DOCSLIB.ORG

1 Description the Class Will Focus on Digital Video,16Mm and 35 Mm Film

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Description the Class Will Focus on Digital Video,16Mm and 35 Mm Film Intermediate Film-Video Art 3358 001 M/W 11-1:50 FA 166 Email: [email protected] Office: FA 161 M/W 10:30-11 and 5:00-5:30 & by Appt. Office Phone: 817 272 2891 (lv msg w/Art Office) Faculty Profile: http://mentis.uta.edu/explore/profile/patricia-newton Description The class will focus on digital video,16mm and 35 mm film production techniques and digital editing. There will be lectures/viewings/workshops on lighting and sound recording, editing (picture & sound) and producing. We will focus on further developing your skills in the art and craft of filmmaking. 16 and 35 Film will be introduced. Several projects (all under 10 minutes) will be completed and one fully developed final project will be produced. Catalog Description INTERMEDIATE FILM/VIDEO 3 hours credit. Continuation of 2358 with emphasis on more advanced concepts, production techniques, film/video history, aesthetics, basic 16mm film production, digital video post production and studio editing. Students will propose, write, produce and edit a number of short, original works. Goals Students will master the skills needed to work with more sophisticated film and video equipment, enabling them to produce higher quality works. Students will also gain a deeper knowledge of digital editing and theoretical approaches to effective storytelling. Attendance Attendance is required to all scheduled classes. However, we do understand that there are occasions when an absence is necessary and excusable. In accordance with university policy religious holidays are excusable, as are an illness with a written note from a physician. The student is responsible for notifying the professor ahead of class if the absence is unavoidable. Unexcused absences over two days, including any absence in which the professor and student do not communicate in writing about before the absence will result in the following grade reductions. Third day absent will result in reduction of one letter for the final semester grade. Fourth day absent will result two letters off the final semester grade. Fifth day absent will result in automatic failure of the class. The student is responsible for any work missed during an absence, including any handouts given in class and any demonstrations. Course Requirements To get a passing grade in the class all students will be required all the following: Produce all finished exercises. Produce one short final project. Make a formal presentation of a scene analysis in class. Turn in all paperwork on time as well as a production packet Write a self-critique and the end of the semester. Mentor an intro student Turn in files with all projects on it. 1 Art 3358 Intermediate Film-Video Syllabus v 1.1 Policy: All written assignments must be typed and stapled along with a cover page containing name, assignment, date, and version, hand– written work will not be accepted. All assignments must be handed in on the due date. Video and computer gear can sometimes fail (especially when you count on them) because of machine and/or operator error. It is important to give yourself some extra time to compensate for problems that may/will occur. Late work will not be accepted. Please speak with instructor, before the project is due, if any problems arise. You are expected to work crew on other student’s projects. At the end of the semester you will turn in files with all of your projects for grading. You will also turn in a production book (pdf files) with all the pre-production materials for each of your projects and a self-critique. Student Learning Outcomes 1. Students will be able to create and edit audio, and picture as creative elements for storytelling in film and video. 2. Students will be able to perform basic audio procedures, techniques, and standard practices in pre-production, production and postproduction. 3. Students will achieve control of audio and editing so that students’ creative drive is facilitated, not impeded, by technology. 4. Students will develop basic competency using microphones, recording, and in use of NLE/DAW tools s for editing, processing and mixing 5. Students will effectively plan, write, adapt, and execute ‘basic 16 mm film production/ 6. Students will learn how to use a light meter. 7. Students will learn how to shoot an interview. 8. Students will learn how intermediate lighting techniques. 9. Students will achieve technical control of equipment and understanding of the basic properties of sound and picture. 10. Students will become proficient with editing tools, and acquire a deeper aesthetic perspective in the postproduction process. 11. Students will be able to constructively critique other’s production in a workshop environment 12. Students will become better filmmakers. Reading We will continue to use the text from intro to film video ART 2358 The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age, 4th Ed. (Ascher & Pincus) Suggested readings: Sharff, Stefan The Elements of Cinema Rose, Jay Audio Producing Great Sound for Digital Video Fourth Edition Murch, Walter In the Blink of an Eye: A Perspective on Film Editing Thompson, Roy Grammar of the Edit (Focal Press, 1993) Koppelman , Charles Behind the Seen: How Walter Murch Edited Cold Mountain Using Apple's Final Cut Pro and What This Means for Cinema ) Schwartz, Tony The Responsive Chord Rose, Jay Audio Postproduction for Digital Video Useful Audio Web Links http://www.filmsound.org/ 2 Art 3358 Intermediate Film-Video Syllabus v 1.1 http://freesound.org a place for free sound effects www.soundsnap.com www.archive.org rippletraining.com fcp.com nofilmschool.com Lynda.com Resources: http://archive.org/ (Prelinger section) SoundSnap.com I’ll give you the Login info in class. UTA has an account Just. For. You. https://www.youtube.com/channel/UCht8qITGkBvXKsR1Byln-wA There will be required articles to be read throughout the semester. The video world changes rapidly it is imperative to keep up with trade magazines. The following is a list of magazines that should be helpful American Cinematographer Videography DV VideoMaker Student Filmmaker Listserves doculink/ dpa/ dfwfcpusers It is important to belong to media organizations to meet working makers. Some of interests are: (they all have web sites) Video Association of Dallas Dallas Producers Association TAFTP Dallas Film Society Women in Film And of course the SFVO!! Your Work: The student is responsible for all work that they produce, including the use of any Copyrighted material. Also, at some time in the future (after this class) the University/instructor may wish to use some of a student’s work in demonstrations, discussions, etc. If the student does not wish for their work to be used, they should notify the instructor in writing. Expectations for Out-of-Class Study Beyond the time required to attend each class meeting, students enrolled in this course should expect to spend a significant number of hours per week of their own time in course-related activities, including reading required materials, completing assignments, shooting and editing. Work Days On workdays you are free to work on you current projects. During these sessions I will be available either in the classroom to discuss your work. If students are not taking advantage of workdays they will turn into lecture days 3 Art 3358 Intermediate Film-Video Syllabus v 1.1 Materials: Daily Calendar/Notebook for logging Time Management documentation. You will be shooting in HD and 16 or 35 mm film and editing with Final Cut Pro X or DaVinci Resolve 12.5/14 You may need to purchase SD cards or tape for production. You will need a hard drive. (USB 3 firewire or thunderbolt) Each student will need to purchase 100 ft. of 16 or 35mm film, process and transfer it. You will also incur expenses for production such as gas, food, props, and location fees. Grading: Exercises 60% Presentation/scene analysis 10% Final project 20% Paperwork 5% Participation in class/critique 5% A good video consists of: A good idea Followed by many other good ideas; The persistence and tenacity to carry through on the many details of the project; A mastering of the technical knowledge required, and of the tools and equipment you will be using; The ability to communicate with your collaborators insuring you of getting good performances from your actors, subjects, and crew members (if used); Consideration of audience and issues of representation; Conceptual unity and coherence within the piece; A sense of vision and innovation; A properly labeled master file handed in on time, with graphics, titles, and a completed, legally cleared, soundtrack. Some these factors are subjective so it is important to listen and participate in critiques in class. You have until the end of the semester to incorporate the feedback form the critique in the revised finish work. Students are expected to keep track of their performance throughout the semester and seek guidance from available sources (including the instructor) if their performance drops below satisfactory levels. Subject Matter There are no specific limitations on the subject you choose for your project, except that you must be able to achieve it within limitations of your resources (money and time) Issues of Representation Throughout the semester we will be addressing the subject of what it means to represent someone or something in visual and aural terms. There is a political aspect to representation, in that you have a certain amount of power over someone else's image. It follows that as film and video makers we have a certain responsibility that should be exercised in the process. Your projects should demonstrate that you have engaged with this issue. Consideration of Audience Issues concerning the audience will also be a focus of this course.
Load more

Recommended publications
  • Exploring Temporality and Identity in Wong Kar‐Wai's Days Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by PDXScholar PSU McNair Scholars Online Journal Volume 3 Issue 1 Identity, Communities, and Technology: On the Article 18 Cusp of Change 2009 Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046 Julie Nakama Portland State University Let us know how access to this document benefits ouy . Follow this and additional works at: http://pdxscholar.library.pdx.edu/mcnair Recommended Citation Nakama, Julie (2009) "Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046," PSU McNair Scholars Online Journal: Vol. 3: Iss. 1, Article 18. 10.15760/mcnair.2009.127 This Article is brought to you for free and open access. It has been accepted for inclusion in PSU McNair Scholars Online Journal by an authorized administrator of PDXScholar. For more information, please contact [email protected]. Portland State University McNair Research Journal 2009 Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046 by Julie Nakama Faculty Mentor: Mark Berrettini Citation: Nakama, Julie. Time after Time: Exploring Temporality and Identity in Wong Kar‐wai’s Days of Being Wild, In the Mood for Love, and 2046. Portland State University McNair Scholars Online Journal, Vol. 3, 2009: pages [127‐153] McNair Online Journal Page 1 of 27 Time after Time: Exploring Temporality and Identity in Wong Kar-wai’s Days of Being Wild, In the Mood for Love, and 2046 Julie Nakama Mark Berrettini, Faculty Mentor Wong Kar-wai is part of a generation of Hong Kong filmmakers whose work can be seen in response to two pivotal events in Hong Kong, the 1984 signing of the Sino-British Joint Declaration detailing Hong Kong’s return to China in 1997 and the events of Tiananmen Square in 1989.
    [Show full text]
  • Scandinavian Cinema from the Silent Era Prof
    © Lynn R. Wilkinson UGS302 (64115): Nordic Light: Scandinavian Cinema from the Silent Era Prof. Lynn Wilkinson to the 2000s COURSE DESCRIPTION: Ingmar Bergman is perhaps the best known Scandinavian filmmaker, but Northern Europe has a remarkable tradition of filmmakers and filmmaking. Including films from Sweden, Denmark, and Iceland, this course will provide an introduction to some of the masterpieces of Scandinavian film from the Golden Age of silent film through the 2000s and to the culture of Scandinavia. ASSIGNMENTS AND GRADING: One two-page paper (5%); one five-page paper which may be rewritten (20%); one storyboard (10%) accompanied by a five-page essay (20%); five quizzes (20%; you may drop the lowest grade); one class presentation (5%). Class participation will count 20%. REQUIRED TEXTS: Bordwell and Thompson: Film Art: An Introduction. 10th edition (2009) McGraw Hill: ISBN 10: 0073386162 Earlier editions on reserve: PN 1995 B617 2004 TEXT; PN1995 B617 2001 TEXT Recommended: Tytti Soila et al.: Nordic National Cinemas Routledge: ISBN-10: 0415081955 On Reserve: PN 1993.5 s2 s65 1998; also available as an electronic resource Braudy and Cohen: Film Theory and Criticism. 6th edition (FTC on syllabus) Oxford Univ. Press: ISBN 10 0195158172 On reserve: PN 1994 M364 2004 Mette Hjort: Purity and Provocation: Dogme 95 British Film Institute On reserve: PN1995.9 E96 P87 2003 Mette Hjort: Italian for Beginners University of Washington Press, 2010 PN 1997 I51555 H56 2010 Björn Norðfjörð: Dagur Kári’s Nói the Albino University of Washington
    [Show full text]
  • Hist Art 3901 Course Change.Pdf
    COURSE CHANGE REQUEST Last Updated: Haddad,Deborah Moore 3901 - Status: PENDING 12/31/2020 Term Information Effective Term Summer 2021 Previous Value Summer 2017 Course Change Information What change is being proposed? (If more than one, what changes are being proposed?) to offer a 100% distance learning offering of 3901 What is the rationale for the proposed change(s)? The course ran in AU20 during the pandemic and received a course assurance. The department would like the flexibility to run the course as a "DL" course in the future. What are the programmatic implications of the proposed change(s)? (e.g. program requirements to be added or removed, changes to be made in available resources, effect on other programs that use the course)? The department will be able to offer the course as "DL" during the summer (with college approval) and students who are off-campus during the summer will be able to take the course and further their degree requirements. The course is also a Film Studies major course option and it will help students in that program as well. Is approval of the requrest contingent upon the approval of other course or curricular program request? No Is this a request to withdraw the course? No General Information Course Bulletin Listing/Subject Area History of Art Fiscal Unit/Academic Org History of Art - D0235 College/Academic Group Arts and Sciences Level/Career Undergraduate Course Number/Catalog 3901 Course Title World Cinema Today Transcript Abbreviation World Cinema Course Description An introduction to the art of international cinema today, including its forms and varied content.
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • Network Review #37 Cannes 2021
    Network Review #37 Cannes 2021 Statistical Yearbook 2020 Cinema Reopening in Europe Europa Cinemas Network Review President: Nico Simon. General Director: Claude-Eric Poiroux Head of International Relations—Network Review. Editor: Fatima Djoumer [email protected]. Press: Charles McDonald [email protected]. Deputy Editors: Nicolas Edmery, Sonia Ragone. Contributors to this Issue: Pavel Sladky, Melanie Goodfellow, Birgit Heidsiek, Ste- fano Radice, Gunnar Rehlin, Anna Tatarska, Elisabet Cabeza, Kaleem Aftab, Jesus Silva Vilas. English Proofreader: Tara Judah. Translation: Cinescript. Graphic Design: Change is good, Paris. Print: Intelligence Publishing. Cover: Bergman Island by Mia Hansen-Løve © DR CG Cinéma-Les Films du Losange. Founded in 1992, Europa Cinemas is the first international film theatre network for the circulation of European films. Europa Cinemas 54 rue Beaubourg 75003 Paris, France T + 33 1 42 71 53 70 [email protected] The French version of the Network Review is available online at https://www.europa-cinemas.org/publications 2 Contents 4 Editorial by Claude-Eric Poiroux 6 Interview with Lucia Recalde 8 2020: Films, Facts & Figures 10 Top 50 30 European movies by admissions Czech Republic in the Europa Cinemas Network Czech exhibitors try to keep positive attitude while cinemas reopen 12 Country Focus 2020 32 France 30 French Resistance Cinema Reopening in Europe 34 46 Germany The 27 Times Cinema initiative Cinema is going to have a triumphant return and the LUX Audience Award 36 Italy Reopening
    [Show full text]
  • Guide to the Papers of the Capri Community Film Society
    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • BIS-1280 Booklet X.Pdf-3D4912.Pdf
    BIS-CD-1280 STEREO D D D Total playing time: 78'20 BRAGA, Antônio Francisco (1868-1945) 1 Cauchemar (1895) (OSESP Editora) World Première Recording 7'06 Musicological revision by Rubens Ricciardi Jupyra (1899) (OSESP Editora) World Première Recording 70'26 Opera in one act. Libretto: Luiz Gastão de Escragnolle Doria (Italian text: A. Menotti-Buja) Musicological revision by Rubens Ricciardi from the autograph kept at the Universidade Federal do Rio de Janeiro 2 Coro interno Varia l’amor come la luna varia… 1'17 3 Preludio 5'20 Atto unico 63'37 4 Scena I JUPYRA: Migrante, morente, risale pallente… 3'59 5 Scena II QUIRINO: Io t’ho seguita!… 9'31 6 Scena III CARLITO: Sciagurato!… 0'56 7 Scena IV CARLITO: Perchè sei qui?… 11'43 8 Scena V CARLITO: L’uccel di paradiso… 13'54 9 Scena VI JUPYRA: Vendetta!… 2'14 10 Scena VII QUIRINO: Allontanar lo vidi e a te ritorno io fò… 4'51 11 Scena VIII CARLITO: Amor, sei desta? Affacciati!… 4'51 12 Scena IX JUPYRA: Tua nemica son io!… 8'24 13 Scena X QUIRINO: Vendicata tu sei!… 3'14 Eliane Coelho, soprano (Jupyra); Rosana Lamosa, soprano (Rosalia); Mario Carrara, tenor (Carlito); Phillip Joll, baritone (Quirino); Coro da Orquestra de São Paulo; choral direction: Naomi Munakata Orquestra de São Paulo (leader: Cláudio Cruz) conducted by John Neschling Francisco Braga and his opera Jupyra and principal conductor. By that time he had already Antônio Francisco Braga was born in Rio de Janeiro on composed all his major scores. 15th April 1868.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • La Lengua De Las Mariposas a Film Based on Spanish Civil War
    Centre for European and Latin American Studies Jamia Millia Islamia European Studies Programme presents La Lengua de las Mariposas a film based on Spanish Civil War La Lengua de las Mariposas/Jose Luis Cuerda/ Spain/ Spanish/1999/94min Veteran director Jose Luis Cuerda delivered this sensitive portrait of a child coming of age during a tense political situation just before the Spanish Civil War. On his first day of school, frail eight- year-old Moncho (Manuel Lozano) is so terrified by the imposing figure of his teacher Don Gregorio (Fernando Fernan Gomez) that he flees into the nearby woods. In spite of his authoritarian appearance, the schoolmaster proves to be a kind, free-thinking Republican who teaches Moncho the virtues of being good. The boy is soon spending much of his time with the elderly Gregorio in the Galician countryside, admiring such wonders of nature as the tongue of a butterfly. Other people in young Moncho's world include his down-to-earth mother (Uxia Blanco), his Republican father, and his older brother, who plays the saxophone with a group of local musicians. However, when the Fascists roll into town, the boy's life changes forever. La Lengua de las Mariposas was screened at the 1999 San Sebastian Film Festival. ~ Jonathan Crow, Rovi http://www.rottentomatoes.com/m/la-lengua-de-las-mariposas-butterfly-butterfly-tongues/ AV Hall, Nelson Mandela House,at 11 am on Tuesday, April 24, 2012 La Lengua de las Mariposas Author : SkyKid Many authors compare it with such classics of the coming of age genre as the Italian Cinema Paradiso ( the central youngster/father-figure relationship, as well as some of its bittersweet nostalgia) or the Czech film Kolya.
    [Show full text]
  • Course Outline 3/23/2018 1
    5055 Santa Teresa Blvd Gilroy, CA 95023 Course Outline COURSE: HUM 6 DIVISION: 10 ALSO LISTED AS: TERM EFFECTIVE: Fall 2018 CURRICULUM APPROVAL DATE: 03/12/2018 SHORT TITLE: CONTEMPORARY WORLD CINEMA LONG TITLE: Contemporary World Cinema Units Number of Weeks Contact Hours/Week Total Contact Hours 3 18 Lecture: 3 Lecture: 54 Lab: 0 Lab: 0 Other: 0 Other: 0 Total: 3 Total: 54 COURSE DESCRIPTION: This class introduces contemporary foreign cinema and includes the examination of genres, themes, and styles. Emphasis is placed on cultural, economic, and political influences as artistically determining factors. Film and cultural theories such as national cinemas, colonialism, and orientalism will be introduced. The class will survey the significant developments in narrative film outside Hollywood. Differing international contexts, theoretical movements, technological innovations, and major directors are studied. The class offers a global, historical overview of narrative content and structure, production techniques, audience, and distribution. Students screen a variety of rare and popular films, focusing on the artistic, historical, social, and cultural contexts of film production. Students develop critical thinking skills and address issues of popular culture, including race, class gender, and equity. PREREQUISITES: COREQUISITES: CREDIT STATUS: D - Credit - Degree Applicable GRADING MODES L - Standard Letter Grade REPEATABILITY: N - Course may not be repeated SCHEDULE TYPES: 02 - Lecture and/or discussion STUDENT LEARNING OUTCOMES: 1. Demonstrate the recognition and use of the basic technical and critical vocabulary of motion pictures. 3/23/2018 1 Measure of assessment: Written paper, written exams. Year assessed, or planned year of assessment: 2013 2. Identify the major theories of film interpretation.
    [Show full text]
  • TRF-4 Condena Lula Pela 2A
    126 anos - PaTRIMÔnIo Da PaRaÍBa Ano CXXVI NúmeroA 254 UNIÃOJoão Pessoa, Paraíba - QUInTa-FEIRa, 28 de novembro de 2019 – R$ 1,50 - Assinatura anual R$ 200,00 Governo realiza sorteio de apartamentos em JP São 256 unidades construídas na capital a partir de um investimento superior a R$ 23 milhões e que vão beneficiar 1.024 paraibanos. Página 3 Foto: Evandro Pereira Foto: Secom-PB Últimas Treinamento testa resposta a acidentes em Cabedelo Área do porto, por onde passam inúmeros produtos inflamáveis, foi palco ontem de um exercício simulado das forças de resgate do Estado. Página 4 Foto: Evandro Pereira Paraíba Foto: Léo Caldas / Folhapress Entidades advertem consumidores sobre a Black Friday Violência contra a mulher é Órgãos de defesa do consumidor autuam lojas que cometeram debatida em maternidade irregularidades e mandam a Evento na Maternidade Frei Damião teve objetivo população ter cautela. Páginas 4 e 8 de treinar a equipe para o Programa de Assistência às Mulheres Vítimas de Violência Sexual. Página 6 Foto: Divulgação TRF-4 condena Lula pela 2a vez Tribunal Regional Federal da 4ª Região ignora decisão anterior do STF que anulou processo parecido e não só manteve a condenação como aumentou a pena que tinha sido imposta pela primeira instância. Página 14 Foto: Sejel Ouro e recorde Daniel Azevedo é o mais veloz no nado costas dos Jogos Escolares em Blumenau. Página 23 Balé de luto José Enoch morre aos 88 anos e abala o meio artístico paraibano. Páginas 4 e 12 facebook.com/uniaogovpb www.paraiba.pb.gov.br auniao.pb.gov.br Twitter > @uniaogovpb Opinião Edição: José Napoleão Ângelo Editoração: Ulisses Demétrio 2 AUNIÃO João Pessoa, Paraíba - QUINTA-FEIRA, 28 de novembro de 2019 CONTATOS: [email protected] REDAÇÃO: (83) 3218-6539/3218-6509 Editorial Em dia Manter em dia os compromis- Ressalte-se que há muito tempo sos com os servidores públicos, no as famílias dos servidores públicos que diz respeito ao pagamento de estaduais dormem tranquilas, prin- salários, é uma das regras de ouro cipalmente quando se aproxima o do governo estadual.
    [Show full text]