Course Number: IAT 242
Course Title: Moving Images
Credit Hours: 3 Vector: 0-3-1
Course Description
Reviews and consolidates the fundamentals of digital video production, including camera and composition skills, the role of sound, lighting, and continuity and montage editing. Students will review and analyze works from traditional cinema and from contemporary digital video. The course will reinforce fundamental skills and extend the student's abilities to use a range of digital production, post-production, and presentation techniques.
Prerequisite:
IAT 100, 101.
Recommended: None.
Corequisite: None.
Special Instructions: Students with credit for IART 222, 223 and 224 may not take this course for further credit.
Course(s) to be dropped if this course is approved:
IART 222-1 The Movement Image
IART 223-1 Moving Images: The Camera & the Eye
IART 224-1 Moving Images: Interaction, Interface, Installation
This course consolidates three 1-credit module-based (5 week) courses into a single 3-credit semester-based course.
Will this be a required or elective course in the curriculum; probable enrolment when offered?
Indicate Semester and Year this course would be first offered and planned frequency of offering thereafter.
2005-1 and annually thereafter.
Which of your present CFL faculty have the expertise to offer this course? Will the course be taught by sessional or limited term faculty?
Dulic, Silverman, Bizzocchi
Are there any proposed student fees associated with this course other than tuition fees?
Videotape and DVD blank costs, approximately $50.
Is this course considered a `duplicate' of any current or prior course under the University's duplicate course policy? Specify, as appropriate.
This course duplicates IART 222-1, IART 223-1, IART 224-1.
Note: Senate has approved (S.93-11) that no new course should be approved by Senate until funding has been committed for necessary library materials. Each new course proposal must be accompanied by a library report and, if appropriate, confirmation that funding arrangements have been addressed.
Provide details on how existing instructional resources will be redistributed to accommodate this new course. For instance, will another course be eliminated or will the frequency of offering of other courses be reduced; are there changes in pedagogical style or class sizes that allow for this additional course offering.
This course will use the resources already in place for the three 1-credit modules it replaces.
Does the course require specialized space or equipment not readily available in the department or university, and if so, how will these resources be provided?
No.
Does this course require computing resources (e.g. hardware, software, network wiring, use of computer laboratory space) and if so, describe how they will be provided.
No new resources are required by virtue of this course consolidation.
In this course students will:
develop their foundation skills in digital camera operation, exposure and composition
demonstrate the ability to plan, produce, edit, and display digital video productions
demonstrate their ability to effectively combine sound and picture
demonstrate their ability to manipulate and layer digital video imagery using a variety of computer-based post-production techniques
demonstrate their ability to use digital technology to display and exhibit moving image and sound experiences
Weeks 1-3:
Review camera and composition skills, and introduce lighting for field-based video production.
Discuss and demonstrate the role of sound and the relationship of sound and image.
Review the fundamentals of continuity and montage construction.
View and analyze works from traditional and alternative cinema and from contemporary digital video.
Weeks 4-5:
Demonstrate and consolidate video production planning techniques.
Begin shooting and rough editing of the video term production.
View and analyze works from traditional and alternative cinema and from contemporary digital video.
Weeks 6-10:
Introduce and explore the digital manipulation and layering of video imagery.
View and analyze works from contemporary digital video practice.
Final shooting for the video term production.
Continue editing and post-production for video term production.
Week 11-12:
Complete editing, post-production for video term production.
Complete digital display and exhibition requirements.
Week 13:
Display final digital video work.
Analyze and critique final production and reception experience.
Delivery Method:
Studio Lab (SL)
Studio lab and workshop sessions - 3.0 hours
Open Lab (optional) - 1.5 hours
Assignments - 3 hours
Total Hours - 7.5 hours
Project Conception and Planning 20%
Preliminary Image and Sound Assembly 10%
Final Production 40%
Staging 10%
Analysis and Critique 10%
Participation 10%
Total 100%
Zettl, Herbert. 1999, Sight, Sound & Motion: Applied Media Aesthetics.
Bazin, André. What is cinema? by André Bazin ; essays selected and translated by Hugh Gray. -- Berkeley : University of California Press, 1967-71.
Bordwell, David and Thompson, Kristin. Film Art: an Introduction. McGraw-Hill, 1986.
Brakhage Stan. From Metaphors on Vision. In Braudy Leo &Cohen Marshall Ed. 1999. Film Theory and criticism: introductory readings. fifth edition, Oxford University Press.
Deren Maya. Cinematography: the creative use of reality. In Braudy Leo &Cohen
Marshall Ed. 1999. Film Theory and criticism: introductory readings. fifth edition, Oxford University Press.
Dinkla Soke . 2002.The Art of Narrative - Towards the Floating Work of Art. In Rieser Martin, Andrea Zapp Ed. New Screen Media: Cinema, Art and narrative British Film Institute.
Eisenstein Sergei. 1949. The Cinematographic Principle and Ideogram . In Film Form. Harcourt Inc. New York.
Marks Laura. 2000. Categories of Image and Processes of Memory. pp 40ó55. The Skin of the Film: Intercultural Cinema, Embodiment and Senses, Duke University Press
Pallasmaa Juhani, 2001. Lived Space in Architecture and Cinema. pp 13-36. In The Architecture of Image - Existential Place in Cinema, Rakennustieto Yo Helsinki
Pallasmaa Juhani, 2001. The Poetics of Image - Andrei Tarkovsky: Nostalgia . pp 64-92. In The Architecture of Image - Existential Place in Cinema, Rakennustieto Yo Helsinki