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Course Description
This is an introductory course in digital video production. This class
encourages a critical, creative approach to the medium, non-traditional
solutions, and explanation of the history and methodology of independent
video and video art. Class session combines hands-on technical training
in script writing, storyboarding, camera operation, off-line and non-linear
editing, lighting and sound equipment with critical analysis of subject
matter, treatment, and modes of address in independent as well as mass
media. Prerequisite: Language of Film or Intro to Media Studies.
Course Organization
Class activities include technical demonstrations, group critiques, screening
and discussion of video pieces. Both works by students and examples of
independent media works are screened in class. Your participation in the
class discussions and group critiques do contribute to your final grade.
The number of guest speakers (film and video makers, media artists, programmers,
etc.) depends on funding and availability. Speakers are invited to class,
or to the Media Studies Cinematheque series, which screens videos and
films on Wednesday nights.
Please turn off all cell phones and pagers during
class. These and other diversions are not acceptable during class time,
and will lower your grade.
| Course Requirements
|
| 1. |
Attend all classes |
| 2. |
Participation in class discussions and
group critiques |
| 3. |
Completion of 3 projects, reading and
writing assignments |
Attendance
Attendance and participation of all classes is required. Do not miss class
or arrive late! If you miss class 3 times without
a proper excuse, (e.g. a doctor's note if you are sick) you fail the class.
Absences must be cleared by me before or after (in case of emergencies only)
the class you missed in order for it to not affect your final grade. Attendance
is determined by when I take roll.
Class Participation
Your active, well-prepared participation in class discussions is essential
to creating a dynamic (i.e. not boring!) learning environment. Although
you will not receive a letter grade for class participation, it will figure
into your final grade based on my observations.
We often study sexually explicit, political, and otherwise challenging
material in this course. These are not included for shock value, but are
legitimate investigations of controversial subject matters in media. You
are certainly encouraged to explore difficult and complex subject matters
in your work, and you should be prepared to consider these issues intellectually
and emotionally. Our class is a safe space in which students can express
their beliefs and opinions. You always have a voice, but please be respectful
of others as well. Abusive language and behavior are not be tolerated.
Open-mindedness is encouraged!
Video Assignments
Students produce three video projects of their own, or work on (one maximum)
collaborative projects in this class. You are encouraged to assist each
other with camera, crew, as actors or in other capacities - this is how
independent videos are made in the real world! Finished tapes are screened
in class, and students participate in discussions of technical as well
as critical issues. Both your video project and participation in class
discussions are accounted for in grading. The class will have a mandatory
(and fun-filled!) public screening at the end of the semester with other
Media Studies classes at Pitzer.
| 1. |
Videos: one-take/in-camera
video— Video Poem (1-3 min.) |
| 2. |
Video made with appropriated or found
footage—Slash Video (5 min.) |
| 3. |
Final project—you have a choice
of re-working either video 1 or 2, or proposing a new project—
content/format of your choice (5-10 min.) |
I will hand out more specific guidelines when I assign these projects. Unless
an extension is approved by myself in advance of the due date, your grade
are reduced by one letter grade (i.e. B to C) per class day your project
is late. You are encouraged to meet with me individually during my
office hours to discuss your assignments, your grades, and your overall
performance in class. I am always open to suggestions and feedback!
Reading Assignments
Required readings are drawn from the textbook (see below) and
articles I will put on reserve on the class web site. They will pertain
to both technical as well as intellectual issues. You should be able to
draw from them during class discussions and in your video production.
Required Textbooks:
Lisa Brenneis, Final Cut Pro 4 for Macintosh: Visual QuickPro
Guide, Peachpit Press, Berkeley, CA, 2003. (Available at the bookstore
or on-line at amazon.com, barnesandnoble.com, etc.)
Additional References (theory and history of video):
Doug Hall and Sally Jo Fifer, eds., Illuminating Video: An
Essential Guide to Video Art, Aperture/BAVC, 1990.
John Hanhardt, Video Culture: A Critical Investigation, Peregrine
Smith Books, NY, 1986.Michael Renov & Erika Suderburg, eds., Resolutions:
Contemporary Video Practices, University of Minnesota Press, MN, 1995.
Grading
Your final grade will be based on the following |
| • |
Final Project 40% |
| • |
Project 1+2 40% |
| • |
Class participation* 20% |
* Your general performance in class including participation, attendance,
and punctuality, except in the special cases I have listed above, such
as if you have more than 3 un-excused absences.
One video (handed in on time) maybe re-done for a better grade.
Generally, outstanding (A) students in this class have good attendance
and completed all their assignments on time. They are consistently well
prepared for class, and actively participate in and advance our discussions
with pertinent information, questions, and observations. Their work demonstrate
their awareness of the issues at hand, the historical and theoretical
context of their projects and the film and videos they are discussing,
as well as their ability to articulate their observations and analyses
in a clear and concise manner. Only letter grades are given out in this
class.
Academic honesty -
all work done for this course must be the original work of the student
submitting it, and should have been undertaken exclusively for this course.
No work done prior to this class maybe used to fulfill the class assignments.
Extra credit - Students are
encouraged to attend screenings, conferences, lectures, exhibitions and
web events related to this course. Write a two-page (typed and double-spaced)
report of the event or activity. Incorporate the event's relevance to
the class as well as your personal responses to it. Proof of attendance
is required (keep your ticket stubs, programs, etc.) Students are allowed
two extra credit papers. Announcements for events of interest to this
class are done in the first 5 mins. of each class.
* I try my best to make my grading criteria as clear as possible,
and you are welcome to come and discuss your grades and your class performance
with me. However, I only consider legitimate concerns, and be aware that
your grade is as likely to go down as it is to go up after I reassess
your assignment. I do not tolerate haggling, bribing, threats, and any
other pointless arguments. I consider all aspects of your performance
before I assign a grade, please respect my assessment as I respect your
efforts.
Equipment Check-out
Please review equipment usage policy, posted on the Media
Studies web site
Equipment is checked-out/in on Mondays and Thursdays between 9am—10pm
at Scott Hall basement. Equipment that is checked-out must be returned
by 12 noon the day it is due back.
Editing room access keycodes are given out by myself or Enid Blader (x73889,
enid_blader@pitzer.edu) after
in-class demonstrations of the equipment. Sign-up sheets for editing hours
are posted in Scott Hall basement.
Videotapes and audiotapes for class projects can be purchased at the bookstore,
on-line, or at any good A/V supply store (Ametron, Studio Film & Tape,
etc.) If you go to a supply store or buy on-line, it is usually cheaper
to buy in bulk, so a group of you may want to organize and purchase tapes
together.
* A note on general respect and care: we are all depending on each
other to keep our equipment in good working order. If the equipment breaks
down, no one can complete his or her work! You are responsible for reading
and following rules for equipment usage. Enid Balder or myself may revoke
access privileges at any time if the rules are not followed. Use common
sense and please be considerate of each other: return the equipment on
time.
|
| |
Course Schedule:
Week 1: Introduction
Tuesday 9/2
Week 2: Camera Demo + Project 1 Assignment
Tuesday 9/9
__ • Discussion: video vs. film, digital
video vs. analog
__ • Camera
demo
__ • Project
1 Assignment
__ • One-take videos:
____ TWO DOGS
AND A BALL, USED CAR SALESMAN, DOG BISCUIT IN A JAR, all by William Wegman
____ (1974)
Week 3: Shooting, Planning, Storyboarding,
Lighting
Tuesday 9/16
__ • Reading: Video: The
Aesthetics of Narcissism by Rosalind Krauss (Peregrine Smith Books,
1986)
__ • More one-take videos:
__ __ UNDERTONE
by Vito Acconci (1972) 5 min. excerpt
__ __ VERTICAL
ROLL by Joan Jonas (1972) 5 min. excerpt
__ __ TELL ME
WHAT YOU WANT TO HEAR... by Jin Han Ko (1998)
__ • Storyboarding:
__ __ ALONE
ONCE AGAIN by Andrew Becerra (1994)
__ • Videos poems:
__ __ TO BE
WITH YOU by Martha Garcia (1994)
__ __ THE ROLE
OF MAN by Jesse Farias (1994)
__ • Light-kit demo
__ • If we have time, more video poems!
__ __ NO. 9
by Jason Livingston from VIDKIDCO
__ __ BAKLA
BRAT by Juno Salazar Parrenas in OUTLOUD by Cheri Gaulke (1995)
__ __ LOST IN
YOUR EYES by Peter John Cord (1994)
Week 4: Project 1 Due, Screening +
Group Critique
Tuesday 9/23
__ • In-class screening of video assignment
#1
Week 5: Project 1 Critique (Cont.),
Assign Project 2, Editing Concepts
Tuesday 9/30
__ • In-class screening of video assignment
#1 (cont.)
__ • Project
#2 assignment
__ • Video
editing basic concepts
__ • Reading: NASA/TREK
by Constance Penley (Verso Books, 1997) pp. 97-145
__ • web
site about slashing
Week 6: Final Cut Pro Demo 1
Tuesday 10/7
__ • FCP demo:
______-Intro
to mac digital environment
______-Intro
to FCP inteface
______-
Reading
FinalCut Pro 4 Visual Quick Pro Guide, ch. 1 (read) 2 & 3 (skim)
Week 7: Final Cut Pro Demo 2, Appropriation
+ Found Footage Issues
Tuesday 10/14
__ • FCP demo:
______-Digitizing
video
______-Setting
up project, scratch disks, bins, clips, etc.
______-The
Viewer
______-Reading:
FCP4 Visual Quick Pro Guide, ch. 4-6 (read)
__ • Examples of slash videos by Diana
Williams + discussion of Penley reading
Week 8: Fall Break
No class meeting on Tuesday 10/21
Week 9: Final Cut Pro Demo 3
Tuesday 10/28
__ • FCP demo:
_____-Editing
in FCP4
_____-Final
output
_____-Reading:
FCP4 Visual Quick Pro Guide, ch. 7-10 & 19 (skim)
__ • Examples of artist videos using
found footage
_____-RESPECT
IS DUE by Cyrille Phipps (1992)
_____-PICTURING
ORIENTAL GIRLS by Valerie Soe (1992)
_____-THE IRAQ
CAMPAIGN by Phil Patiris (1992)
_____-TARGETING
AUDIENCES (MAKES ME WANNA SHOOT) by Daniel Mason (1993)
_____-IT IS
A CRIME by Meena Nanji (1996)
Week 10: Project 2 Due, Screening +
Group Critique
Tuesday 11/4
__ • In-class screening of video assignment
#2
Week 11:Project 2 Critique (Cont.),
Project 3 Proposals Due
Tuesday 11/11
__ • In-class screening of video assignment
#2 (cont.)
__ • Project 3 proposals
Week 12: Final Cut Pro Demo 4
Tuesday 11/18
__ • FCP demo:
_____-Transitions
_____-Keyframes
_____-Image
control
_____-Filters
_____-Tape speed
_____-Compositing:
__________•Superimpose
video tracks
__________•Text
generator
__________•mat
_____-Reading: FinalCut
Pro 4 Visual Quick Pro Guide, ch. 13-18
__ • Video screening:
Week 13: Project 3 Work-in-Progress
Critique
Tuesday 11/25
__ • Respondent
Groups
Week 14: Trouble-Shooting for Project
3
Tuesday 12/2
__ • Individual
Meetings
Week 15: Last Class, Final Projects
Due
Tuesday 12/9
Friday 12/12: End of Semester Screening
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