Paige Taul

This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.

Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects.

Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.

This course is designed to introduce students to the language and histories of the moving image arts and the diverse ways in which artists have contributed to them. Throughout the semester we will examine a range of approaches to creating moving image work. We will compare and contrast established ?norms? with radical and experimental approaches to these various media, leading to an understanding of the rich, complex, and evolving landscape upon which individuals have been making, and continue to make, moving image art.

Students will engage with this expanded field through lectures, readings, screenings, meetings with visiting artists as well as becoming active in discussions and practitioners in the field via group projects.

Working in small groups, students will complete a series of short projects to introduce them to the various pathways of the department. By the end of the semester, students should have gain basic production and postproduction skills as well a good understanding of the key concepts relevant to contemporary film, video, new media, installation and animation.

Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework.

A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class.

Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress.

Form and Meaning is a rigorous investigation of the art of moving image editing and provides a historical and theoretical understanding of both classical film editing and newer modes and models of editing and perception. The course provides a working foundation and framework.

A close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing cinematic works. In addition, we will look at examples and discuss how editing functions for the installation artist, and further, how the Internet, New Media, television and video art have made an impact on concepts surrounding editing. Weekly readings will expand on the work presented in class.

Students should expect to research and write both a midterm and final papers as well as a few short responses to works presented in class. Form and Meaning is a theory-based seminar and is not designed to offer critique for works in progress.

This course explores the aesthetic, social and political implications of blurring the border between documentary and fiction filmmaking. The class offers a context for producing and critiquing student work, and provides a historical/critical grounding in examining work of cinema vérité, experimental narrative, autofiction, parafiction as well as the documentary turn in contemporary art. In a series of assignments and workshops, students will investigate strategies of reenactments, the confessional mode of address, the use of archival material, the staging of interviews and other constructed representations of reality.

This course explores the aesthetic, social and political implications of blurring the border between documentary and fiction filmmaking. The class offers a context for producing and critiquing student work, and provides a historical/critical grounding in examining work of cinema vérité, experimental narrative, autofiction, parafiction as well as the documentary turn in contemporary art. In a series of assignments and workshops, students will investigate strategies of reenactments, the confessional mode of address, the use of archival material, the staging of interviews and other constructed representations of reality.

Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.