Dept Of Media Study Graduate Spring 2005 course descriptions |
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DMS 501
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| DMS 504 CON Advanced Video Production Conrad MW 3-4:50 CFA 286 Reg.# 408966 This course is a very hands-on introduction to the real world of the producing and exhibiting video maker. It focuses on some of our most central and troubling creative problems: What kind of project should I make, and why? How do I organize my project? How important is our cultural environment for our work? Is it important to create as individuals or in groups? And what do I do with my work when it’s “done”? In this course each individual will develop their own approach to the production of video projects; some will do work that can be completed quickly (preferred!), others will work on longer projects. Some will work alone, others in groups. Much of the class time will be devoted to observing one another’s working processes and progress. Each student will be responsible for discussing or showing their work or ideas, or presenting a summary of an assigned topic, during a four-minute time slot each week. In addition, there will be lectures, workshops, and discussions of technical and aesthetic issues including advanced editing, audio, and special effects. Other course activities (productions, showings, field trips) are also an option. Students will use both studio and field production equipment, and will work on nonlinear editing facilities. There is a $100 lab fee for Advanced Video, in addition to which the student should plan for up to $100 in additional costs, including a standard video production text for reference. Regular and punctual attendance at course meetings is mandatory. Grades are based on the number of classroom presentations made (60%), personal progress in work completed (25%), participatory attendance (7.5%), and periodic quizzes on course topics (7.5%). |
| DMS 510 ELD Problems in Documentary Sarah Elder TR 3-4:50 CFA 235 Reg.#235525 This course is an advanced workshop in which students create an original documentary project in video (or film, still photography, audio or web-based formats with the permission of instructor). Creativity and originality will be stressed with exercises to encourage "seeing", "listening" and artistic risk taking. Individual projects may go in many creative directions including the experimental, political, personal, humorous, conventional, transgressive, ethnographic, client-based or activist. Students will gain a solid understanding of contemporary non-fiction forms and the particular problems which non-fiction makers face. Films by contemporary artists will be shown on a regular basis including many experimental documentaries. We will look at dramatic structure, story telling, and narrative/non-narrative forms of editing. Emphasis will be given to production techniques which bring access and intimacy to the video subject and integrity to the documentary. The course will explore ethical issues and problems of privacy and intrusion. Students will develop production skills in research, fieldwork, collaboration, interviewing, location sound recording, camera skills, and production management. Each student will produce one short documentary piece, with supporting assignments in shooting, sound, and digital editing on the Media 100. A written production book will be required. A class film festival ends the semester. Previous knowledge of video production is required. Materials and text approximately $50. Lab Fee $100. |
| DMS 512 HEN Film Theory Brian Henderson MW 9-10:50 CFA 235 Reg.#117395 This course is an exploration of the principal theories of film through a critical reading of texts and a close examination of films. The texts to be perused comprise several groups. Classical film theory includes Munsterburg, Kuleshov, Pudovkin, Eisenstein, Balasz, Arnheim, Bazin, and Godard. The critique of classical film theory includes Burch, Perkins, and Henderson. The course will also explore semiotics, psychoanalysis, and poststructuralism, in Barthes, Eco, Metz, Pasolini, Baudry, Heath, and in feminist film theory, including Gledhill, Mulvey, Silverman, Modleski, Doane, and Studlar. A section on avant-garde theory will include Vertov, Epstein, Deren, Brakhage, Sitney, and Michelson. These topic areas will be set in interaction throughout: e.g., Soviet editing and antirealism are continued in the avant-garde; rhetorical figures such as metaphor, metonymy, ellipsis, condensation, and displacement, can be traced in very different theoretical contexts and in close readings of individual films. |
| DMS 515 SCH Animation Graphics Chris Coleman F 11-14:50 CFA 244 Reg.#136229 This course will look at how to create complex animations using both Flash and After Effects. The first half of the class will look at how to use Flash to create compact/web ready animations and how to include interaction to move the viewer out of a passive role. The second half will concentrate on using After Effects to enhance animations with special effects as well as create them in a 2D/3D space to add depth. Students should know the basics of one or both pieces of software. An understanding of simple action scripting or other computer language is suggested. There will be two major projects and several smaller technical exercises. Much of the work will be done outside of class times so the student should be self-driven and ready learn at a fast pace. The lab fee for the class is $100. |
DMS 516 FAB Advanced Modeling in Maya Jesse Fabian M 18-21:50 CFA 242 Reg.# 380883 PR: Permission of Instructor Design visual models targeting consumer electronics platforms including cellphones BREW(Qualcomm), WAP(Nokia), console games: Playstation, and Xbox, and the web. Measure and model information, manipulate modeled information to form patterns that appeal to consumers and can be implemented in the targeted platform. Build a series of models, from real world data, for embodiment in a cellphone, DVD, computer, web application, or games hardware. Schedule: Measure people, process, patterns, motion, image, transaction, database, network, sensor, and controller information. Model information regenerated from measurements as a static model, field, procedure, database, or another structure. Manipulate modeled information to form triggering and execution devices. Select one idealized form of the manipulated information for implementation into a product at the expense of all others. Encapsulate one idealized form in a system with a formal instruction set; cellphone, DVD, computer, web application, or games hardware. Embody a process in the selected system. Design a production pipeline. Implement a product or series of products through a production pipeline. Lab fee $100. |
| DMS 517 Nonfiction Film Elder TR 12-1:50 CFA 112 Reg.#282157 This course examines popular American documentary films looking at diverse representations of American culture. We explore independent award-winning contemporary works with themes of gender, ethnicity, popular music, sexual orientation, murder, justice, rock stars, racism, disability and history. Particular focus is on the curious relationship between the images of reality and reality itself, and on America’s love affair with reality media. Emphasis is placed on understanding the thin shifting line between fiction and non-fiction and challenging the notion of documentary “truth.” Students develop in this class analytical and interpretive media skills that are applicable to all film and video. Students learn non-fiction critical theory including Nichols, Winston, Ruby, and Renov and analyze artistic elements of non-fiction film and video including visual narrativity, storytelling, spontaneous camera work, editing, audio, and common elements for artistic and commercial success. The class explores different documentary styles including experimental docs, cinema verite, fake docs, diary and reflexive docs, collaborative making and cutting edge contemporary work. We address the ethical and artistic considerations of filming real people and real communities. Works of Wiseman, Pennebaker, Kopple, Maysles, Freidrich, O’Rourke, Riggs, Morris, and more. Attendance is required as well as two papers and on take-home exam. Be prepared to see a lot of great films! |
| DMS 517 Nonfiction Film Elder TR 12-1:50 CFA 112 Reg.#282157 This course examines popular American documentary films looking at diverse representations of American culture. We explore independent award-winning contemporary works with themes of gender, ethnicity, popular music, sexual orientation, murder, justice, rock stars, racism, disability and history. Particular focus is on the curious relationship between the images of reality and reality itself, and on America’s love affair with reality media. Emphasis is placed on understanding the thin shifting line between fiction and non-fiction and challenging the notion of documentary “truth.” Students develop in this class analytical and interpretive media skills that are applicable to all film and video. Students learn non-fiction critical theory including Nichols, Winston, Ruby, and Renov and analyze artistic elements of non-fiction film and video including visual narrativity, storytelling, spontaneous camera work, editing, audio, and common elements for artistic and commercial success. The class explores different documentary styles including experimental docs, cinema verite, fake docs, diary and reflexive docs, collaborative making and cutting edge contemporary work. We address the ethical and artistic considerations of filming real people and real communities. Works of Wiseman, Pennebaker, Kopple, Maysles, Freidrich, O’Rourke, Riggs, Morris, and more. Attendance is required as well as two papers and on take-home exam. Be prepared to see a lot of great films! |
| DMS 524 PAP Programming Graphics 2 Dave Pape TR 11-12:50 CFA 266 Reg.# 020140 PR: DMS533 A (2D programming with openGL) or equivalent or Permission of Instructor This production course extends students knowledge of OpenGL and programming into the realm of 3D computer graphics. The course, a continuation of DMS 419, will cover more advanced techniques for rendering, animation and interaction. The major focus of the course will be on creating interactive art experiences by programming graphics and sound. However, the topics are also relevant to many real-time applications such as virtual reality and computer games. Lab Fee $100 |
| DMS 528 Virtual Communities Vanessa Dennen Reg.#450582 ARR **This is an ON-LINE course** Please contact Vanessa Dennen, vdennen@mail.sdsu.edu This course will explore the human, environmental and technical factors that are intertwined to create Web-based communities. Throughout the semester, students will read about and explore various computer-based virtual communities. Seminar discussions will focus on what components are necessary to have a "community" and the technical and social requirements for membership in a mediated community. As the semester progresses, the class will join and conduct small "experiments" with these communities. The semester will culminate in a design project in which students lay the foundations for their own virtual communities. Students should be comfortable using a computer and the Web. No further technological expertise is required for this course, although students with Web development skills may have the opportunity to use them. Lab fee $100. |
| DMS 532 ANS Seminar in the Image II Josephine Anstey R 18-20:50 CFA 235 Reg.#255789 |
DMS 537 *R (lab) 6-7:50 *R (lab) 3-4:50 |
| DMS 554 ANS VR Art Project Dave Pape T 2-5:50 Reg.# 4444302 CFA 266 Prerequisites Building a VR Art Project I or Permission of Instructor VR is a new medium for artistic experimentation. It is an area in need of practice as much as theory as it evolves and defines itself. This course and its prequel push students to contribute to research in this area by building a large-scale and complex VR art project from start to finish. It exploits the discipline imposed by a production schedule while exposing students to the cutting edge in immersive VR authoring tools. Experience in VR programming will open new employment opportunities to the students since Virtual Reality is an expanding medium with applications in many areas - science, industry, education, medicine, entertainment & the arts. Lab Fee $100 |
| DMS 574 Seminar on Post-Modernism Brian Henderson MW 12-1:50 CFA Reg.# 353846 This seminar explores notions of postmodernism and of postmodern textuality and of relations—actual, possible, and potential—between them. Theoretical work by Jean Beaudrillard, Jean-Francois Lyotard, Craig Owens, Linda Williams, and others will be studied. Films to be viewed include Mayhem by Abigail Child, The Singing Detective by Stephan Potter, and The Thin Blue Line by Errol Morris. Graphic work to be examined includes Daniel Buren, Francesco Clemente, Mary Kelly, Anselm Kiefer, Julian Schnabel, and Cindy Sherman. Literary work to be examined includes Poems for the Millenium (vol. 2) and late stories by J.D. Salinger; drama by Caryl Churchill, Fo and Brecht will also be sampled. Presentations by seminar members will expand these issues. |
| DMS 598 (1-6 cr. Variable) Project Supervision Permission of Instructor A student may enroll for this course after completing course requirements and while working on the thesis project. This course is for non-written projects only. One to six credits of the “project supervision” may be applied toward the MAH degree. Course syllabus form should be prepared prior to semester start and one copy should be on file in the Media Study office. Lab fee: $100. For registration information, see Nancy King in 231 CFA. |
| DMS 599 (4 cr. Variable) Supervised Teaching Permission of Instructor See Nancy King in 231 CFA. |
| DMS 600 (1-8 cr. Variable) Independent Study Permission of Instructor Students may arrange for special courses of study with faculty through “independent study.” The instructor will set the guideline for the course on an individual basis. It permits the student to study independently in an area where no course is given. Course syllabus form should be prepared prior too semester start and one copy should be on file in the Media Study office. For registration info, see Nancy King in 231 CFA. Lab Fee: $100 For registration information, see Nancy King in 231 CFA. |
| DMS 602 Digital Poetics Loss Glazier T 15:30-17:10 CFA 232 Reg.# 090746 The seminar will look at the emerging field of digital literature and the essays and texts central to the medium. This class offers the opportunity to map a constellation of crucial texts: media such as sound, video, listserv spaces, scholarly hypertext, etc. can be investigated, depending on interest. We'll attempt to define what it is, what's happening, what's interesting in the medium. We'll do this by looking at established authors, sites, and projects. Crucial, however, will be suggestions you bring from your research; these will extend and frame our discussion. The particular focus of this seminar will be on a consideration of digital poetry as a field of practice, including visual/kinetic text, interactive works, and works in programmable media. We will therefore look at diverse fields of practice within the genre, with attention to specific artists such as Alan Sondheim, Jean-Pierre Balpe, Jörg Piringer, and others. Visits to class by featured artists will occur, when possible. No special computer skills are required. The seminar will require a final project, whether paper or digital, a brief presentation, and weekly participation. 1.0 credit independent study is available for Media Study grad. Students. |
| DMS 603 Novels to Film Linda Reisman M 9-12:50 CFA 232 Reg.# 004866 |
| DMS 608 Site Specific Installation Caroline Koebel W 6-9:50 CFA 232 Reg.# 135524 Much of contemporary art blurs forms and approaches and exists somewhere between painting, sculpture, performance, film, video, sound, activism, and writing. Installation is a term often used to describe such hybrid and hard-to-categorize artworks and exhibition modes. Installations often take as their basis novel and unconventional arts spaces and exist only ephemerally, making the form more resistant to commodification. In this course students will realize large-scale installations (encompassing a broad range of media) conceived and produced for a given site in the citybof Buffalo. Class will meet both onsite at the selected venue where students will benefit from continuous feedback on their works-in-progress and on campus where sessions will focus on discussion of assigned readings,analysis of artists_ examples, and individual and group presentations on a range of research topics. We will also take advantage of concurrent installation art exhibitions, and several fieldtrips are possible. *lab fee if accessing DMS equipment and facilities. |
| DMS 609 Studies in Cinema Linda Reisman W 9-12:50 CFA Reg.# 386152 |
| DMS 611 Machine Culture Marc Bohlen MW 3-4:50 CFA Reg.#031030 |
| DMS 612 Programming for Web Design Chris Egert MW 4-5:50 Reg.# 030879 CFA 244 This course is intended to provide students with an introduction to web-based script programming. The course will start by providing students with an understanding of the architecture of modern web browsers and web servers. Students will be presented with a structural overview of the HyperText Markup Language (HTML), concentrating on advanced features such as Dynamic HTML (DHTML) and Cascading Style Sheets (CSS). Over the course of the semester, students will learn basic programming skills for both the web server (using PHP) and the web browser (using JavaScript), with an emphasis on script programming for the web server. General programming topics will include variables, assignment, expressions, page-based input and output, functions, iteration, selection, and aggregate data types such as arrays and objects. Web browser programming topics will include manipulating the Document Object Model (DOM), forms handling, client-side cookie handling, and event handling. Web server programming topics will include processing information gathered from web page requests, dynamic page generation, session management/information scoping, server-side cookie processing, and server-based extension libraries. Although no prior programming experience is required for this course, students should have exposure to web design, including the use of modern hypertext layout systems such as Macromedia Dreamweaver™ or Microsoft FrontPage™. As this is a production-oriented class, students will be required to perform a substantial amount of work outside class. Lab fee $100. |
| DMS 627 (1-8 cr. Variable) Supervised Reading Permission of Instructor This course permits a student to do independent reading in an area where no course may be given. The instructor will set the guidelines for the course on an individual basis. Course syllabus form should be prepared prior too semester start and one copy should be on file in the Media Study office. For registration info, see Nancy King in 231 CFA. Lab Fee: $100 |
| DMS 700 (1-3 cr. Variable) Thesis Guidance Permission of Instructor A student may enroll in this course after completing course requirements and while writing the thesis. This course is for the written thesis only. One to six credits of “Thesis Guidance” may be applied toward an MAH degree. Permission of the instructor is required. Course syllabus form should be completed before the semester’s start, and one copy should be on file with the department. For registration info, see Nancy King in 231 CFA. |