Introduction
to Film Making
Ph
299
Ethan
Berry, Instructor
This
course is designed to introduce the student to 16mm filmmaking through hands on
training. It covers the necessary skills needed in the production of a non-sync
film (a film where sound and image are separate elements) from concept to
completion. This includes screenwriting; working with the Bolex or other 16mm
camera; choosing film stock for the project; knowledge of continuity, coverage
and composition; lighting; working with the laboratory; analyzing the success
of the dailies screened in class; logging footage; editing; sound editing; and
preparing the negative or positive for the final print. Students must develop,
write, shoot and edit a short non-sync film outside of class time, using equipment
reserved by the students through school. Students are expected to work together
on each other’s films. Prerequisites: Photographic Media I or Permission of
Instructor Fulfills: Photography Elective (Photography Students), Time-based
Media Elective (Photography Students); Studio Elective
This course is focused
on the basics of filmmaking. The camera, the film material and the construction
of films from that material. The primary point of departure is experimental and
Avant Garde and Experimental film practice from the 1900’s’ until the present.
This practice is relevant because it parallels the development of major ideas
in modernist and post modernist art making.
The medium we will be
exploring is 16mm and to some extent, super-8 film. These materials have had a
robust life in the art world especially in the hands of artists. Film is
tangible and durable, it is rigid and at the same time it is flexible and
responsive to hands on actions.
The camera we use is the
hand wound Bolex camera which can be used with a variety of lenses or none at
all. We will edit the film itself and also transfer it into digital form for
editing with digital editing software.
You will learn about
planning a project, photographing and generating images, organizing those images,
and presenting those images in time. You will reference other films, poetry,
literature, popular culture, photography, writing, sound, dreams, games,
stories and theories. You will make short films (around one to three minutes)
to try out your ideas. You will make one film that is generated from one of
these shorter films and is a further development from it. or expansion on it.
You will often work in
teams trading roles. You will also work by yourself on projects.
We will present the
films you make in real space by projecting them either alone or with other
images and objects. We will look
at and discuss a lot of films by a variety of filmmakers. We will create a
context and a language through which we can talk about these films.
In the end you will have
had a significant encounter with your own ideas, the critical language of film
and the material of the film itself.
Criteria for Credit.
Grade for assignments take into account the degree to which you successfully apply film tools and technology to the
realization of your ideas. The
degree to which you have engaged the idea of the assignment, and the
timely-ness of the completion of your assignments.
You are expected to
complete all of the assignments.
You are expected to be
at every class. (More on this in class)
You are expected to work
between classes (homework).
You will make a
presentation to the class about a film and a filmmaker.
You will be expected to
attend film screening outside of class time.
You will be expected to
contribute to group projects
Emphasis will be placed
on the inventive and creative use of the film medium.
Class participation is
essential since you will be working collaboratively.
Course
outline
Week one Film Viewing -Notes on Marie Menken. Discussion of the camera as a tool.
Week 2
Film Viewing- Stan Brackage Naomi Uman, Gordon Nelson. Discussion; The Handmade Film.
Studio;The
Exquisite Corpse- a group project shot and processed in class.
Week Three Film Viewing, Ernie Gehr, Michael Snow, Tara Nelson, Discussion; The Structural film. Student Film Critique
Studio; Organizing,
Editing and Digitizing Projecting film.
Sound
for film.
Sync.
Sound Demo
Week 4 Film Viewing Maya Deren, Dimitri Kirsanoff.
Paul Turano, Hollis Frampton. Saul Levine.
Studio; Lighting
for film, Studio Project films.
Evening
film showing
Week 5 Film Viewing Student Film Critique. Moholy
Nagy, Hilary Harris, Shirley Clarke. DzigaVerov Discussion; City Symphony
Studio;The Moving Camera,
Camera Supports.
Other
16mm cameras
Week 6 Studio Project Films continued, Film Viewing Bruce
Connor, Naomi Uman, Luther Price. Jody Mack, Discussion; Found Footage, Experimental Animation.
Studio:
Handmade and Found footage Films.
Studio;
found Footage, Handmade Films.
Week 7 Student Film Critique; Found Footage, Handmade
films.
Studio; bleaching, contact printing rephotographing.
Week 8 Final Project proposals due; Titles, text and
copy work.
Copy
stand collaborations, x3
Studio;
Continue collaborations
Group
Portrait Assignment
Week 9 Project meetings, Studio Work.
Studio;
Projects, Collaborations,
Multiple projections.
Presenting
sound
Week 10 Student Film Critique
Studio;
Collaborations
Group
Portrait shoot.
Week 11 Film viewing and Critique
Studio;
Collaborations,
Group
portrait
Final Projects
Week 12 Film Viewing and Critique
Studio;
Portrait
Final
Collab.
Week 13 Last Class presentation
Evening
Film Festival. TBA
