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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. Whether you choose a documentary or narrative, your goal will be to design a project that communicates a story or message to a broad audience—beyond the class itself, and one that may not previously have been exposed to your subject. Your objective is to define your audience and reach them in an engaging way, while avoiding obstacles that alienate them. Again, your projects should demonstrate that you have engaged with this issue. Consistent Production Values The whole project should be as good as your best shot. In other words, don't use out-of-focus footage, footage containing jerky camera movement, footage with bad sound or lighting, etc. If you can't re-shoot, consider striking the shot if your only coverage of it looks bad. It will bring down the overall level of your movie. Demonstration of Control of the Medium Throughout the semester you will be adding to your knowledge of visual and aural aesthetics and techniques, and will be expected to demonstrate your understanding and command of the medium. This includes: Shot composition, command of focus, zooming, framing, etc. Everything in the project should have a reason for being there,

4 Art 3358 Intermediate Film-Video Syllabus v 1.1 Attention to the Relation between Audio and Picture It is said that the least interesting relation between picture and sound is a one- to-one relation, i.e. where the audio duplicates the picture--as in a shot of a conversation, where we are always shown the person who is talking. (sometimes called see dog-say dog or Mickey Mousing) Keep in mind the motivated use of the cutaway (varying what we see) and the sound effect (varying what we hear). A relation of contrast between sound and image is probably more interesting than a relation of identity.

Fresh Ideas/A Critical Evaluation of Concept/Complexity. Are you telling your audience something they already know? If so, why? What motivates your audience's interest? What is unique about your project that expresses something individual and different? What is something we haven’t seen before? How can you increase the (motivated) complexity of your project?

Copyright Information In this class, you are not permitted to use copyrighted music without written permission from the musicians and publisher. Create your own, have a musician create a piece, go to a site where you will find something that works for you, then email the producer and get permission. You are also not permitted to use copyrighted video images, (period. end of story) unless you have written permission. There may be some situations that would fall under fair usage. Please go to: http://www.centerforsocialmedia.org/resources/fair_use/ for significant research on fair usage. Printed licenses for any Copyrighted material is required.

Please remember: ultimately you are responsible for all of the material you use in your work. Use your head, think about how things will affect others, and maintain your own ethical guidelines. If you are considering the use of copyrighted material, please pursue your own research in additional to reviewing the above information. Links for starting Internet research are: http://www.utsystem.edu/ogc/intellectualproperty/copypol2.htm http://www.copyright.com/ http://www.ascap.com http://www.bmi.com/ http://www.LicenseMusic.com

Additional Information for Video Students Please read and be certain you understand all of the lab policies. You are responsible for understanding and adhering to all of these policies. These policies are designed to facilitate the use of all of the equipment available to you and other students. Attend demonstrations, take notes, and ask questions if you do not understand something.

Also, understand that as a student you are responsible for adhering to the attendance and due dates in this syllabus and discussed in class. If you do not understand a policy, please ask me about it. These policies are not in place to make your life difficult but rather to ensure that you get the full benefit of the class. As I’m sure you have all heard before – life in the “real, working world” is different than in college. Any job you have will simply expect you to show up on time and to complete projects on time. It is unlikely they will have a written policy on these things - they are simply expected. It is assumed that you learned these in college if not long before. Read and remember these policies and your time in the film/video program will go smoothly.

Throughout this class we will be viewing a wide variety of work from artists in all cultures, religions, languages and lifestyles. This work has been carefully chosen to expose the students to different points of view and the artistic methods utilized to express those points of view. Some of the work may contain material with which some students may not be comfortable. If at any point in time a student becomes excessively uncomfortable with material being viewed s/he is welcome to exit the class for the remainder of that video piece and to return for the discussion of that piece.

Due to the technical nature of our video/computer/film facilities, certain systems or parts of systems may be unavailable as they are removed for maintenance or repair. The faculty will make every effort to accurately inform students as to when equipment will be available again. If you feel that technical issues will affect your ability to complete a project, you should discuss this with the professor in a timely manner BEFORE the project due date. Please note that technical difficulties are a very standard occurrence in this field and successful professionals are often noted for their abilities to find creative solutions that allow them to complete their projects on time and with artistic excellence despite technical difficulties.

5 Art 3358 Intermediate Film-Video Syllabus v 1.1 The Fine Arts building is open 24 hours for your usage. If you are working late take caution to be safe and secure. is x3003. Do not give out codes to friends. Check you UTA email a few times a week. As your instructor, I am only able to correspond with you via your UTA email account.

Attendance At The University of Texas at Arlington, taking attendance is not required but attendance is a critical indicator in student success. Each faculty member is free to develop his or her own methods of evaluating students’ academic performance, which includes establishing course-specific policies on attendance. As the instructors of this section, I count attendance by a sign-in sheet that is provided at the beginning of class. Signing in is your responsibility. *Students who arrive up to 10 minutes late will be counted tardy. Those who show up later than this will not be counted or receive attendance for that day. *

Tardiness is not appreciated and disrupts the focus of the student and instructor, but is understandable under certain circumstances. If you arrive late, Please be considerate when entering and exiting the lecture hall if a lecture is in progress!

**Please do not let your lack of attendance fail you in this course! Absences stack up quickly. If you are ill, contact your professor immediately and make arrangements to see the doctor ~or~ attend the campus clinic, which is covered by your tuition and offers free/low cost services and prescriptions.**

However, while UT Arlington does not require instructors to take attendance in their courses, the U.S. Department of Education requires that the University have a mechanism in place to mark when Federal Student Aid recipients “begin attendance in a course.” UT Arlington instructors will report when students begin attendance in a course as part of the final grading process. Specifically, when assigning a student a grade of F, faculty report the last date a student attended their class based on evidence such as a test, participation in a class project or presentation, or an engagement online via Blackboard. This date is reported to the Department of Education for federal financial aid recipients.

Last Day to Drop Classes is March 30, 4:00 PM

Drop Policy: Students may drop or swap (adding and dropping a class concurrently) classes through self-service in MyMav from the beginning of the registration period through the late registration period. After the late registration period, students must see their academic advisor to drop a class or withdraw. Undeclared students must see an advisor in the University Advising Center. Drops can continue through a point two-thirds of the way through the term or session. It is the student's responsibility to officially withdraw if they do not plan to attend after registering. Students will not be automatically dropped for non-attendance. Repayment of certain types of financial aid administered through the University may be required as the result of dropping classes or withdrawing. For more information, contact the Office of Financial Aid and Scholarships (http://wweb.uta.edu/ses/fao).

Disability Accommodations: UT Arlington is on record as being committed to both the spirit and letter of all federal equal opportunity legislation, including The Americans with Disabilities Act (ADA), The Americans with Disabilities Amendments Act (ADAAA), and Section 504 of the Rehabilitation Act. All instructors at UT Arlington are required by law to provide “reasonable accommodations” to students with disabilities, so as not to discriminate on the basis of disability. Students are responsible for providing the instructor with official notification in the form of a letter certified by the Office for Students with Disabilities (OSD). Students experiencing a range of conditions (Physical, Learning, Chronic Health, Mental Health, and Sensory) that may cause diminished academic performance or other barriers to

6 Art 3358 Intermediate Film-Video Syllabus v 1.1 learning may seek services and/or accommodations by contacting: The Office for Students with Disabilities, (OSD) www.uta.edu/disability or calling 817-272-3364. Information regarding diagnostic criteria and policies for obtaining disability-based academic accommodations can be found at www.uta.edu/disability.

Counseling and Psychological Services (CAPS) www.uta.edu/caps/ or calling 817-272-3671 is also available to all students to help increase their understanding of personal issues, address mental and behavioral health problems and make positive changes in their lives.

Only those students who have officially documented a need for an accommodation will have their request honored. Information regarding diagnostic criteria and policies for obtaining disability-based academic accommodations can be found at www.uta.edu/disability or by calling the Office for Students with Disabilities at (817) 272-3364.

** Note: If you require an accommodation based on disability, we would like to meet with you in the privacy of my office the first week of the semester to be sure you are appropriately assisted and to discuss classroom policies. If you require outside classroom testing opportunities, this appointment is mandatory for approval and arrangements for the semester that will see to your success. Be advised that all arrangements for outside classroom testing opportunities are the student’s responsibility and must be made 5 days prior to each quiz or exam and the paperwork must be printed out and handed to me.**

Non-Discrimination Policy: The University of Texas at Arlington does not discriminate on the basis of race, color, national origin, religion, age, gender, sexual orientation, disabilities, genetic information, and/or veteran status in its educational programs or activities it operates. For more information, visit uta.edu/eos.

Title IX Policy: The University of Texas at Arlington (“University”) is committed to maintaining a learning and working environment that is free from discrimination based on sex in accordance with Title IX of the Higher Education Amendments of 1972 (Title IX), which prohibits discrimination on the basis of sex in educational programs or activities; Title VII of the Civil Rights Act of 1964 (Title VII), which prohibits sex discrimination in employment; and the Campus Sexual Violence Elimination Act (SaVE Act). Sexual misconduct is a form of sex discrimination and will not be tolerated. For information regarding Title IX, visit www.uta.edu/titleIX or contact Ms. Jean Hood, Vice President and Title IX Coordinator at (817) 272-7091 or [email protected].

Academic Integrity: Students enrolled all UT Arlington courses are expected to adhere to the UT Arlington Honor Code:

I pledge, on my honor, to uphold UT Arlington’s tradition of academic integrity, a tradition that values hard work and honest effort in the pursuit of academic excellence. I promise that I will submit only work that I personally create or contribute to group collaborations, and I will appropriately reference any work from other sources. I will follow the highest standards of integrity and uphold the spirit of the Honor Code. UT Arlington faculty members may employ the Honor Code in their courses by having students acknowledge the honor code as part of an examination or requiring students to incorporate the honor code into any work submitted. Per UT System Regents’ Rule 50101, §2.2, suspected violations of university’s standards for academic integrity (including the Honor Code) will be referred to the Office of Student Conduct. Violators will be disciplined in accordance with University policy, which may result in the student’s suspension or expulsion from the University. Additional information is available at https://www.uta.edu/conduct/.

Electronic Communication: UT Arlington has adopted MavMail as its official means to communicate with students about important deadlines and events, as well as to transact university-related business regarding financial aid, tuition, grades, graduation, etc. All students are assigned a MavMail account and are responsible for checking the inbox regularly. There is no additional charge to students for using this account, which remains active even after graduation. Information about activating and using MavMail is available at http://www.uta.edu/oit/cs/email/mavmail.php.

Campus Carry: Effective August 1, 2016, the Campus Carry law (Senate Bill 11) allows those licensed individuals to carry a concealed handgun

7 Art 3358 Intermediate Film-Video Syllabus v 1.1 in buildings on public university campuses, except in locations the University establishes as prohibited. Under the new law, openly carrying handguns is not allowed on college campuses. For more information, visit http://www.uta.edu/news/info/campus-carry/

Student Feedback Survey: At the end of each term, students enrolled in face-to-face and online classes categorized as “lecture,” “seminar,” or “laboratory” are directed to complete an online Student Feedback Survey (SFS). Instructions on how to access the SFS for this course will be sent directly to each student through MavMail approximately 10 days before the end of the term. Each student’s feedback via the SFS database is aggregated with that of other students enrolled in the course. Students’ anonymity will be protected to the extent that the law allows. UT Arlington’s effort to solicit, gather, tabulate, and publish student feedback is required by state law and aggregate results are posted online. Data from SFS is also used for faculty and program evaluations. For more information, visit http://www.uta.edu/sfs.

Final Review Week: for semester-long courses, a period of five class days prior to the first day of final examinations in the long sessions shall be designated as Final Review Week. The purpose of this week is to allow students sufficient time to prepare for final examinations. During this week, there shall be no scheduled activities such as required field trips or performances; and no instructor shall assign any themes, research problems or exercises of similar scope that have a completion date during or following this week unless specified in the class syllabus. During Final Review Week, an instructor shall not give any examinations constituting 10% or more of the final grade, except makeup tests and laboratory examinations. In addition, no instructor shall give any portion of the final examination during Final Review Week. During this week, classes are held as scheduled. In addition, instructors are not required to limit content to topics that have been previously covered; they may introduce new concepts as appropriate.

Emergency Exit Procedures: Should we experience an emergency event that requires us to vacate the building, students should exit the room and move down the hall toward the North door which leads to Faculty/Staff parking lot. When exiting the building during an emergency, one should never take an elevator but should use the stairwells. Faculty members and instructional staff will assist students in selecting the safest route for evacuation and will make arrangements to assist handicapped individuals. If there is an incident of Shooter Safety, it is important you turn off your phones so you can’t be heard in our locked classroom. Students are also encouraged to subscribe to the MavAlert system that will send information in case of an emergency to their cell phones or email accounts. Anyone can subscribe at https://mavalert.uta.edu/ or https://mavalert.uta.edu/register.php.

Student Support Services: UT Arlington provides a variety of resources and programs designed to help students develop academic skills, deal with personal situations, and better understand concepts and information related to their courses. Resources include tutoring, major-based learning centers, developmental education, advising and mentoring, personal counseling, and federally funded programs. For individualized referrals, students may visit the reception desk at University College (Ransom Hall), call the Maverick Resource Hotline at 817-272-6107, send a message to [email protected], or view the information at http://www.uta.edu/universitycollege/resources/index.php.

University Tutorial & Supplemental Instruction (Ransom Hall 205): UTSI offers a variety of academic support services for undergraduate students, including: 60 minute one-on-one tutoring sessions, Start Strong Freshman tutoring program, and Supplemental Instruction. Office hours are Monday-Friday 8:00am-5:00pm. For more information visit www.uta.edu/utsi or call 817-272-2617.

The IDEAS Center (2nd Floor of Central Library) offers FREE tutoring to all students with a focus on transfer students, sophomores, veterans and others undergoing a transition to UT Arlington. Students can drop in, or check the schedule of available peer tutors at www.uta.edu/IDEAS, or call (817) 272-6593.

The English Writing Center (411LIBR): The Writing Center offers FREE tutoring in 15-, 30-, 45-, and 60-minute face-to-face and online sessions to all UTA students on any phase of their UTA coursework. Register and make appointments online at https://uta.mywconline.com. Classroom visits, workshops, and specialized services for graduate students and faculty are also available. Please see www.uta.edu/owl for detailed information on all our programs and services. The Library’s 2nd floor Academic Plaza offers students a central hub of support services, including IDEAS Center, University Advising Services,

8 Art 3358 Intermediate Film-Video Syllabus v 1.1 Transfer UTA and various college/school advising hours. Services are available during the library’s hours of operation. http://library.uta.edu/academic-plaza

Librarian to Contact: Beverly Carver, Fine Arts Librarian, Art and Architecture Library & Special Collections, Central Library, UTA; Rita Lasater, Director, Visual Resource Commons, 2nd Floor, Fine Arts Building, Room 2109, [email protected], UTA.

Library Home Page http://www.uta.edu/library Subject Guides http://libguides.uta.edu Subject Librarians http://www.uta.edu/library/help/subject-librarians.php Course Reserves http://pulse.uta.edu/vwebv/enterCourseReserve.do Library Tutorials http://www.uta.edu/library/help/tutorials.php Connecting from Off- Campus http://libguides.uta.edu/offcampus Ask A Librarian http://ask.uta.edu Emergency Phone Numbers: In case of an on-campus emergency, call the UT Arlington Police Department at 817-272-3003 (non- campus phone), 2-3003 (campus phone). You may also dial 911. Non-emergency number 817-272-3381

Intermediate Film/Video Spring 2018 - Projects

Mentoring Each student will mentor an intro to film video student with production and post production throughout the semester. You will have the student send me an email confirming that you mentored them.

Soundscape You must create a script for this project. This could be dramatic (like radio drama) documentary style (like this American life) or experimental. Create a soundscape that is a creating a rich aural experience. It must contain some dialogue some sound effects and music. If you do dramatic work you must use voice talent, not just other students. You must carefully record and edit all the elements. You must mix the soundscape paying attention to levels eq and panning. Each work should be between 3-6 minutes.

Source Reading: Schwartz, Tony The Responsive Chord Rose, Jay Audio Postproduction for Digital Video Rose, Jay Audio Producing Great Sound for Digital Video Fourth Edition th The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age, 4 Ed. (Ascher & Pincus) Chapters 10, 11 & 15 http://www.filmsound.org/ - Great essays on Sound

9 Art 3358 Intermediate Film-Video Syllabus v 1.1

The Scene Analysis & Recreation Groups of 2 – Two Parts Part One: Select a scene from one of the films on the attached “150 Films…” list. Please be careful in your selection of the scene. It should be complex enough to be interesting. And at the same time be producible. Present a shot by shot scene analysis for a scene from a feature film, showing your understanding of the power of the scene.

Each student group will present a scene analysis in class sharing what you have learned by your study. Each student will turn in the analysis paper work. In class I will add some comments about your scene. Please include these and your response to them in your end of the semester packet.

2001: A Space Odyessy as a Barcode Part Two: Then you will produce the video shot for shot. This will be done in groups of 2. The last step is to make a creative edit of the video.

Source Reading:

Digital Handout – Analysis of Film Language

Short Documentary /Interview This project should be either about someone who has immigrated to the US. Or someone opposed to immigration info the USA.

Try to select someone who is articulate, and does something that will work well visually, and preferably someone who has archival footage. I will need to approve your selection of a subject. Please make sure you select someone who has time to work with you and someone that you can reshoot if the first one is not good enough.

The first part of this will be an interview with the subject. Pay careful attention to lighting, sound and what the background says about the people speaking. Be aware if this is not done exactly correct you may have to re shot until it is correct. Also look carefully at the framing of each shot. Get a good assortment of shots including cutaways and establishing shots.

This is to be done in groups of 2. On each shoot one person directs the other is the director of photography, then switch. So, 2 projects are required for each group. DO NOT SHOOT THIS BY YOURSELF. The second part of this assignment is to shoot B roll showing how this has effected the story teller, as well as assembling and finessing up archival footage.

Source Reading: Digital Handout – Rabinger & Directing Documentary

10 Art 3358 Intermediate Film-Video Syllabus v 1.1 Editing exercise Edit a scene given to you. First cut picture then add sound effects and mix the audio. Do color correction and graphics.

Source Reading: 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) The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age, 4th Ed. (Ascher & Pincus) Chapter 14

Service Learning project Groups of 2 Create a video project for a non-profit organization You will need to meet with a real non-profit organization. Find out what video they need and create the video for them. You will write a script and storyboard, which needs to get approved by the agency. The finished project needs to get approved by the agency. The Agency needs to send an email to the teacher about their experience with the project. This project can be done in groups of 2. Only one project is required for each group.

Film Project (16 or 35 MM) Design a project that tells a story visually without dialogue. Create a shot list and storyboard for this project. Purchase film from Kodak. Shoot a 16MM film or 35 mm – Ship to lab/Process/Transfer. Shot footage is due Monday, March 19. That is when we ship to lab. If you don’t meet this deadline you will need to pay for Shipping and Processing. You will edit this film on video and create a rich sound track.

Source Reading: The Filmmaker's Handbook: A Comprehensive Guide for the Digital Age, 4th Ed. (Ascher & Pincus) Chapter s 6, 7 & 8 ***If you skip over this reading – you will not do well on this assignment***

YOUR FILM MUST HAVE A PROTAGONIST WITH A TASK - THIS IS A SILENT EXERCISE. NO DIALOGUE Use naturalistic body language, staging and shot progression. 1-2 minutes. 1) A protagonist is introduced, attempting to complete a task. Make clear: • Where/when/who is this person. • What are they trying to do? Make the task specific, and related to character. 2) They encounter a difficulty (which could superficially involve another person), and fail. They respond. • This is “conflict” or obstacle. Make sure we “believe” and understand the obstacle. Conflict is often elaborated and/or escalates. 11 Art 3358 Intermediate Film-Video Syllabus v 1.1 Film Project (16 or 35 MM) Cont’d

3) The scene resolves with the protagonist either failing or succeeding. They learn something. • By the end of this scene, we should understand WHY the protagonist wanted to do the task to begin with AND what they have learned or how they have changed. You will each have to purchase one roll of film, as well as processing fee, and the film to tape transfer. We will provide you with information on how to buy film with a student discount.

Final Project Your choice of project 3-8 minutes. This project must have a script, budget, and a full production notebook. This could be from any genre

Schedule Version 1.1 As the instructor for this course, I reserve the right to adjust this schedule in any way that serves the educational needs of the students enrolled in this course. Please check email and blackboard. –Patty Newton Each class I will check your status on your Time Management documentation. Be prepared – Track it as you go.

Week 1 Jan 17 Lesson: Go over syllabus. Do survey. Lesson: Safety Film. Do survey. Lesson: Play Audio Drama Assign: Soundscape Project

Week 2 Lesson: Talk about sound recording. Jan 24 Lesson: Go over camera Jan 22 Lesson: Lighting basics Lesson: Beyond basic lighting demo Lesson: Show examples of work Talk about Service Learning Project Lesson: Show talking head video Assign: Select groups for Scene Analysis

Week 3 Lesson: Pitch Documentaries Assign: Doc Jan 31 Lesson: Fcpx/DaVinci Resolve tips and tricks Jan 29 Lesson: Sound recording demo-workshop Lesson: Workshop Lighting & Sound recording Script for Soundscape Project due Assign: Editing Exercise Discuss Service Learning Pitch Ideas Assign: Select non-profit

Week 4 Lesson: Workshop Lighting & Sound recording Feb 7 Group 1 & 2 Scene Analysis due Feb 5 Audio for Soundscape Project due Lesson: Follow-up Fcpx/DaVinci Resolve tips and tricks

Week 5 Documentary dailies due Feb 14 Script/storyboard for Service Learning due Feb 12 Assign: Watch The Cutting Edge film & Vision of First cut picture due for Editing Exercise Light film Additional footage for Documentary due Lesson: Film lecture part one, Assign project

Week 6 Lesson: The Film Cameras Feb 21 Storyboard for 16mm Film due Feb 19 Lesson: The Light Meter Fine cut of Editing Exercise due Soundscape with SFX Due Groups 3 Scene Analysis

Week 7 First cut of Documentary due Feb 28 Dailies from Service Learning project due Feb 26 Sound edit of Editing Exercise due Final project one page treatment due Assign: Final Project

12 Art 3358 Intermediate Film-Video Syllabus v 1.1 Week 8 16mm Film project in class shoot March 7 Editing March 5 Lesson: Color correction and sound

Week 9 March 11-17 Week 9 March 11-17 SPRING Finish shooting 16mm Film Projects SPRING Finish shooting16mm Film Projects BREAK BREAK

Week 10 Film goes to lab – all film in - Ship Film March 21 Color correction and sound in final Editing Exercise due March 19 Dailies of Scene Recreation due Mix of Editing exercise due

Week 11 First cut of Scene Recreation due March 28 First cut of Film Shoot due March 26 Script for Final Project due Dailies of Film Shoot

Week 12 Second cut of Scene Recreation due April 4 Dailies from Final Project due April 2

Week 13 Work Day & Individual meetings April 11 First cut of Final Project due April 9

Week 14 Work Day & Individual meetings April 18 Work Day & Individual meetings April 16 Fine cut of 16mm Film Project due

Week 15 Sound Design and Color for Final Project due April 25 Work Day & Individual meetings April 23

Week 16 Work Day & Individual meetings May 2 Last day of class All videos, Production Book, and self-critique April 30 Due.

13 Art 3358 Intermediate Film-Video Syllabus v 1.1

14 Art 3358 Intermediate Film-Video Syllabus v 1.1

150 Films that all film students should see

1. Amirpour, Ana lLly A Girl Walks Home Alone At Night 2014 2. Allen, Woody Annie Hall 1975 3. Allen, Woody Manhattan 1979 4. Almodovar, Pedro 1999 5. Almodovar, Pedro Volver 2007 6. Altman Robert Nashville 1975 7. Antonini Michealangelo Blow Up 1966 8. Arnold, Andrea Fish Tank 2009 9. Babenco, Hector 1981 10. Bergman Ingmar Persona 1966 11. Bergman Ingmar The Seventh Seal 1957 12. Bertolucci Bernardo The Conformist (Il Conformista) 1970 13. Blank Les Burden of Dreams 1982 14. Bogdanovich, Peter The Last Picture Show 1971 15. Brooks Mel The Producers 1968 16. Browning Todd Freaks 1932 17. Buñel Luis Un Chien Andalou 1929 18. Burnett, Charles Killer of Sheep 1978 19. Campion, Jane 1993 20. Camus Marcel ( Negro) 1959 21. Capra, Frank It Happened One Night 1934 22. Cassavetes John A Woman Under the Influence 1974 23. Cassavettes John Husbands 1970 24. Cholodenko, Lisa The Kids Are Alright 2010 25. Chaplin Charlie Modern Times 1936 26. Chaplin Charlie The Gold Rush 1925 27. Chapman, Brenda Brave 2012 28. Coen Joel & Ethan Blood Simple 1984 29. Coppola Bahr (Fox) Hearts of Darkness: A Filmmaker's Apocalypse 1991 30. Coppola Francis Ford The Godfather 1972 31. Coppola Francis Ford Apocalypse Now 1979 32. Costa-Gavras Z 1969 33. Curtiz Michael Casablanca 1942 34. Dardene, Jean-Luc; Dardene, Luc The Kid with a Bike 2011 35. De Sica Vittorio The Bicycle Thief (Ladri di Biciclette) 1948 36. Demy, Jacques The Umbrellas of Cherbourg 1964 37. Denis, Claire 35 Shots of Rum 2008 38. Denis, Claire I Can’t Sleep 1994 39. Donen Stanley/Kelly Gene Singin' in the Rain 1952 40. Drew Robert (& others) Primary 1960 41. Duvernay, Ava Selma 2012 42. Eisenstein Sergei Battleship Potemkin 1925 43. Fassbinder Rainer Werner The Marriage of Maria Braun 1979 44. Fellini Federico Amacord 1973 15 Art 3358 Intermediate Film-Video Syllabus v 1.1 45. Fellini Federico 8 1/2 1963 46. Flaherty Robert Nanook of the North 1922 47. Ford John The Searchers 1956 48. Fosse Bob All That Jazz 1979 49. Frankenheimer John The Manchurian Candidate 1962 50. Friedkin, William The Exorcist 1973 51. Fuller Sam The Naked Kiss 1964 52. Galeen Henrik/ Paul Wagener The Golem (Der Golem) 1915 53. Gerima, Haile Bush Mama 1979 54. Gilliam Terry (Boxed Set Preferred) 1985 55. Godard Jon Luc Alphaville 1965 56. Godard Jon Luc Breathless 1960 57. Greenaway Peter The Pillow Book 1996 58. Griffith D.W. Birth of Nation 1915 59. Griffith D.W. Intolerance 1916 60. Hallström Lasse (Mitt liv som hund) 1985 61. Haneke, Michael The Piano Teacher 2001 62. Haneke, Michael 2009 63. Haynes, Todd Safe 1995 64. Herzog Werner Fitzcarraldo 1982 65. Hitchcock Alfred North by Northwest 1959 66. Hitchcock Alfred Rear Window 1954 67. Hitchcock Alfred Vertigo 1958 68. Hitchcock, Alfred Rope 1948 69. Hopper Dennis Easy Rider 1969 70. Huston John The Treasue of Sierra the Madre 1948 71. Inarritu, Alejandro Gonzalez Amores Perros 2000 72. Jeunet Jean-Pierre Amelie 2001 73. Kazan Elia On the Waterfront 1954 74. Kazan, Elia A Streetcar Named Desire 1951 75. Buster Keaton The General 1927 76. Buster Keaton The Cameraman 1928 77. Kieslowski Krzysztof Red (Trois couleurs: Rouge ) 1994 78. Kopple Barbara Harlen County, USA 1976 79. Kubrick Stanley 2001: A Space Odyssey 1968 80. Kubrick Stanley A Clockwork Orange 1971 81. Kurosawa Akira Rashoman (aka: In the Woods) 1950 82. Kurosawa Akira Seven Samurai 1954 83. Lang Fritz M 1931 84. Lang Fritz Metropolis 1927 85. Laughton, Charles Night of the Hunter 1955 86. Lee, Spike Do the Right Thing 1989 87. Lee, Spike He Got Game 1998 88. Lee, Spike Malcolm X 1992 89. Lee, Spike She’s Gotta Have It 1986 90. Leone Sergio Once Upon a Time in the West 1968 91. Linklater, Richard Slacker 1991 92. Lorentz Pare The Plow That Broke the Plains 1936 93. Lucas George American Graffiti 1973 94. Lumet Sidney Network 1976 95. Lumet Sidney The Pawnbroker 1964 96. Lynch, David Blue Velvet 1985 97. Malick, Terrence Badlands 1973 98. Mankiewicz Joseph 1950 99. Maysles Albert & David Salesman 1969 100. Maysles, Albert & David Grey Gardens 1975 101. McCarry Leo Duck Soup 1933 102. Meirelles, Fernando City of God 2002 103. Méliès Geoeges A Trip to the Moon (Le Voyage dans la lune) 1902 104. Morris Errol The Thin Blue Line 1988 105. Murnau F.W. Nosferatu, A Symphony of Horror 1922 106. Murnau F.W. Sunrise 1927 107. Ophuls, Max Lola Montes 1955 108. Pabst Georg Wilhelm Pandora's Box(Die Büchse der Pandora) 1929 109. Penn Arthur Bonnie and Clyde 1967 110. Pennebaker D.A. Don't Look Back 1967 111. Polanski Roman Chinatown 1974 112. Polanski Roman Knife in the Water (Nóz w wodzie) 1962 113. Porter Edwin S. The Great Train Robbery 1903 114. Powell Michael Peeping Tom 1960 115. Ray Nicolas Rebel Without a Cause 1955

16 Art 3358 Intermediate Film-Video Syllabus v 1.1 116. Rees, Dee Pariah 2011 117. Renoir Jean The Rules of the Game (La Regle de Jeu) 1939 118. Renoir Jean Grand Illusion () 1937 119. Resnais Alain Night and Fog (Nuit et brouillard) 1955 120. Resnais Alain Mon Amour 1959 121. Resnais Alain 1961 122. Riefenstahl Leni Triumph of the Will (Triumph des Willens) 1934 123. Riggs Marlon Tongues Untied 1991 124. Roeg Nicolas Don’t Look Now 1973 125. Rossellini Roberto Rome, Open City (Roma, città aperta) 1945 126. Ruttman Walter Berlin, Symphony of a Big City 1927 127. Samuels Stuart Visions of Light 1992 128. Sayles John Lonestar 1996 129. Sayles John Return of the Secaucus Seven 1980 130. Schlesinger, John Midnight Cowboy 1969 131. Soloway, Jill Afternoon Delight 2013 132. Scorsese Martin Taxi Driver 1995 133. Scorsese Martin Personal Journey…Through American Movies 1995 134. Singelton, John Boyz N The Hood 1991 135. Sirk, Douglas All That Heaven Allows 1955 136. Sirk, Douglas Imitation of Life 1959 137. Stone Oliver Salvador 1986 138. Sturges Preston Sullivan's Travels 1941 139. Tarkovsky Andrei Stalker 1979 140. Truffaut Francois Day for Night (La Nuit americaine) 1973 141. Truffaut Francois (Les Quatre cents coups) 1959 142. Varda, Agnes La Pointe Courte 1956 143. Vertov Dziga Man With a Movie Camera 1929 144. Von Stroheim Greed 1925 145. Wells Orson Citizen Kane 1941 146. Wenders Wim (Der Himmel über Berlin) 1987 147. Wexler Haskell Medium Cool 1969 148. Whale James Frankenstein 1931 149. Wiene Robert The Cabinet of Dr. Caligari 1920 150. Wilder Billy Double Indemnity 1944 151. Wilder Billy Sunset Boulevard 1950 152. Wong, Kar Wai 2000

17 Art 3358 Intermediate Film-Video Syllabus v 1.1