and installation, performance documentations, narrative, cinematic language, and the Internet.
Students will analyze the fundamental principles of video with emphasis in understanding the language of this medium. Post-Production exercises with software such as Adobe Premiere pro will be an integral part of the course.
Very strongly recommended text
Introduction to Video Production, the Path to Digital Media Production, Third Edition, Musberger, Robert B., Focal Press, 2005 ISBN: 0-240-80647-6
Required tech purchase
External Firewire 800 Hard Drive, SDHC Card and card reader (available at bookstore or at B&. B&H is less expensive but the site can be overwhelming). Please make sure you purchase a Firewire drive, not a USB drive. Let me know if you have questions before purchasing.
Here are drives I recommend. There are lots of good drives out there, just make sure you get a Firewire drive.
Iomega eGo Silver Desktop Hard Drive Mac Edition (1TB)
Iomega MiniMax Desktop Hard Drive (1TB)
G-Technology G-DRIVE mini High-Speed Portable Drive (500GB)
COURSE POLICIES-PLEASE READ CAREFULLY
Please note: The primary goal of the course is to facilitate your engaged, creative thinking through video. While there will be lessons in specific computer programs and video technologies, this is not the only focus of our work together. You will be expected to spend substantial time and energy working independently on video production and software practice outside of class.
Attendance
This class is intensive and meets twice a week for 2:50 min .
This class relies heavily on class participation and conversation. I can't stress enough the importance of being present in all possible ways.
Attendance to all classes is required.
ABSENCES
3 ABSENCES = DROP OF FULL LETTER GRADE
4 TOTAL ABSENCES= DROP OF ADDITIONAL FULL LETTER GRADE
2 LATE = 1 ABSENCE
4.5 ABSENCES=FAILURE
Cell Phones/Computers
No cell phone use in class for any reason. Students using computers for any reason other than class work will be asked to leave and marked absent for the session. Students using cell phones in class for texting or any other reason will also be asked to leave and marked absent.
Thoughtful Contribution
Engage in class discussions, offer constructive feedback for other's work, ask questions, and clarify confusions. Maintain a professional attitude towards our time together. In this course, there will be numerous opportunities to engage in interaction. Please be courteous and respectful at all times. You may disagree with someone, but please do so politely (a Good way to start is by saying "I can see your point"
Resourcefulness
This is applicable not only to this class, but also afterward in the work force. Practice now while in class.
Production
Invest yourself in your work, think through your projects, allot time to create them and then view and amend them. Be open to criticism, this is the time to fail, to learn from it. Failure is a wonderful learning tool, not to just head you in the right direction, but to learn new things and that there are many right ways to go. Please take chances I'd rather see originality than a repetitive low budget production. Critiques are not only for the video at hand, but also for your future productions. Watching your classmates work is just as important. Critiques ask you to question your feelings about Why you feel a certain why about a piece, not merely I like it, or not, or it's interesting or not, but why. Being able to understand how your feel and talking intelligently about it is one of the greatest assets to hold for any future Endeavour.
Course Expectations / Conduct:
Behavior: All students must come prepared to class and consistently behave in a professional manner. Respect and common courtesy towards one another is expected. Students are responsible for treating the equipment they use and/or borrow with extreme care. Cell phone use is not allowed unless students are under an emergency “watch”.
This class is designed to provoke. Conversations are based on opinions and different perspectives. I welcome debate, but you must respect, listen and act courteous toward everyone in the classroom.
Respect yours, others and mine - This is our combined learning environment. During lectures and screening, avoid conversations with people sitting around you. The classroom is small -even if you whisper, please realize that other people hear and see you, and that's distracting to everybody (fellow students and Professor.) Disruptive behavior or side conversations therefore impact on your participation grade. Each occurrence will lower your grade by 10 points; i.e., frequent disruptions or side conversations may result in a participation grade of F (0 points.)
Please turn your cell phones off during class. Text messaging, IM, Facebook and all other social media are not allowed during class.
Work Load: The Department of Fine Arts requires each class to assign/expect at least 6 hours of outside class work per week from all students.
Accommodations for Students with Disabilities:
St. John’s University complies with the regulations of the Americans with Disabilities Act of 1990 and offers accommodations to students with disabilities. If you are in need of accommodation, please contact me to discuss this as soon as possible. All information will be held in the strictest confidence.
Assignments
You are expected to turn in the completed projects/assignments by the assigned deadline. I reserve the right not to accept late material.
All video assignments should a QuickTime file uploaded to Vimeo (or both). We will go over how to do this in class. Your assignments should start first with 10 seconds of black prior to picture start. All assignments should have titles and credits (your name, and names of other cast and crew). If you decide to burn a DVD, you should have name, date, title, and course title written with a permanent marker and enclosed in a case.
Grading
Attendance/ Readings / Discussions / Class participation: 20%
Assignment 1 10%
Assignment 2 15%
Assignment 3 15%
Assignment 4 20%
Assignment 5 20%
Grading Scale:
A 94-100 Excellent or Superior Achievement
A- 90-93.9 Excellent, but with some room for improvement
B+ 87-89.9 Very Good
B 83-86.9 Good
B- 80-82.9 Not quite as good
C+ 75-79.9 Somewhat above average
C 70-74.9 Average or satisfactory competence
D 60-69.9 Minimally competent, but still passing
F 59.9 and below Unsatisfactory/Failing
Supplies / Materials / Books Required: I have scanned all the reading required for this class it will all be available for download on WordPress.
Late Submission policy
Assignments are DUE ON TIME. Late assignments will be penalized, and in some cases, not accepted at all. Assignments MUST be in the format required by the Professor. Assignments not delivered in the required format will not be accepted.
Software
Students will be introduced to Adobe Premiere and gain a basic understanding of the principles and practice of post-production editing. We will be using
Equipment
Remember, these tools are a privilege and must be cared for and shared. Please be considerate of your colleagues’ project needs and respectful of the rules and workers at the Equipment Center.
Readings
It is essential you do the readings for the class date they are due. Feel free to bring in any items that you find relevant to our discussion.
Bring to class every week
Syllabus, notebook, all readings printed out, external hard drive
SYLLABUS SUBJECT TO CHANGE WITHOUT NOTICE
Weekly Classes
01/24 Fri. Lesson: INTRO: What Video art?/Syllabus/Assignments/
Vimeo account/Equipment/ .
Technical Lecture: Camera
Lesson Documents: Camera ppt,
Assignment 1 distributed
Critical discourse:
View: Kino eye
Lab:
Due next class:
1. Please read: composition Katz Shot by Shot Chapter 6, Why Formats Don't Matter, Kino Eye Vertov
2. Karl Marx, The Fetishism of the Commodity
3. Buy external hd (firewire 800/at least 500gb)
: Premiere Essential training chpt.1 and chpt. 2
01/28 Tue.
Lesson: PPt on brief history, VIDEO AS MATERIAL
Technical Lecture:
Lesson Documents:
Critical discourse: Karl Marx, The Fetishism of the Commodity
View:
Gary Hill
Bill viola
Sam Taylor Wood
Joachim Koester 'Tarantism'
Richard Serra
Hollis Frampton
Michael Snow
Omar Fast
Eve Sussman
Christian Marclay
Lab: Work on Assignment 1
Due next class:
1. Henri Bresson "OnSound" (notes on sound)
2. Sound in the cinema
:Premiere Essential training chpt.3 and chpt. 4
01/31 Fri.
Lesson: SOUND / ASSIGNMENT 1 DUE
Technical Lecture: Sound
Lesson Documents: Sound and mics, Video1 sound,
Assignment 2 distributed
Crital discourse: Sound of the Universe, Crickets orchestra
View: Ikiru Raging Bull, The Conversation, (excerpts)
Sound of the universe,
Lab: microphones, pickup patterns/ Sound collection and
identification
Due next class:
1. Coco Fusco, The other history of intercultural performance.
2.Adrian Piper, Passing for white, passing for black.
:Premiere Essential training chpt.5 and chpt. 6
02/4 Tue.
Lesson: PERFORMANCE
Technical Lecture:
Lesson Documents: PPT
Crital discourse: Coco Fusco, Adrian Piper
View:
Joachim Koester 'Tarantism'
Pipolati Rist
Steve McQueen
James Lee
Jacolby Satterwhite
Marina Abramavich
Martha Rosler
Adrian Piper
Bas Jan Ader
Kalup Lindsy
William Forsythe
Carolee Schneemann
Francis Aly
Yoko Ono
Ana Mendieta
Lab:
Due next class: View Ingmar Bergman Persona.
: Premiere Essential training chpt.19 and chpt. 20
02/07 Fri.
Lesson: LIGHTING
Technical Lecture: 3 point lighting
Lesson Documents: Lighting Keynote 2, Lighting Images,
Lighting for Video
Critical discourse: Bergman Persona
View:
Lab: Lighting exercise
Due next class:
1. Lumet's Style
: Premiere Essential training chpt.7 and chpt.8
02/11 Tue.
Lesson: SCREENWRITING
Technical Lecture: Formatting
Lesson Documents:
Crital discourse: Lumet's style
View:
Lab: Memory exercise
Due next class:
1. Synopses, Story, Pitch
:
02/14 Fri.
Lesson: SCENEBREAKDOWN/SHOTLIST
Technical Lecture:
Lesson Documents:
Crital discourse: Synopses, Story, Pitch
View:
Lab:
Due next class:
1. Katz shot by shot chap3 Storyboard
: Premiere Essential training chpt.9 and chpt.10
02/21 Fri.
Lesson: STORYBOARDING
Technical Lecture:
Lesson Documents:
Crital discourse:
View:
Lab: Storyboard memory project
Due next class:
1. Katz shot by shot chap 1-2 Visualization Production design
2. Red Desert by Antonioni
: Premiere Essential training chpt.11 and chpt.12
02/25 Tue.
Lesson: ASSIGNMENT 2 DUE CRIT A
Technical Lecture:
Lesson Documents: Assignment 3 distributed,
Crital discourse: Sculpture and video
View:
Video and Sculpture
Nam June Paik
Omar Fast
Mike Kelly
Mika Rottenberg
Superflex
Bill Viola
Tony Oursler
Lab:
Due next class:
1.Art And Objecthood
:
02/28 Fri.
Lesson: ASSIGNMENT 2 DUE CRIT B/ PRODUCTION ROLES
Technical Lecture: Production Roles
Lesson Documents: Production roles
Crital discourse: Art and Objecthood
View:
Lab: Work on Assignment 3
Due next class:
1.Tarkovsky Sculpting in time (excerpts)
:Premiere Essential training chpt.13 and chpt.14
03/04 Tue. NO CLASS SPRING BREAK
03/07 Fri. NO CLASS SPRING BREAK
03/11 Tue.
Lesson: EDITING
Technical Lecture:
Lesson Documents: Editing ppt
Crital discourse: Tarkovsky
View:
Lab:
Due next class:
1.katz_shot_by_shot_chap7_temporal_connections
2. Murch_Blink_of_an_Eye.pdf
: Premiere Essential training chpt.15 and chpt.16
03/14 Fri.
Lesson: EDITING
Technical Lecture:
Lesson Documents:
Crital discourse: Walter Murch
View:
Lab:
Due next class:
1.on the importance of film editing .pdf
2. Watch the cutting edge.
:
03/18 Tue.
Lesson: ASSIGNMENT 3 DUE CRIT A
Lecture: Video as CINEMA
Lesson Documents: ASSIGNMENT 4 distributed
View:
Jesper Just
Luis Gispert
Steve McQueen
Douglas Gordan
Matthew Barney
Omar Fast
Shirin Neshat
Kalup Lindsy
Doug Aitken
Lab:
Due next class:
1.For An Imperfect Cinema.doc
:Premiere Essential training chpt.17 and chpt.18
03/21 Fri.
Lesson: ASSIGNMENT 3 DUE CRIT B
Technical Lecture:
Lesson Documents:
Crital discourse: For an imperfect cinema
View:
Lab: Work on Assignment 4 in groups
Due next class:
1.Lisa Cartwright, Film and the Digital in Visual Studies: Film Studies in the era of convergence
:
03/25 Tue.
Lesson: OPEN LAB/ FILM
Technical Lecture:
Lesson Documents:
Crital discourse: Lisa Cartwright
View: Un Chant d'amour by Jean Genet
Lab:
Due next class:
1.N. Katherine Hayles, Virtual Bodies and Flickering signifiers
:
03/28 Fri.
Lesson: INTERNET and VIDEO
Technical Lecture: Green screening
Lesson Documents:
Crital discourse: Virtual Bodies and Flickering signifiers
View:
Ryan Tricartin
Hennessy Youngman/ Chuleta
Chao Fei PBS art 21
Lab:
Due next class:
1.Asphxiatin culture008.pdf
:
04/01 Tue.
Lesson: VIEW FILM
Technical Lecture:
Lesson Documents:
Crital discourse: Asphyxiating culture
View: Steve McQueen _Hunger
Lab:
Due next class:
1. Aesthetics-of-affect.pdf
:
04/04 Fri.
Lesson: SUBLIME AND AFFECT
Technical Lecture:
Lesson Documents:
Crital discourse:
View: The Blood of the Beast by Georges Franju
Lab:
Due next class:
:
04/08 Tue.
Lesson: ASSIGNMENT 4 DUE CRIT A
Technical Lecture:
Lesson Documents: Assignment #5 distributed
Crital discourse:
View:
Lab:
Due next class:
1.Michel Foucault, Of Other Spaces
:
04/11 Fri.
Lesson: ASSIGNMENT 4 DUE CRIT B
Technical Lecture:
Lesson Documents:
Crital discourse: Of Other Spaces
View:
Lab: RESEARCH Assignment 5
Due next class:
1.Ideas for Final Assignment
:
04/15 Tue.
Lesson: OPEN LAB /One on One Meetings
Technical Lecture:
Lesson Documents:
Crital discourse:
View:
Lab:
Due next class:
:
04/18 Fri.
Lesson: INSTALLATION
Technical Lecture: options for output
Lesson Documents:
Crital discourse:
View:
Lab:
Due next class:
1.Marshall Mcluhan_Understanding Media the extension of man
:
04/22 Tue.
Lesson: OPEN LAB
Technical Lecture:
Lesson Documents:
Crital discourse: Marshall Mcluhan
View:
Lab:
Due next class:
:
04/25 Fri.
Lesson: OPEN LAB
Technical Lecture:
Lesson Documents:
Crital discourse:
View:
Lab:
Due next class:
1. All documentation for final assignment
:
04/29 Tue. ASSIGNMENT 5 ARTIST STATEMENT DUE
Lesson: OPEN LAB
Technical Lecture:
Lesson Documents:
Crital discourse:
View:
Lab:
Due next class:
:
05/02 Fri. LAST DAY OF CLASS ASSIGNMENT 5 DUE
Listening: audio art. Kurt Schwitters, Steve Roden, Tony Conrad, Christian Marclay, Pauline Oliveros, Meredith Monk & other selections from and
Films:
La Notte by Antonioni
L'Eclisse by Antonioni
L'Adventura by Antonioni
Red Desert by Antonioni
Un Chant d'amour by Jean Genet
Ivan's childhood by Tarkovsky
Breathless by Jean Luc Godard
400 Blows by François Truffaut
Persona by Ingmar Bergman
8 1/2 by Fellini
La Dolce Vita by Fellini
The Blood of the Beast by Georges Franju
Rosemarie's baby by John Cassavetes
The Five Obstructions by Lars Van Trier
Dancer in the Dark by Lars Van Trier
The Color of Pomegranates by Sergei Parajanov
Ali: Fear Eats the Soul by Rainer Werner Fassbinder
Clockwork Orange by Stanley Kubrick
The Century of the Self by BBC
----------------------------------------------------------------------------------------------------------
Andy Warhol, Kiss,
Gunvor Nelson, Time Being
Deborah Stratman, In Order Not to Be Her
32 Short Films About Glenn Gould
Rene Clair, Paris Qui Dort (The Crazy Ray)
Chantal Akerman: News from Home
Abbas Kiarostami, Ten
EXHIBITIONS
Guggenheim:
Carrie Mae Weems: Three Decades of Photography and Video
January 24–April 23, 2014
Italian Futurism, 1909–1944: Reconstructing the Universe
February 21–September 1, 2014
New Museum:
Laure Prouvost:For Forgetting
February 12-April 14, 2014
Leanine Oleson
April 22- July 6, 2014
Bibliography & Resources:
A great resource to view artists talking about their work:
GOOD BOOKS
Screen Writings
Scott Mcdonald
A Critical Cinema, vols 1, 2,3
Scott Macdonald
Notes on Cinematography
Robert Bresson
Raiding the Icebox
Peter Wollen
Streetwalking on a Ruined Map
The Films of Elvira Notari
Giuliana Bruno
OverExposed
ed: Carol Squires
The Reconfigured Eye
Visual Truths in the Post-photographic Era
WJT Mitchell
When the Moon Waxes Red
Trinh-T. Minh-Ha
Visionary Film
P. Adams Sitney
A seminal text on non-traditional film history and practice.
How Movies Work
Bruce Kawin
This is a large, comprehensive book, which provides excellent information both on film history and aesthetics as well as production and technique.
Narrative, Apparatus, Ideology
ed. Philip Rosen
An excellent anthology of seminal writings in film theory.
Beyond Document: Essays on Nonfiction Film
ed. Charles Warren
An intriguing collection of essays on the not documentary, not fictional genre.
On Film Editing
Edward Dmytryk
A practical how-to manual with excellent details.
The Blink of an Eye
Walter Murch
What is Cinema?
Andre Bazin
Film Sound: Theory and Practice
eds. Elisabeth Weis and John Belton
An excellent anthology on theory and practice of film sound.
Narration in the Fiction Film
David Bordwell
An immense investigation into voice and narrative in film.
Writing Great Screenplays for Film and TV
Dona Cooper
A how-to manual for screenplay writing-useful and clear.
Cinema 1, The Movement-Image, and Cinema 2, the Time-Image
Gilles Deleuze
Theory par excellence by the master of textual editing.
Hall of Mirrors: Art and Film Since 1945
Catalogue from the MOCA exhibition of 1998
Excellent essays by Russell Ferguson, Jonathan Crary and Molly Nesbit on the intersections between film and other arts.
Film Form and The Film Sense
Sergei Eisenstein
The classics from the master of montage.
Audio-Vision
Michel Chion
Kino-Oko (The Film-Eye)
Dziga Vertov
Extraordinary cinema manifestos and revolutionary writings by the Man with the Movie Camera.
Sculpting in Time
Andrei Tarkovsky
An incredible series of insightful writings by an amazing filmmaker. Truly inspiring writings.
Hitchcock on Truffaut/Truffaut on Hitchcock
Very funny, informative interviews by the greats.
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