Gerstein, Ariana, Lecturer, MFA, 1993, The Art Institute of Chicago: Film, digital video, sculpture, installation and performance. (1999)
Grenier, Vincent, Associate Professor, MFA, 1972, The San Francisco Art Institute: Film production and analysis, video. (1986)
Jacobs, Ken, Distinguished Professor:
Film production and analysis, film-performance, 3-D experiences. (1969)
Naaman, Dorit, Visiting Lecturer, MFA, 1995, Syracuse University: Film theory and production. (2000)
The Department of Cinema develops artists and creative thinkers in cinema. It fosters critical appreciation of innovative as well as traditional cinematic expression. Students learn how to view cinema works in their social, economic and historical contexts, as well as in terms of the general history and aesthetics of art. The production program in film and electronic media is not oriented toward developing mere technical proficiency, but toward encouraging artistic discovery and expression. Both production and analysis courses are valuable to a wide range of students, not only because cinema is a major art and entertainment medium of our time, but also because increasingly our experience and exploration of all areas of knowledge is transmitted through cinema-related media.
Qualified students are encouraged to conclude their work in the department by choosing the senior thesis option. The department encourages studies in the theories and techniques of other art disciplines, such as music, theatre, painting and literature.
The cinema major consists of five core courses and five electives. The core courses give students experience in the analysis of film and video and the creation of personal works in both media. A set of elective courses is chosen to reflect the student’s dominant interests. Those who wish to stress filmmaking or videomaking should begin the major early enough in their academic careers to allow for the completion of the sequence of courses in those areas.
• CINE 121. Experience, History and Analysis of Cinema
• CINE 122. Expression and Innovation in Film and Video
• CINE 251. Film Artmaking I
• CINE 253. Analog Electronic Artmaking
• CINE 321. Film Theory
• Five additional cinema courses, at least three of which must be upper-division courses (courses numbered between 300 and 499).
The cinema minor consists of three core courses and three electives, for a total of 24 credit hours. Students should be advised that CINE 122 is a prerequisite to all studio courses and may be taken concurrently with CINE 251 or 253.
Top• CINE 121. Experience, History and Analysis of Cinema
• CINE 122. Expression and Innovation in Film and Video
• CINE 251. Film Artmaking I or CINE 253. Analog Electronic Artmaking
• Cinema elective (200 level or higher)
• Cinema elective (300-400 level)
• Cinema elective (300-400 level)
CINE 121. EXPERIENCE, HISTORY AND ANALYSIS OF CINEMA
Expanding appreciation and perception of cinematic works as expressive form.
How history shapes cinema and how cinema shapes history. Methods of analyzing
films and video works as individual creations and as manifestations of genres,
national traditions or stylistic movements. Technological and economic
development of cinema.
CINE 122. EXPRESSION AND INNOVATION IN FILM AND VIDEO
Explores personal works created by film and video artists, usually outside
the commercial studio. It fosters understanding of and sensitivity to those
aspects of form, subject and technique that have been employed in innovative
cinema art from its beginnings to the present. Selected examples illustrate
relationship between artistic creation in cinema and in other arts, including
movements such as surrealism, expressionism, minimalism. Expansion of the
capacity to see, hear and enjoy in creative response to cinema. This course
develops on certain themes introduced in CINE 121 and is best taken in sequence.
Prerequisite: CINE 121.
CINE 251. FILM ARTMAKING I
Personal filmmaking, using Super-8 primarily as visual medium. Technique and
aesthetics of imagemaking and editing. Introduction to basic photographic
materials, equipment, theory. Creation of several complete films. Prerequisite
or corequisite: CINE 122.
CINE 253. ANALOG ELECTRONIC ARTMAKING
Introduces students to the use of analog video signals for making visual
art. Students are required to make short tapes as evidence of thoughtful study.
Students are not expected to have experience in video or visual artmaking. Class
attendance is mandatory. Prerequisite or corequisite: CINE 122. This course
satisfies the video requirement for a cinema major.
CINE 280 (also WOMN 281). WOMEN IN FILM
Study of how women are presented in film. How to analyze films from
socio-historical perspective. Roles women are given in film narratives (wives,
mothers, sisters, seductresses, objects of spectacle and male desire, career
women) and how such representations shape notions about function of family,
fashion, race, class, insanity. How women have participated in or been excluded
from creating the images that represent them. Women’s relationship to men and
definition of males in film.
CINE 285. STUDIES IN CINEMA AND SOCIETY
Specific topics in social, historical or political function of film. Topics
change each semester.
CINE 286. STUDIES IN CINEMA AND ART
Specific issues in aesthetics of film or video. Topics change each semester.
CINE 321. FILM THEORY
Theory of artistic functioning: speculation on expressive qualities of form
through consideration of issues of perception, processes of creating meaning,
pleasure and fascination. Questions how film is related to other arts and
languages, how images and sound generate feelings and concepts, how film viewer
is addressed ideologically. Prerequisite: CINE 121.
CINE 351. FILM ARTMAKING II
More complex technical and conceptual filmmaking projects, using 16mm
production, editing, projection systems. Basic techniques of non-synchronous
sound. Individual rather than group projects. Prerequisite or corequisite: CINE
251.
CINE 451. FILM ARTMAKING III
Further development of ability to conceive and realize cinematic work.
Techniques and creative possibilities of synchronous sound. Prerequisite: CINE
351.
CINE 453. ADVANCED ELECTRONIC ARTMAKING
Students are required to complete a self-proposed project that includes
conception, development and execution of an idea or ideas using the tools
available. Time-based visual/aural artmaking is the direction. Meetings in
addition to scheduled class meetings. Interest, motivation and responsibility
reflecting personal involvement is expected. Prerequisite: either CINE 253
or 254.
CINE 471. STUDIO SEMINAR
Advanced projects in production area, such as paracinema, group production
in film or video, advanced sound techniques. Prerequisite: as appropriate. May
be repeated for credit.
CINE 485. ADVANCED STUDIES IN CINEMA AND SOCIETY
Problems of the interrelationships of cinematic representation and social
issues. Specific topics to be determined. Prerequisite: CINE 121.
CINE 486. ADVANCED STUDIES IN CINEMA ART
Problems in the analysis of cinematic form. Specific topics to be
determined. Prerequisite: CINE 121.
CINE 491. PRACTICUM IN COLLEGE var. cr.
TEACHING
Independent study by means of teaching a particular course in cinema.
Various assignments closely directed by instructor, including assistance in the
development of syllabi and other course materials, construction and reading of
examinations, lecturing and/or discussion leadership, studio supervision,
academic counseling of students. May be repeated for total of no more than eight
credits. Credit may not be earned in conjunction with course in which student is
concurrently enrolled. Does not satisfy major or all-college requirements.
Prerequisite: consent of instructor and department. P/F only.
CINE 497. INDEPENDENT STUDY var. cr.
Independent project in some phase of cinema activity. Project must be
approved by department, one member serving as adviser for each project. May be
repeated for credit.
CINE 499. SENIOR THESIS
Production of works in cinema, or writing about cinema. Thesis project must
be approved in advance by faculty member who serves as adviser. Prerequisite:
CINE 451 (for filmmaking thesis); CINE 453 (for videomaking thesis); CINE 321
(for analysis thesis), and consent of instructor.