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4.602 Modern Art and Mass Culture (MIT) 4.602 Modern Art and Mass Culture (MIT)
Description
This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art including painting, sculpture, architecture, photography, and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and so-called "primitive" art.Subjects
modern art; high art; mass culture; modernist aesthetic; modernism; 19th Century Art; 20th Century Art; modernization; urbanization; globalization; photography; cinema; painting; sculpture; postmodernism; visual arts; multimedia; pop art; popular culture | modern art; high art; mass culture; modernist aesthetic; modernism; 19th Century Art; 20th Century Art; modernization; urbanization; globalization; photography; cinema; painting; sculpture; postmodernism; visual arts; multimedia; pop art; popular culture | modern art | modern art | high art | high art | mass culture | mass culture | modernist aesthetic | modernist aesthetic | modernism | modernism | 19th Century Art | 19th Century Art | 20th Century Art | 20th Century Art | modernization | modernization | urbanization | urbanization | globalization | globalization | photography | photography | cinema | cinema | painting | painting | sculpture | sculpture | postmodernism | postmodernism | visual arts | visual arts | multimedia | multimedia | pop art | pop art | popular culture | popular cultureLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.015 Introduction to Media Studies (MIT) 21L.015 Introduction to Media Studies (MIT)
Description
Introduction to Media Studies is designed for students who have grown up in a rapidly changing global multimedia environment and want to become more literate and critical consumers and producers of culture. Through an interdisciplinary comparative and historical lens, the course defines "media" broadly as including oral, print, theatrical, photographic, broadcast, cinematic, and digital cultural forms and practices. The course looks at the nature of mediated communication, the functions of media, the history of transformations in media and the institutions that help define media's place in society. Over the course of the semester we explore different theoretical perspectives on the role and power of media in society in influencing our social values, political beliefs, identities Introduction to Media Studies is designed for students who have grown up in a rapidly changing global multimedia environment and want to become more literate and critical consumers and producers of culture. Through an interdisciplinary comparative and historical lens, the course defines "media" broadly as including oral, print, theatrical, photographic, broadcast, cinematic, and digital cultural forms and practices. The course looks at the nature of mediated communication, the functions of media, the history of transformations in media and the institutions that help define media's place in society. Over the course of the semester we explore different theoretical perspectives on the role and power of media in society in influencing our social values, political beliefs, identitiesSubjects
literature | literature | comparative mass media | comparative mass media | communication | communication | modern culture | modern culture | social values | social values | politics | politics | radio | radio | television | television | film | film | print | print | digital techonology | digital techonology | history | history | storytelling | storytelling | advertising | advertising | oral | oral | culture | culture | photography | photography | oral culture | oral culture | cultural forms | cultural forms | political beliefs | political beliefs | economics | economics | mediated communication | mediated communication | class politics | class politics | gender | gender | race | race | identity | identity | behavior | behavior | criticism | criticism | global multimedia environment | global multimedia environment | consumers | consumers | theatrical | theatrical | photographic | photographic | broadcast | broadcast | cinematic | cinematic | cinema | cinema | theatre | theatre | printing | printing | publishing | publishing | books | books | electronic | electronic | transformations | transformations | narrative | narrativeLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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Esta asignatura trata sobre la identificación de las principales fuentes de información audiovisuales: fotografía, radio, cine y televisión. Sobre las especiales características del análisis y tratamiento de este tipo de documentos así como de los problemas específicos relacionados con estas colecciones y sus espacios de acondicionamiento. Sobre la digitalización, preservación y aspectos éticos y de derechos a este tipo de documentos. Esta asignatura trata sobre la identificación de las principales fuentes de información audiovisuales: fotografía, radio, cine y televisión. Sobre las especiales características del análisis y tratamiento de este tipo de documentos así como de los problemas específicos relacionados con estas colecciones y sus espacios de acondicionamiento. Sobre la digitalización, preservación y aspectos éticos y de derechos a este tipo de documentos.Subjects
Historia de medios | Historia de medios | ón | ón | Derechos de la personalidad | Derechos de la personalidad | ídeo | ídeo | Derechos de propiedad intelectual | Derechos de propiedad intelectual | ícula cinematográfica | ícula cinematográfica | Contenidos Audiovisuales | Contenidos Audiovisuales | ón sonora | ón sonora | Patrimonio audiovisual | Patrimonio audiovisual | 2014 | 2014 | ón cinematográfica | ón cinematográfica | Sonido | Sonido | Tratamiento documental | Tratamiento documental | Historia de formatos | Historia de formatos | ón y Documentación | ón y Documentación | ón televisiva | ón televisiva | Derechos de acceso | Derechos de acceso | ón fotográfica | ón fotográfica | Derechos de uso | Derechos de uso | Fuentes | Fuentes | ía | ía | Biblioteconomia y Documentacion | Biblioteconomia y DocumentacionLicense
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See all metadataCinema Paris, Lisboa, Portugal Cinema Paris, Lisboa, Portugal
Description
Subjects
fundaçãocaloustegulbenkian | fundaçãocaloustegulbenkian | gulbenkian | gulbenkian | bibliotecadearte | bibliotecadearte | biblioteca | biblioteca | arte | arte | márionovais | márionovais | mário | mário | novais | novais | cinemaparis | cinemaparis | cinema | cinema | arquitectura | arquitectura | vÃctormanuelcarvalhopiloto | vÃctormanuelcarvalhopiloto | vÃctor | vÃctor | manuel | manuel | carvalho | carvalho | piloto | piloto | ferreiraborges | ferreiraborges | lisboa | lisboa | portugal | portugalLicense
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See all metadataCinema Cinearte. Lisboa, Portugal Cinema Cinearte. Lisboa, Portugal
Description
Subjects
fundaçãocaloustegulbenkian | fundaçãocaloustegulbenkian | gulbenkian | gulbenkian | bibliotecadearte | bibliotecadearte | biblioteca | biblioteca | arte | arte | márionovais | márionovais | mário | mário | novais | novais | cinemacinearte | cinemacinearte | cinema | cinema | cinearte | cinearte | fachada | fachada | raullimarodrigues | raullimarodrigues | raul | raul | lima | lima | rodrigues | rodrigues | arquitectura | arquitectura | arquitecto | arquitecto | lisboa | lisboa | portugal | portugalLicense
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See all metadata21L.011 The Film Experience (MIT) 21L.011 The Film Experience (MIT)
Description
This course is an introduction to narrative film, emphasizing the unique properties of the movie house and the motion picture camera, the historical evolution of the film medium, and the intrinsic artistic qualities of individual films. The primary focus is on American cinema, but secondary attention is paid to works drawn from other great national traditions, such as France, Italy, and Japan. The syllabus includes such directors as Griffith, Keaton, Chaplin, Renoir, Ford, Hitchcock, Altman, De Sica, and Fellini. This course is an introduction to narrative film, emphasizing the unique properties of the movie house and the motion picture camera, the historical evolution of the film medium, and the intrinsic artistic qualities of individual films. The primary focus is on American cinema, but secondary attention is paid to works drawn from other great national traditions, such as France, Italy, and Japan. The syllabus includes such directors as Griffith, Keaton, Chaplin, Renoir, Ford, Hitchcock, Altman, De Sica, and Fellini.Subjects
film history | film history | American culture | American culture | Hollywood | Hollywood | Fred Ott | Fred Ott | early film | early film | D.W. Griffith | D.W. Griffith | Buster Keaton | Buster Keaton | Charlie Chaplin | Charlie Chaplin | Renoir | Renoir | Ford | Ford | Hitchcock | Hitchcock | Altman | Altman | DeSica | DeSica | narrative | narrative | video | video | visual communication | visual communication | storytelling | storytelling | media | media | hollywood | hollywood | cinema | cinema | movie | movieLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21H.153J Race and Gender in Asian America (MIT) 21H.153J Race and Gender in Asian America (MIT)
Description
In this seminar we will examine various issues related to the intersection of race and gender in Asian America, starting with the nineteenth century and working our way up to the present. Topics to be covered may include racial and gender discourse, the stereotyping of Asian American women and men in the media, Asian American masculinity, Asian American feminism and ethnic nationalism, gay and lesbian identity, class and labor issues, domestic violence, and the "cultural defense." The study of Asian Americans in film will form a significant component of this course. The class will require a final group project of 20-40 pages (depending on group size). In addition, there will be brief oral presentations and writing assignments during the course of the semester, and a bibliography In this seminar we will examine various issues related to the intersection of race and gender in Asian America, starting with the nineteenth century and working our way up to the present. Topics to be covered may include racial and gender discourse, the stereotyping of Asian American women and men in the media, Asian American masculinity, Asian American feminism and ethnic nationalism, gay and lesbian identity, class and labor issues, domestic violence, and the "cultural defense." The study of Asian Americans in film will form a significant component of this course. The class will require a final group project of 20-40 pages (depending on group size). In addition, there will be brief oral presentations and writing assignments during the course of the semester, and a bibliographySubjects
race | race | gender | gender | Asian American literature | Asian American literature | history | history | cinema | cinema | media images of Asian American men and women | media images of Asian American men and women | feminism | feminism | gender roles | gender roles | interracial romance | interracial romance | Maxine Hong Kingston | Maxine Hong Kingston | David Henry Hwang | David Henry Hwang | Chang Rae-lee | Chang Rae-lee | Jessica Hagedorn | Jessica Hagedorn | Shirley Lim | Shirley Lim | Mira Nair | Mira Nair | Ang Lee | Ang Lee | Wayne Wang | Wayne Wang | Gurinder Chadha | Gurinder Chadha | WMN.421J | WMN.421J | 21H.153 | 21H.153 | SP.421 | SP.421 | WMN.421 | WMN.421License
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata4.602 Modern Art and Mass Culture (MIT) 4.602 Modern Art and Mass Culture (MIT)
Description
This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art. This class provides an introduction to modern art and theories of modernism and postmodernism. It focuses on the way artists use the tension between fine art and mass culture to mobilize a critique of both. We will examine objects of visual art, including painting, sculpture, architecture, photography, prints, performance and video. These objects will be viewed in their interaction with advertising, caricature, comics, graffiti, television, fashion, folk art, and "primitive" art.Subjects
modern art | modern art | high art | high art | mass culture | mass culture | modernist aesthetic | modernist aesthetic | modernism | modernism | 19th Century Art | 19th Century Art | 20th Century Art | 20th Century Art | modernization | modernization | urbanization | urbanization | globalization | globalization | photography | photography | cinema | cinema | painting | painting | sculpture | sculpture | postmodernism | postmodernism | visual arts | visual arts | multimedia | multimedia | pop art | pop art | popular culture | popular cultureLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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This advanced video class serves goes into greater depth on the topics covered in 4.351 , Introduction to Video. It also will explore the nature and function of narrative in cinema and video through exercises and screenings culminating in a final project. Starting with a brief introduction to the basic principles of classical narrative cinema, we will proceed to explore strategies designed to test the elements of narrative: story trajectory, character development, verisimilitude, time-space continuity, viewer identification, suspension of disbelief, and closure. This advanced video class serves goes into greater depth on the topics covered in 4.351 , Introduction to Video. It also will explore the nature and function of narrative in cinema and video through exercises and screenings culminating in a final project. Starting with a brief introduction to the basic principles of classical narrative cinema, we will proceed to explore strategies designed to test the elements of narrative: story trajectory, character development, verisimilitude, time-space continuity, viewer identification, suspension of disbelief, and closure.Subjects
movies | movies | filmmaking | filmmaking | digital video | digital video | storytelling | storytelling | modern art | modern art | media | media | computerized editing | computerized editing | personal story | personal story | emotional art | emotional art | Fluxus | Fluxus | Bill Viola | Bill Viola | digital representation | digital representation | story trajectory | story trajectory | character development | character development | verisimilitude | verisimilitude | time-space continuity | time-space continuity | viewer identification | viewer identification | suspension of disbelief | suspension of disbelief | closure | closure | narrative cinema | narrative cinema | speculative biography | speculative biography | conceptual video | conceptual video | the fake | the fake | the remake | the remake | domestic ethnography | domestic ethnographyLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.011 The Film Experience (MIT) 21L.011 The Film Experience (MIT)
Description
This course concentrates on close analysis and criticism of a wide range of films, including works from the early silent period, documentary and avant-garde films, European art cinema, and contemporary Hollywood fare. Through comparative reading of films from different eras and countries, students develop the skills to turn their in-depth analyses into interpretations and explore theoretical issues related to spectatorship. Syllabus varies from term to term, but usually includes such directors as Coppola, Eisentein, Fellini, Godard, Griffith, Hawks, Hitchcock, Kubrick, Kurosawa, Tarantino, Welles, Wiseman, and Zhang. This course concentrates on close analysis and criticism of a wide range of films, including works from the early silent period, documentary and avant-garde films, European art cinema, and contemporary Hollywood fare. Through comparative reading of films from different eras and countries, students develop the skills to turn their in-depth analyses into interpretations and explore theoretical issues related to spectatorship. Syllabus varies from term to term, but usually includes such directors as Coppola, Eisentein, Fellini, Godard, Griffith, Hawks, Hitchcock, Kubrick, Kurosawa, Tarantino, Welles, Wiseman, and Zhang.Subjects
film history | film history | American culture | American culture | Hollywood | Hollywood | Fred Ott | Fred Ott | early film | early film | D.W. Griffith | D.W. Griffith | Buster Keaton | Buster Keaton | Charlie Chaplin | Charlie Chaplin | Renoir | Ford | Renoir | Ford | Hitchcock | Hitchcock | Altman | DeSica | Altman | DeSica | narrative | narrative | video | video | visual communication | visual communication | storytelling | storytelling | media | media | hollywood | hollywood | cinema | cinema | movie | movieLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.432 Understanding Television (MIT) 21L.432 Understanding Television (MIT)
Description
Includes audio/video content: AV selected lectures. The subtitle of this course for the spring 2003 term is "American Television: A Cultural History." The class takes a cultural approach to television's evolution as a technology and system of representation, considering television as a system of storytelling and myth-making, and as a cultural practice, studied from anthropological, literary, and cinematic perspectives. The course focuses on prime-time commercial broadcasting, the medium's technological and economic history, and theoretical perspectives. There is much required viewing as well as readings in media theory and cultural interpretation. Includes audio/video content: AV selected lectures. The subtitle of this course for the spring 2003 term is "American Television: A Cultural History." The class takes a cultural approach to television's evolution as a technology and system of representation, considering television as a system of storytelling and myth-making, and as a cultural practice, studied from anthropological, literary, and cinematic perspectives. The course focuses on prime-time commercial broadcasting, the medium's technological and economic history, and theoretical perspectives. There is much required viewing as well as readings in media theory and cultural interpretation.Subjects
systems of representation | systems of representation | storytelling | storytelling | myth | myth | cultural practice | cultural practice | anthropology | anthropology | literature | literature | cinematogaphy | cinematogaphy | prime-time | prime-time | commercial broadcasting | commercial broadcasting | media theory | media theory | cultural interpretation | cultural interpretation | CMS.915 | CMS.915License
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.015 Introduction to Media Studies (MIT) 21L.015 Introduction to Media Studies (MIT)
Description
Introduction to Media Studies is designed for students who have grown up in a rapidly changing global multimedia environment and want to become more literate and critical consumers and producers of media. Through an interdisciplinary comparative and historical lens, the course defines "media" broadly as including oral, print, performance, photographic, broadcast, cinematic, and digital cultural forms and practices. The course looks at the nature of mediated communication, the functions of media, the history of transformations in media and the institutions that help define media's place in society. This year’s course will focus on issues of network culture and media convergence, addressing such subjects as Intellectual Property, peer2peer authoring, blogging, and game modification. Introduction to Media Studies is designed for students who have grown up in a rapidly changing global multimedia environment and want to become more literate and critical consumers and producers of media. Through an interdisciplinary comparative and historical lens, the course defines "media" broadly as including oral, print, performance, photographic, broadcast, cinematic, and digital cultural forms and practices. The course looks at the nature of mediated communication, the functions of media, the history of transformations in media and the institutions that help define media's place in society. This year’s course will focus on issues of network culture and media convergence, addressing such subjects as Intellectual Property, peer2peer authoring, blogging, and game modification.Subjects
Comparative Media Studies | Comparative Media Studies | global multimedia environment | global multimedia environment | literate | literate | critical | critical | consumers | consumers | producers | producers | interdisciplinary | interdisciplinary | comparative | comparative | historical | historical | lens | lens | the course defines oral | the course defines oral | print | print | performance | performance | photographic | photographic | broadcast | broadcast | cinematic | cinematic | digital | digital | cultural | cultural | forms | forms | practices | practices | mediated communication | mediated communication | functions | functions | society | society | network culture | network culture | media convergence | media convergence | Intellectual Property | Intellectual Property | peer2peer authoring | peer2peer authoring | blogging | blogging | game modification | game modification | lens | the course defines oral | lens | the course defines oralLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.706 Studies in Film (MIT) 21L.706 Studies in Film (MIT)
Description
This course investigates relationships between two media, film and literature, studying works linked across the two media by genre, topic, and style. It aims to sharpen appreciation of major works of cinema and of literary narrative. The course explores how artworks challenge and cross cultural, political and aesthetic boundaries. It includes some attention to theory of narrative. Films to be studied include works by Akira Kurosawa, John Ford, Francis Ford Coppolla, Clint Eastwood, Orson Welles, Billy Wilder, and Federico Fellini, among others. Literary works include texts by Aeschylus, Sophocles, Shakespeare, Cervantes, Honoré de Balzac, Henry James and F. Scott Fitzgerald. This course investigates relationships between two media, film and literature, studying works linked across the two media by genre, topic, and style. It aims to sharpen appreciation of major works of cinema and of literary narrative. The course explores how artworks challenge and cross cultural, political and aesthetic boundaries. It includes some attention to theory of narrative. Films to be studied include works by Akira Kurosawa, John Ford, Francis Ford Coppolla, Clint Eastwood, Orson Welles, Billy Wilder, and Federico Fellini, among others. Literary works include texts by Aeschylus, Sophocles, Shakespeare, Cervantes, Honoré de Balzac, Henry James and F. Scott Fitzgerald.Subjects
Media | film | Media | film | literature | literature | genre | genre | topic | topic | style | style | cinema | cinema | literary narrative | literary narrative | cultural | cultural | political | political | aesthetic | aesthetic | boundaries | boundaries | theory of narrative | theory of narrative | Akira Kurosawa | Akira Kurosawa | John Ford | John Ford | Francis Ford Coppolla | Francis Ford Coppolla | Clint Eastwood | Clint Eastwood | Orson Welles | Orson Welles | Billy Wilder | Billy Wilder | Federico Fellini | Federico Fellini | Aeschylus | Aeschylus | Sophocles | Sophocles | Shakespeare | Shakespeare | Cervantes | Cervantes | Honor? de Balzac | Honor? de Balzac | Henry James | Henry James | F. Scott Fitzgerald | F. Scott FitzgeraldLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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This class deals with interactive art. Visiting artists will discuss their work from a theoretical and practical perspective. Discussions of the history of interactive digital art and contemporary issues in the field will take place. Students will develop an interactive art project for a final exhibition or submit a short paper. This class deals with interactive art. Visiting artists will discuss their work from a theoretical and practical perspective. Discussions of the history of interactive digital art and contemporary issues in the field will take place. Students will develop an interactive art project for a final exhibition or submit a short paper.Subjects
interactive art | interactive art | digital media | digital media | modern art | modern art | media | media | representation | representation | personal narrative | personal narrative | cinema | cinema | web-based art | web-based art | multimedia | multimedia | temporal art | temporal art | mobile art | mobile artLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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This seminar explores approaches to representation for distributed cinematic storytelling. The relationship between story creation and story appreciation is analyzed. Readings are drawn from literary and cinematic criticism, as well as from descriptions of interactive, distributed works. Students analyze a range of storytelling techniques; they develop a proposal using visualization techniques; and they prototype a working story experience, culminating in a final project displayed at the end of the semester. This seminar explores approaches to representation for distributed cinematic storytelling. The relationship between story creation and story appreciation is analyzed. Readings are drawn from literary and cinematic criticism, as well as from descriptions of interactive, distributed works. Students analyze a range of storytelling techniques; they develop a proposal using visualization techniques; and they prototype a working story experience, culminating in a final project displayed at the end of the semester.Subjects
Storytelling | Storytelling | human communication | human communication | representation | representation | causality | causality | live media | live media | recorded media | recorded media | computation | computation | user interface | user interface | interaction | interaction | digital media | digital media | information and story | information and story | authoring | authoring | interface | interface | computer-assisted storytelling | computer-assisted storytelling | cinema | cinema | film | film | television | television | mass media | mass media | narrative | narrative | voice | voice | information | information | story | story | character | character | dynamic situation | dynamic situationLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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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 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.Subjects
German | German | Film | Film | Cinema | Cinema | Movies | Movies | History | History | Intercultural Analyses | Intercultural Analyses | Cinematic Tradition | Cinematic Tradition | Post-War | Post-War | Aesthetics | Aesthetics | German film-making | German film-making | Second World War | Second World War | German Cinema | German Cinema | post-war Germany | post-war Germany | New German Cinema | New German Cinema | East Germany | East Germany | film production | film production | film analysis | film analysis | German cinematic production | German cinematic production | German history | German history | Die Stunde Null | Die Stunde Null | Tr?mmerfilme | Tr?mmerfilme | Catastrophy | Catastrophy | visual histories | visual histories | West Germany | West Germany | America | America | Hollywood | Hollywood | East German Cinema | East German Cinema | Post-unification German Cinema | Post-unification German Cinema | WWII | WWIILicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.432 Understanding Television (MIT) 21L.432 Understanding Television (MIT)
Description
The subtitle of this course for the spring 2003 term is "American Television: A Cultural History." The class takes a cultural approach to television's evolution as a technology and system of representation, considering television as a system of storytelling and myth-making, and as a cultural practice, studied from anthropological, literary, and cinematic perspectives. The course focuses on prime-time commercial broadcasting, the medium's technological and economic history, and theoretical perspectives. There is much required viewing as well as readings in media theory and cultural interpretation. The subtitle of this course for the spring 2003 term is "American Television: A Cultural History." The class takes a cultural approach to television's evolution as a technology and system of representation, considering television as a system of storytelling and myth-making, and as a cultural practice, studied from anthropological, literary, and cinematic perspectives. The course focuses on prime-time commercial broadcasting, the medium's technological and economic history, and theoretical perspectives. There is much required viewing as well as readings in media theory and cultural interpretation.Subjects
systems of representation | systems of representation | storytelling | storytelling | myth | myth | cultural practice | cultural practice | anthropology | anthropology | literature | literature | cinematogaphy | cinematogaphy | prime-time | prime-time | commercial broadcasting | commercial broadcasting | media theory | media theory | cultural interpretation | cultural interpretation | CMS.915 | CMS.915License
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Professor Jon Mee, University of Warwick, discusses how Dickens's fiction can be considered 'cinematic' by drawing attention to the shifting points of view in Oliver Twist, Our Mutual Friend, and other novels. He relates this to work done in recent and historical adaptations of Dickens's work. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
#greatwriters | points of view | Our Mutual Friend | Victorian literature | cinematic | Oliver Twist | dickens | #greatwriters | points of view | Our Mutual Friend | Victorian literature | cinematic | Oliver Twist | dickensLicense
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See all metadataWhose Voice is it Anyway? - Film Dubbing in the Soviet Republic
Description
Ninth presentation of the Research Approaches to Former Soviet States: A Practical Introduction conference. Introduction by Jon Waterlow. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
cinema | research | soviet | Russia | film | history | cinema | research | soviet | Russia | film | history | 2010-11-13License
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See all metadatas Adventures in Central Asian Cinema
Description
Tenth presentation of the Research Approaches to Former Soviet States: A Practical Introduction conference. Introduction by Jon Waterlow. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
cinema | research | central asia | soviet | Russia | film | history | cinema | research | central asia | soviet | Russia | film | history | 2010-11-13License
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See all metadataCMS.801 Media in Transition (MIT) CMS.801 Media in Transition (MIT)
Description
This course centers on historical eras in which the form and function of media technologies were radically transformed. It includes consideration of the "Gutenberg Revolution," the rise of modern mass media, and the "digital revolution," among other case studies of media transformation and cultural change. Readings cover cultural and social history and historiographic methods. This course centers on historical eras in which the form and function of media technologies were radically transformed. It includes consideration of the "Gutenberg Revolution," the rise of modern mass media, and the "digital revolution," among other case studies of media transformation and cultural change. Readings cover cultural and social history and historiographic methods.Subjects
Media | Media | mass media | mass media | history | history | Gutenberg | Gutenberg | cultural change | cultural change | cultural history | cultural history | social history | social history | historiographic method | historiographic method | books | books | medieval history | medieval history | codex book | codex book | writing | writing | printing | printing | printing press | printing press | stage | stage | theater | theater | renaissance | renaissance | romanticism | romanticism | modernity | modernity | inventions | inventions | photography | photography | nineteenth century | nineteenth century | image | image | telegraph | telegraph | electrification | electrification | communication | communication | Morse | Morse | Daguerreotype | Daguerreotype | Fox Talbot | Fox Talbot | phonograph | phonograph | sound recording | sound recording | radio | radio | broadcasting | broadcasting | film | film | video | video | cinema | cinema | publishing | publishingLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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Filmmaker and Humanitas Visiting Professor in Film and Television, Kelly Reichardt, in conversation about her films. American landscapes and narratives of the road are themes that run throughout Reichardt?s five feature films: River of Grass (Strand Releasing, 1994), Old Joy (Kino International, 2006), Wendy and Lucy (Oscilloscope Pictures, 2008), Meek?s Cutoff (Oscilloscope Pictures, 2010) and Night Moves (Cinedigm, 2013); and the short narrative Ode (1999). Kelly has taught at School of Visual Arts, Columbia University, New York University and is currently an artist-in-residence at Bard College. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
film | television | art | cinema | humanitas | film | television | art | cinema | humanitas | 2014-05-23License
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Filmmaker and Humanitas Visiting Professor in Film and Television, Kelly Reichardt, in conversation about her films. American landscapes and narratives of the road are themes that run throughout Reichardt?s five feature films: River of Grass (Strand Releasing, 1994), Old Joy (Kino International, 2006), Wendy and Lucy (Oscilloscope Pictures, 2008), Meek?s Cutoff (Oscilloscope Pictures, 2010) and Night Moves (Cinedigm, 2013); and the short narrative Ode (1999). Kelly has taught at School of Visual Arts, Columbia University, New York University and is currently an artist-in-residence at Bard College. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
film | television | art | cinema | humanitas | film | television | art | cinema | humanitas | 2014-05-23License
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See all metadataContemporary Wales Contemporary Wales
Description
This free course provides an accessible and lively social science account of contemporary Wales. It introduces key aspects of the economy, society, politics and culture of Wales, providing a wealth of up-to-date evidence that is organised around core social science concepts and theories, to help you make sense of a changing nation. First published on Tue, 08 Mar 2016 as Contemporary Wales. To find out more visit The Open University's Openlearn website. Creative-Commons 2016 This free course provides an accessible and lively social science account of contemporary Wales. It introduces key aspects of the economy, society, politics and culture of Wales, providing a wealth of up-to-date evidence that is organised around core social science concepts and theories, to help you make sense of a changing nation. First published on Tue, 08 Mar 2016 as Contemporary Wales. To find out more visit The Open University's Openlearn website. Creative-Commons 2016Subjects
Sociology | Sociology | Wales | Wales | rugby | rugby | difference | difference | gender | gender | race | race | work | work | poverty | poverty | identity | identity | labour | labour | representation | representation | democracy | democracy | cinema | cinema | television | television | D172_1 | D172_1License
Except for third party materials and otherwise stated (see http://www.open.ac.uk/conditions terms and conditions), this content is made available under a http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence Licensed under a Creative Commons Attribution - NonCommercial-ShareAlike 2.0 Licence - see http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ - Original copyright The Open UniversitySite sourced from
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See all metadataCine-Teatro Tivoli, Lisboa, Portugal Cine-Teatro Tivoli, Lisboa, Portugal
Description
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