DOCSLIB.ORG

Visual Media Program Standards

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Visual Media Program Standards Visual Media Program Standards Level Courses Overview Minimum Technical Requirements Assignment Examples 100- Studies Studies Studies Studies Level VIS 100 Film History History of cinema and animation Students should be able to: 4-5 page simple essay demonstrating VIS 101 Language of Cinema Fundamentals of cinematic and animation demonstrate a basic knowledge of knowledge of historical and/or VIS 120 Intro to Animation construction cinema history, film language, sociopolitical context of a cinematic Basic analysis and critique and/or animation styles text (VIS 100) Production Writing about film perform a basic analysis of VIS 110 Digital Cinema I narrative, style, or technique Simple essay analyzing a cinematic VIS 113 Creating with Digital Video Production write an analytical essay on a film text in terms of film language or VIS 130 Storyboarding Knowledge of basic equipment text animation style (VIS 101, VIS 120) VIS 131 Digital Animation I Basic production practice and techniques VIS 150 Digital Photography I Crew competencies Production Production VIS 175 Typography and Pub Students should be able to: 2-3 minute narrative film, produced either singularly or with a crew, demonstrate a basic knowledge of demonstrating screenwriting, equipment and software for basic cinematography, sync sound, and photographic, cinematic, or editing (VIS 110) animation production demonstrate beginning techniques Simple digital animation for working in relevant media demonstrating artistic rendering and create still, temporal, or motion techniques (VIS 131) typographical works that reflect basic knowledge and techniques Photographic collection of relevant media demonstrating basic camera operation, capabilities in controlling light, and photo editing techniques (VIS 150) 200- Studies Studies Studies Studies Level VIS 263 Branding History of cinema and animation Students should be able to: 4-5 page simple essay or project VIS 289 Special Topics in VM Fundamentals of cinematic and animation demonstrate a basic knowledge of demonstrating context and strategies Studies construction cinema history, film language, for given branding materials and Basic analysis and critique and/or animation styles campaign (VIS 263) Production Writing about film perform a basic analysis of VIS 201 Screenwriting narrative, style, or technique Production VIS 202 Editing Production write an analytical essay on a film 4-5 minute film, produced with a VIS 203 Sound Design Competency with intermediate and text or marketing element crew, demonstrating intermediate- VIS 204 Cinematography advanced level techniques in all positions VIS 210 Digital Cinema II equipment Production (both developing material and VIS 215 Documentary I Intermediate and advanced techniques Students should be able to: crewing on other productions as VIS 231 Digital Animation II Expanded creativity and complexity called upon) (VIS 210) demonstrate knowledge of and VIS 235 After Effects consistent abilities in using VIS 250 Digital Photography II 15-page screenplay with three drafts, production equipment and VIS 253 Photoshop demonstrating narrative abilities and software, as well as an awareness firm grasp of formatting (VIS 201) of professional practice demonstrate intermediate Music video or fake trailer techniques for working in relevant demonstrating abilities with multiple media camera and lighting setups at an create still, temporal, or intermediate level (VIS 204) manipulative works that reflect intermediate knowledge and 2-3 minute digital animation techniques of relevant media demonstrating artistic ability, effective motion techniques, and development in narrative and storyboarding (VIS 231) 10-12 minute documentary demonstrating effective research and/or interviewing techniques and editing for dramatic impact or persuasion (VIS 215) Photographic series demonstrating intermediate lighting, posing, and framing abilities, and effective capture and organization of images into a series (VIS 250) 300- Studies Studies Studies Studies Level VIS 307 Critical Theory and Media History and social context Students should be able to: 8-10 page complex essay Specific subjects in history and theory demonstrate close reading deconstructing a film text or media Production Critical perspectives and theoretical frames techniques, intermediate artifact from a critical theoretical VIS 310 Producing the Short Film Effective analytical techniques contextual or interpretive analysis, perspective (VIS 307) VIS 310 Digital Cinema III and proper writing style for film VIS 355 Photography Projects Production studies Production Organizational skills and production demonstrate a more focused 8-10 minute film, with full leadership knowledge of cinema history, film development and crew supervision, Polish and craft language, and/or animation styles demonstrating intermediate-level Proficiency across production roles write a complex essay comparing, techniques in all positions and deconstructing, contextualizing, or working toward artistry or craft (VIS interpreting a film text or media 310) artifact Photographic project demonstrating demonstrate an understanding of intermediate to advanced lighting, critical or theoretical approaches posing, and framing abilities, and to film effective capture and organization of images into a project reflecting a Production particular type of professional Students should be able to: photographic practice (VIS 250) demonstrate abilities in using production equipment and Fully developed production pitch software at a basic professional and marketing plan for a conceptual level or actual film production (VIS 310) demonstrate intermediate techniques for working in relevant media create or conceptualize still or temporal works that reflect intermediate abilities and an attention to artistry or craft 400- Studies Studies Studies Studies Level VIS 400 Film Theory Historical and social context Students should be able to: 8-10 page complex essay analyzing VIS 401 Major Figures in Cinema Specific subjects in history and theory demonstrate close reading the work of a major figure in film VIS 407 Women in Film Critical perspectives and theoretical frames techniques, intermediate to history (VIS 401) VIS 408 Film and Literature Effective analytical techniques advanced contextual or VIS 489 Special Topics in VM interpretive analysis, and proper Experimental film project Studies Production writing style for film studies demonstrating an understanding or ENG 476B History of American Application of theoretical concepts demonstrate a more focused exploration of a theoretical Film Craft and artistry knowledge of cinema history, film approach to film (VIS 400) ENG 477 Film Genres Industrial or professional engagement language, and/or animation styles write a complex essay comparing, 8-10 page complex essay examining Production deconstructing, contextualizing, or spectatorship, film style, and VIS 490 Senior Projects interpreting a film text or media industrial constraints for film artifact production and viewing within a Portfolio/Professional certain historical period (ENG demonstrate an understanding of VIS 496 Senior Portfolio 476B) critical or theoretical approaches VIS 499 Internship to film Production Other 10-12 minute capstone film Production VIS 495 Independent Study demonstrating cumulative ability Students should be able to: and substantial creative and use production equipment and organizational effort software at a basic to intermediate professional level Portfolio/Professional demonstrate intermediate to Online portfolio site with images, advanced techniques for working sample work, and reel in relevant media create still or temporal works that Career research, industry interviews, demonstrate artistry or craft and graduate school applications demonstrate clear abilities as a creative developer, productive crew member, and effective leader Portfolio/Professional Students should be able to: organize works into a portfolio suitable for professional presentation complete objectives related to acquiring a professional position promote films online or through festival or other public screenings Notes on terms ‘Craft’ implies a level of polish and technique that sets the work above student work, situating it closer to what would be recognized as professional or high-level amateur work ‘Artistry’ implies any utilization of film language elements or production techniques in a way that subverts their typical use or creates meaning or beauty .
Load more

Recommended publications
  • Roger Savage Some Mainland Chinese Work
    did you get that soundtrack?’ and the answer was, ‘in Australia’. is because often the actors they use can’t speak very good Soon after that we started doing a lot of low-budget films and Mandarin – their native tongue is often Cantonese, Korean or Roger Savage some Mainland Chinese work. One of these low-budget films even Japanese. In House of Flying Daggers, for instance, some of was directed by Zhang Yimo, who directed Hero in 2004. It the main actors were Korean and Japanese whose Mandarin was So many international awards… so little cupboard space. was through this previous association that we found ourselves unacceptable to the Mainland Chinese audience. To satisfy the working on that film as well. Hero was quite an unusual Chinese audiences the production hired voice artists to come in Andy Stewart talks to Australia’s most decorated film soundtrack, not your typical Hollywood soundtrack. and redo the voice at our studio in Beijing. The Chinese editors mixer about operating Soundfirm and what’s involved in AS: In what way was the Hero soundtrack different? then expertly cut the voice back into the film – they did an RS: The Chinese directors don’t bow down to the studio system, amazing job. Neither House of Flying Daggers nor Hero sound or delivering great sound to a cinema audience. they don’t have to, so they make their films the way they want. look like a dubbed film at all. Often the films themselves are way out there, which often means AS: What’s involved in good ADR in your experience and how the soundtrack is as well.
    [Show full text]
  • Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
    Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday.
    [Show full text]
  • SYNC EVENT the Ethnographic Allegory of Unsere Afrikareise
    SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen Department of Media Studies Master’s Thesis 30 HE credits Cinema Studies Master’s Programme in Cinema Studies Spring 2016 Supervisor: Associate Professor Malin Wahlberg SYNC EVENT The Ethnographic Allegory of Unsere Afrikareise Erik Rosshagen ABSTRACT The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio- vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film. KEYWORDS Experimental Ethnography, Film Sound, Audio-Vision, Experimental Cinema, Documentary, Ethnographic Film CONTENTS INTRODUCTION 1 Demarcation 6 Survey of the field 7 Background 12 Disposition 15 I.
    [Show full text]
  • Sound: Eine Arbeitsbibliographie 2003
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897.
    [Show full text]
  • PAUL TURANO [email protected]
    PAUL TURANO [email protected], www.paulturano.com Education: M.F.A. MASSACHUSETTS COLLEGE OF ART, 1995 Filmmaking. Studied with Dan Eisenberg, Ericka Beckman, Mark Lapore, Saul Levine B.A. HAMPSHIRE COLLEGE, 1991 Film and Video Production, Critical Studies. Studied with Abraham Ravett, Joan Braderman, Abigail Child, Susan Douglas Academic Work Experience: ASSOCIATE PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2018 – PRESENT Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ASSISTANT PROFESSOR, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: SUMMER 2012 – SPRING 2018 Teaching duties focused on the MFA program and across the undergraduate curriculum and include media production, graduate thesis work, capstone projects and mentoring. ARTIST-IN-RESIDENCE, DEPARTMENT OF VISUAL AND MEDIA ARTS EMERSON COLLEGE: FALL 2007 – SPRING 2012 Teaching courses in intermediate sync sound narrative filmmaking, introductory 16mm filmmaking, and graduate level film and video production, MFA thesis chair and reader. VISITING FACULTY, ANNENBERG COMMUNICATIONS CENTER PINE MANOR COLLEGE: SPRING 2007 Course in digital movie making. ADJUNCT FACULTY IN COMPUTER ANIMATION ART INSTITUTE OF BOSTON: FALL 2004 Courses in digital animation with Flash, AfterEffects, and Final Cut Pro for individual projects. FULL TIME VISITING FILM FACULTY SCHOOL OF THE MUSEUM OF FINE ARTS: FALL 2000 – FALL 2005 Courses in advanced sync sound, intermediate 16mm film production and digital post-production, optical printing, Super 8 filmmaking, critical screening seminars; graduate MFA thesis and undergraduate advising; Acting Area Coordinator and Representative. FILM STUDIO MANAGER MASSACHUSETTS COLLEGE OF ART: SUMMER 1996 – SUMMER 2000 Roles included maintaining and teaching all aspects of film, animation, video, and computer equipment; organizing department screenings and visiting artists; managing student workers.
    [Show full text]
  • Download (Binaural and Ambisonics B-Format Files)
    Cover Page The handle http://hdl.handle.net/1887/47914 holds various files of this Leiden University dissertation Author: Chattopadhyay, B. Title: Audible absence: searching for the site in sound production Issue Date: 2017-03-09 Part II: Articles The following 6 articles are published in this dissertation in their original form (i.e. as they were published, accepted or submitted in peer-reviewed journals). I have chosen to insert short postscripts or comments on the first page of each article and besides added some comments here and there inside the articles on the basis of new insights gained throughout my research process, serving as clarification or to critically comment on them and connect them to each other as well as to the topics discussed in the Introduction and Conclusion. These blue and green-colored postscripts establish the context in which the articles can be considered part of the main body of research for this dissertation. 45 46 Article 1: Chattopadhyay, Budhaditya (2017). “The World Within the Home: Tracing the Sound in Satyajit Ray’s Films.” Music, Sound, and the Moving Image Autumn issue (Accepted). This article deals with the first historical phase of sound production in India, as explained in the Introduction, namely: analogue recording, synchronized sound, and monaural mixing (1931– 1950s). Satyajit Ray emerged during this period and made full use of these techniques; hence, his work with sound is used as a benchmark here when studying this specific period of sound production. The article examines the use of ambient sound in the early years of film sound production, highlighting two differing attitudes, the first markedly vococentric and music-oriented, the second applying a more direct sound aesthetics to create a mode of realism.
    [Show full text]
  • Camera Operator of the Year Award
    BEST CINEMATOGRAPHY | CLAUDIO MIRANDA LAUDIO MIRANDA LAUDIO C | CINEMATOGRAPHY BEST “And everybody asked me would I try again...? I never did. As a matter of fact, I have never done anything with my life after that....” “A visual triumph that advances the art of screen storytelling leaps and bounds ahead of everything that has come before.....” – Pete Hammond, Hollywood.com US $7.00 AWARDS ISSUE 2009 Display Until April 2009 2009 Special Awards Issue THE OPERATING CAMERAMAN: TRANSITIONS 1 © 2009 Paramount Pictures. All Rights Reserved. PARAMOUNTGUILDS.COM WWW.SOC.ORG CAMERACAMERA OPERATOROPERATOR VOLUME 18, NUMBER 1 SPECIAL AWARDS ISSUE 2009 Filming Law & Order: Criminal Intent out east on the north shore of Long Island. Courtesy of Al Cerullo. Features: SOC Lifetime Achievement Awards Celebration Meet the people who are being honored this Cover: year for Lifetime Achievement as a Camera Operator, Camera Technician, Mobile Platform Camera Operator, and Still Photographer, for the President’s Award, for Outstanding Achievement in Technology, for Distinguished 6 Service, and for the 2nd annual Camera Operator of the Year Award. Filming a Heist Cover photo of by Dan Kneece SOC 53 Sean Penn from An Operator’s personal diary description of Milk. © 2008 Focus shooting the feature film Maiden Heist for Features. DP Ueli Steiger ASC. Departments: 2 President’s Letter 61 Transitions by Dan Kneece SOC 63 Last Take; Ad Index 4 News & Notes SOC donation to Childrens Hospital Vision 64 Roster of the SOC Center; Holiday Screening. as of 1/9/09 Camera Operator Letter from the President Special Awards Issue 2009 elcome to the 2009 Past recipients have felt that Editor .
    [Show full text]
  • Westminsterresearch the Digital Turn in Indian Film Sound
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The Digital Turn in Indian Film Sound: Ontologies and Aesthetics Bhattacharya, I. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr Indranil Bhattacharya, 2019. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] THE DIGITAL TURN IN INDIAN FILM SOUND: ONTOLOGIES AND AESTHETICS Indranil Bhattacharya A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2019 ii Abstract My project maps film sound practices in India against the backdrop of the digital turn. It is a critical-historical account of the transitional era, roughly from 1998 to 2018, and examines practices and decisions taken ‘on the ground’ by film sound recordists, editors, designers and mixers. My work explores the histories and genealogies of the transition by analysing the individual, as well as collective, aesthetic concerns of film workers migrating from the celluloid to the digital age. My inquiry aimed to explore linkages between the digital turn and shifts in production practices, notably sound recording, sound design and sound mixing. The study probes the various ways in which these shifts shaped the aesthetics, styles, genre conventions, and norms of image-sound relationships in Indian cinema in comparison with similar practices from Euro-American film industries.
    [Show full text]
  • Oxnard Course Outline
    Course ID: FTVE R120 Curriculum Committee Approval Date: 10/24/2018 Catalog Start Date: Fall 2019 COURSE OUTLINE OXNARD COLLEGE I. Course Identification and Justification: A. Proposed course id: FTVE R120 Banner title: Beginning Audio Production Full title: Beginning Audio Production Previous course id: FTVE R120 Banner title: Beginning Audio Production Full title: Beginning Audio Production B. Reason(s) course is offered: FTVE R120 is a required course in the AS in Film, Television, and Electronic Media, the Certificate of Achievement in Film, Television, and Electronic Media Production, and a restricted elective in the AS-T in Film, Television and Electronic Media. Students gain hands on experience in recording, editing, mixing and mastering audio providing the skills needed for entry level jobs in the industry. C. Reason(s) for current outline revision: Five year review, update textbooks. A modest change to reason course is offered, SLOs, objectives, methods of instruction and methods of evaluation. D. C-ID: 1. C-ID Descriptor: FTVE 120 2. C-ID Status: E. Co-listed as: Current: None Previous: II. Catalog Information: A. Units: Current: 3.00 Previous: 3.00 B. Course Hours: 1. In-Class Contact Hours: Lecture: 35 Activity: 0 Lab: 52.5 2. Total In-Class Contact Hours: 87.5 3. Total Outside-of-Class Hours: 70 4. Total Student Learning Hours: 157.5 C. Prerequisites, Corequisites, Advisories, and Limitations on Enrollment: 1. Prerequisites Current: Previous: 2. Corequisites Current: Previous: 3. Advisories: Current: Previous: 4. Limitations on Enrollment: Current: Previous: D. Catalog description: Current: This course introduces the theoretical and practical fundamentals of audio production, technology, and terminology.
    [Show full text]
  • Filmmaking | Acting for Film | Producing for Film & TV | Screenwriting | Game Design
    Associate of Fine Arts - Two-Year Degree Programs - Filmmaking | Acting for Film | Producing for Film & TV | Screenwriting | Game Design 212 “When I’m making a film, I’m the audience.” - Martin Scorsese A NYFA student gets hands-on instruction on RED camera. 213 LOCATION LOS ANGELES, CALIFORNIA Location is subject to change. For start dates and tuition, please visit nyfa.edu 214 Two-Year Degree Program ASSOCIATE OF FINE ARTS in FILMMAKING Students shooting a combat scene on the Universal Studios Backlot. 215 AFA Filmmaking ilmmaking is not something that is simply learned. Being confned to a classroom where one is taught the basic OVERVIEW criteria for bringing a story to life will ultimately limit one’s Fdevelopment as a flmmaker. At the Academy, our philosophy is learning by doing, something students will experience from the second they step into our fantastic facilities. Whether potential students are interested in creating feature- length flms, shorts, music videos, or documentaries, the Academy’s diverse flmmaking courses will ft each student’s specifc needs. The Associate of Fine Arts (AFA) Filmmaking degree program allows students to focus exclusively on their professional and artistic development. Unlike a standard undergraduate program, students are able to focus on the feld they wish to pursue immediately. It is a stand-alone program rather than a component of a longer bachelor’s degree program structured for transfer. No education in flm is complete without directly experiencing the highly collaborative environment that flmmaking requires. Students work with each other and with faculty members to develop their own particular interests, while getting hands-on training in all of the elements at work on a flm set.
    [Show full text]
  • Cinema Studies & Moving Image Arts Schedule of Courses
    CINEMA STUDIES & MOVING IMAGE ARTS SCHEDULE OF COURSES SPRING 2021 Attendance is mandatory for all classes and screenings. Students who miss one or more class sessions during the first two weeks of the semester may be administratively dropped in order to make room for students on the waitlist who have been attending class. Waitlists are sequenced by class rank; however, attendance does affect one’s chances of getting into a course. CINEMA STUDIES COURSES CINE 1502 (3) Introduction to Cinema Studies. Introduces basic media literacy by exploring the technical and aesthetic principles behind the production, analysis and interpretation of films. Explores comprehension and thinking about movies critically as technological, cultural and artistic products. Study of films in different social and historical contexts and discussion of the importance of movies as cultural products. Formerly FILM 1502. Sec. 001 Farmer T/TH 9:35am-10:50am Remote 165 limit 25893 Film screenings will be online CINE 2005 (3) Form, Structure, and Narrative Analysis. Analyzes the form and structure of narrative, experimental non- narrative, and documentary films. Familiarizes students with the general characteristics of the classic three-act structure, principles of adaptation, form and content of experimental films, structural approaches, and the basic formal, narrative, and rhetorical strategies of documentary filmmaking. Formerly FILM 2005. Requisites: Requires prerequisite or corequisite course of CINE 1502 (minimum grade D-). Restricted to Cinema Studies majors only. Sec. 001 Negri T/TH 9:35am-10:50am Remote 35 limit 25941 Film screenings will be online CINE 2105 (3) Introduction to the Screenplay. Explores, through close reading and original student work, the form and structure of the screenplay.
    [Show full text]
  • Dolby CP-45 User's Manual
    Film-Tech The information contained in this Adobe Acrobat pdf file is provided at your own risk and good judgment. These manuals are designed to facilitate the exchange of information related to cinema projection and film handling, with no warranties nor obligations from the authors, for qualified field service engineers. If you are not a qualified technician, please make no adjustments to anything you may read about in these Adobe manual downloads. www.film-tech.com MODEL CP45 CINEMA PROCESSOR Users' Manual USERS' MANUAL FOR MODEL CP45 CINEMA PROCESSOR Dolby Laboratories Inc U.S.A. 100 Potrero Avenue, San Francisco, CA 94103 Tel: 415-558-0200; Fax: 415-863-1373 U.K. Wootton Bassett, Wiltshire SN4 8QJ, England Tel: 01793-842100; Fax: 01793-842101 Dolby is a registered trademark of Dolby Laboratories Licensing Corporation. ©1995 Dolby Laboratories ISSUE 1 S95/10750 Dolby Part No. 91388 TABLE OF CONTENTS INTRODUCTION SECTION 1 OPERATING INSTRUCTIONS ............................................................................................ 1-1 A. NORMAL OPERATION 1. Initial Power-Up ..................................................................................................1-1 2. Format Selection ..................................................................................................1-1 3. Local (Front-Panel) Fader..................................................................................1-3 4. Remote Faders .....................................................................................................1-3 5.
    [Show full text]