SPARK watches experimental filmmaker Kerry Laitala's painstaking process as she works on …
SPARK watches experimental filmmaker Kerry Laitala's painstaking process as she works on her ongoing tribute to the film medium itself, The Muse of Cinema. This Educator Guide is about the history of experimental and avant-garde filmmaking.
The purpose of this course is to provide a project-based visual arts …
The purpose of this course is to provide a project-based visual arts program, which guides students to achieve the standards in the visual arts and career technical training, by providing students with the technical instruction and practical experiences for aspiring video and film makers in the production of film, video, and new media projects for business and entertainment. Students experience both the creative and technical aspects of filmmaking in conjunction with learning about historical and contemporary traditions and conventions.Students are instructed on the three stages of project creation. In pre-production, students learn the basic principles of story development, screenplay writing, storyboarding, scheduling and budget planning. Instruction in the production stage includes basic visual composition, color theory, set up and operation of camera, sound, and lighting equipment. Students learn to use cutting-edge software applications for video and audio post-production. Mastering and delivery methods, in both traditional and new media, are explored.The course also includes the basics of job shadowing, internships, and job placement. The competencies in this course are aligned with the California High School Academic Content Standards and the California Career Technical Education Model Curriculum Standards. Interdisciplinary experiences and arts activities lead to refining a personal aesthetic, and a heightened understanding of career opportunities in art and arts-related fields.
This course is an invitation to German film-making since the end of …
This course is an invitation to German film-making since the end of the Second World War. We investigate how German cinema captured the atmosphere of the immediate post-war years and discuss extensively major works of the "New German Cinema" of the Sixties and Seventies. We also look at examples of East Germany's film production and finally observe the very different roads German cinema has been taking from the 1990's into the present.
"This semester, we will read writing about travel and place from Columbus's …
"This semester, we will read writing about travel and place from Columbus's Diario through the present. Travel writing has some special features that will shape both the content and the work for this subject: reflecting the point of view, narrative choices, and style of individuals, it also responds to the pressures of a real world only marginally under their control. Whether the traveler is a curious tourist, the leader of a national expedition, or a starving, half-naked survivor, the encounter with place shapes what travel writing can be. Accordingly, we will pay attention not only to narrative texts but to maps, objects, archives, and facts of various kinds. Our materials are organized around three regions: North America, Africa and the Atlantic world, the Arctic and Antarctic. The historical scope of these readings will allow us to know something not only about the experiences and writing strategies of individual travelers, but about the progressive integration of these regions into global economic, political, and knowledge systems. Whether we are looking at the production of an Inuit film for global audiences, or the mapping of a route across the North American continent by water, these materials do more than simply record or narrate experiences and territories: they also participate in shaping the world and what it means to us. Authors will include Olaudah Equiano, Caryl Philips, Claude L?vi-Strauss, Joseph Conrad, Jamaica Kincaid, William Least Heat Moon, Louise Erdrich, ?lvar N
" In this course we will read essays, novels, memoirs, and graphic …
" In this course we will read essays, novels, memoirs, and graphic texts, and view documentary and experimental films and videos which explore race from the standpoint of the multiracial. Examining the varied work of multiracial authors and filmmakers such as Danzy Senna, Ruth Ozeki, Kip Fulbeck, James McBride and others, we will focus not on how multiracial people are seen or imagined by the dominant culture, but instead on how they represent themselves. How do these authors approach issues of family, community, nation, language and history? What can their work tell us about the complex interconnections between race, gender, class, sexuality, and citizenship? Is there a relationship between their experiences of multiraciality and a willingness to experiment with form and genre? In addressing these and other questions, we will endeavor to think and write more critically and creatively about race as a social category and a lived experience."
" This course builds on the composition techniques practiced in 21M.303 Writing …
" This course builds on the composition techniques practiced in 21M.303 Writing in Tonal Forms I. Students undertake further written and analytic exercises in tonal music, including a sonata-form movement for string quartet. Students will also have the opportunity to write short works that experiment with the expanded tonal techniques of the late 19th and early 20th centuries. Musicianship laboratory is required."
" Written and analytic exercises based on 18th- and 19th-century small forms …
" Written and analytic exercises based on 18th- and 19th-century small forms and harmonic practice found in music such as the chorale preludes of Bach; minuets and trios of Haydn, Mozart, and Beethoven; and the songs and character pieces of Schubert and Schumann. Musicianship laboratory is required."
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