ARTEMIS RISING SHORT COURSE IN FILMMAKIN
ARTEMIS COURSE IN FILMMAK
The Artemis Rising Short Course in Filmmaking is a two to four-week course offered each semester on a special topic of filmmaking presented by an Artemis Rising Foundation Filmmaker Fellow (ARFF). This series was endowed by the Artemis Rising Foundation to bring world-class filmmakers with hands-on experience and fresh perspectives to Barnard to connect with students interested in filmmaking as a vocation and media literacy.
It can only be taken for pass/fail for 1 point.
Students must attend all four class sessions and write a final paper in order to receive credit for this course.
To see the dates/times that the Artemis Rising Short Course will meet this semester, the current course description, and the biography of the visiting filmmaker, please visit the ARFF website:
https://athenacenter.barnard.edu/arff
.
- W 4:10 p.m.-6 p.m.
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Instructor:
Ross T Hamilton
CULPA: 25
Info
- 1 points
SCREENWRITING FUNDAMENTALS
SCREENWRITING FUNDMENTALS
Prerequisites: FILM BC3201 or equivalent. Enrollment limited to 12 students. Priority is given to Film Studies majors/concentrations in order of class seniority. Corequisites: (Since this is a Film course, it does not count as a writing course for English majors with a Writing Concentration.)
This course is ideal for writers of their FIRST, SECOND AND THIRD screenplays. The first several weeks will focus on STORY: What it is, what it isn’t, how to recognize the difference. How to find your own individual stories that nobody else in the universe can tell.
From there we will make the transition to the highly individualized techniques, the strengths and limitations, the dynamics of telling a SCREEN STORY; what to leave in, what to leave out. As Michelangelo puts it—starting with a block of marble and chipping away everything that isn’t David. Through studies of existing screenplays and films in coordination with and hands-on writing exercises which we will share in class, we will develop our skills in all aspects of screenwriting; building fascinating characters, dialogue, story construction (The BIG PICTURE) and scene construction (The Small Picture)
Perfection is not the goal; but rather it is to be able to say truly at the end of each day’s writing, “I did the best I could with what I had at the time. (Phillip Roth quoting heavyweight champion Joe Louis)
- W 12:10 p.m.-3 p.m.
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Instructor:
Peter Nickowitz
Info - 3 points
FILM PRODUCTION
Prerequisites: FILM BC3201 or equivalent. Sophomore standing. Priority is given to Film Studies majors/concentrations in order of class seniority. If you are accepted into this course, attending the first day of class is mandatory. If you do not show up, you may be dropped.
This workshop introduces the student to all the cinematic tools necessary to produce their own short narrative work. Using what the student has learned in film studies, we'll break down shot syntax, mise-en-scene and editing strategies. We'll include scheduling, budgeting, casting, working with actors and expressive camera work in our process as we build toward a final video project.
- T 4:10 p.m.-7 p.m.
- R 4:10 p.m.-7 p.m.
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Instructor:
Julia L Thompson
Info -
Instructor:
Daniel F Pfeffer
Info - 3 points
INTRO FILM & MEDIA STUDIES
Prerequisites: Open to first-year students.
We derive much of our information about the world from visual media. Social networks, television, cinema: all shape our aesthetic sensibilities and our political visions. Yet we often lack a basic understanding of what could be called “visual literacy.” This introductory course gives students the critical tools to analyze how film and other visual media
really
work – in order to appreciate their artistic and social achievements, as well as to guard against their insidious manipulative devices.
In the first part of the semester, we focus on
film analysis
through a detailed study of the different production phases of filmmaking – from screenwriting and mise-en-scène to editing and film scoring. We pay special attention to the way in which certain stylistic and narrative choices have particular ideological effects. The second part of the course looks at
film history
through a comprehensive, chronological overview of its main movements and periods, including the coming of sound in Hollywood cinema, post-war Italian Neorealism, the emergence of world
auteurs
, New Waves of the 1960s and 1970s, etc. Students will use the hermeneutical tools learnt in film analysis to intellectually engage with some masterworks of film history. In the third and final part of the semester, we study the major debates of
film theory
from perspectives such as auteurism, formalism, psychoanalysis, Marxism, feminism, postcolonial and queer studies, etc.
Required screenings include
Nanook of the North
(Flaherty, 1922),
Sunrise
(Murnau, 1927),
Man with a Movie Camera
(Vertov, 1929),
Casablanca
(Curtiz, 1942),
Bicycle Thieves
(De Sica, 1948),
Rashomon
(Kurosawa, 1950),
Breathless
(Godard, 1960),
Belle de Jour
(Buñuel, 1967),
The Hour of the Furnaces
(Solanas, 1968),
Seven Beauties
(Wertmüller, 1974),
Blue Velvet
(Lynch, 1986),
Paris Is Burning
(Livingstone, 1990), and
Children of Men
(Cuarón, 2006).
- F 2:10 p.m.-5:30 p.m.
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Instructor:
Jason R Lariviere
Info - 3 points
AMERICAN TELEVISION DRAMA
Between prestige and streaming, the medium of television has never covered a wider breadth of narratives, voices, and concerns. This course will take a closer look at the format of the American Drama and how it has served as a cultural tool since its inception, reflecting the concerns of the time in one form or another. Through theoretical readings and sociological texts, the course will survey and sharpen our understanding of the power of the medium when placed in conversation with the greater American discourse.
- F 2:10 p.m.-5:55 p.m.
-
Instructor:
Ben Alexander
Info - 3 points
ADAPTATION
In the same way that there can never be a single objective account of an historical event, using one medium to convey a story first told in another is never as straightforward as it might seem. Translating the essence of an existing story to the screen may require making significant changes to the events or characters as they were originally presented. As a screenwriter faced with such an adaptation, you must understand the idiosyncrasies of your craft well enough to recognize what to keep, what to change, and what to leave behind. This course will explore what makes a screen story work, balancing faithfulness and invention.
- R 4:10 p.m.-7 p.m.
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Instructor:
Danielle T Douge
Info - 3 points
NONFIC DIGTL VIDEO PRODCTN
Nonfiction Digital Video Production: Enrollment limited to 12 students. Registering for the course only through myBarnard or SSOL will NOT ensure your enrollment. Attend first class for instructor permission. Lab section required. This workshop course is designed to familiarize students with digital video technologies while they investigate various aesthetic and theoretical concepts related to nonfiction cinema and its engagement with the real. Through weekly readings, discussions, screenings, critiques, and practical exercises, students will develop a solid understanding of how to use digital video as an expressive tool. The course will culminate in the completion of a short video work by each student. Students should be both self-directed and interested in developing a support system for each others work.
- F 3 p.m.-4 p.m.
- W 10:10 a.m.-noon
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Instructor:
Margaret J McLagan
Info -
Instructor:
Ross T Hamilton
CULPA: 25
Info
- 3 points
DIGITAL PRODUCTION
Prerequisites:
both
FILM BC3201 (or equivalent)
and
FILM BC3200 (or equivalent). Digital Production offers visual storytellers an incredible medium to connect and build an audience. It is an inexpensive, accessible platform to launch micro-budget concepts. Developing the storytellers voice inexpensively is critical to the evolution of any student, no matter their starting point. The Digital Series course is intended to take students from story ideation through creation of an independent digital series. Emanating from a writers room setting, all steps of the process will be explored and supported by in-class discussion, examples and workshops. This hands-on class revolves around the TV series production model: breaking story, writing pages, preproduction planning, filming and post-production review. We will emphasize the writers voice, construction of series storytelling, and establishing realistic scopes of production.
- T 3:10 p.m.-6 p.m.
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Instructor:
Danielle T Douge
Info - 3 points
UNSEEN MASTERWORKS OF WORLD CINEMA
MASTERWORKS: ARAB CINEMA
This course examines the portrayal of significant themes in international cinema. Through a selection of diverse cinematic works from various countries, students will analyze different cultural, historical, and political perspectives. The course aims to enhance students' understanding of complex topics, their impact on individuals and societies, and the ethical questions they evoke. Through critical analysis and discussion, students will engage with a range of cinematic works that offer alternative narratives and perspectives.