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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.

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The computer and related technologies have invaded our daily lives, have changed the way we communicate, do business, gather information, entertain ourselves. Even technology once considered distinctly "modern" - photography, the telephone, movies, television - has been altered or replaced by faster and more dynamic media that allow more manipulation and control by the individual. Anyone can now create stunning photographic images without a processing lab; and film no longer earns its name, as the cinema often presents images that were never filmed to begin with, but created or doctored in the digital domain. What are the consequences of these changes for the media and arts they alter? How does digitizing affect the values, ethical and aesthetic, of images, texts, and sounds? How do thes The computer and related technologies have invaded our daily lives, have changed the way we communicate, do business, gather information, entertain ourselves. Even technology once considered distinctly "modern" - photography, the telephone, movies, television - has been altered or replaced by faster and more dynamic media that allow more manipulation and control by the individual. Anyone can now create stunning photographic images without a processing lab; and film no longer earns its name, as the cinema often presents images that were never filmed to begin with, but created or doctored in the digital domain. What are the consequences of these changes for the media and arts they alter? How does digitizing affect the values, ethical and aesthetic, of images, texts, and sounds? How do thes

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Using 2012 as a starting point, Dr Tim Stanley goes back into history and considers the different ways that Hollywood has influenced US elections. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Using 2012 as a starting point, Dr Tim Stanley goes back into history and considers the different ways that Hollywood has influenced US elections. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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This class serves as an introduction to video recording and editing, presenting video as a tool of personal apprehension and expression, with an emphasis on self-exploration, performance, social critique, and the organization of raw experience into aesthetic form (narrative, abstract, documentary, essay). Students are required to complete a variety of assignments to learn the basics of video capture and editing, culminating in a final assignment that has to do with personal storytelling. This class serves as an introduction to video recording and editing, presenting video as a tool of personal apprehension and expression, with an emphasis on self-exploration, performance, social critique, and the organization of raw experience into aesthetic form (narrative, abstract, documentary, essay). Students are required to complete a variety of assignments to learn the basics of video capture and editing, culminating in a final assignment that has to do with personal storytelling.

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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.htm

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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.

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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.htm

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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.

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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.htm

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Hacking and trolling; mass murders and bullying. What do these have in common? One theory holds that these are all "deviant" social behaviors, occurring both online and off, which have purportedly been brought about or exacerbated by our new media environment. Such aberrant behaviors seemingly give us ample reason to fear digital and social media. But is technology to blame? We will grapple with this question as we investigate how our understanding of new technologies and media is socially shaped and, in turn, how new media might influence our social behavior. We will begin by studying how similar panics about "old" media (books, film, television and even the written word itself) set historical precedents for these current fears. Along the way we will establish and exp Hacking and trolling; mass murders and bullying. What do these have in common? One theory holds that these are all "deviant" social behaviors, occurring both online and off, which have purportedly been brought about or exacerbated by our new media environment. Such aberrant behaviors seemingly give us ample reason to fear digital and social media. But is technology to blame? We will grapple with this question as we investigate how our understanding of new technologies and media is socially shaped and, in turn, how new media might influence our social behavior. We will begin by studying how similar panics about "old" media (books, film, television and even the written word itself) set historical precedents for these current fears. Along the way we will establish and exp

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"Becoming Digital" traces the change in practice, theory and possibility as mechanical and chemical media are augmented or supplanted by digital media. These changes will be grounded in a semester length study of "reports from the front." These reports, found and introduced by students throughout the semester, are the material produced by and about soldiers and civilians on the battlefield from the introduction of wet photography during the Crimean and Civil Wars to contemporary digital content posted daily to Web 2.0 sites from areas such as Iraq and Afghanistan and possibly even the games and simulations they've inspired. Students will work through the ethical, aesthetic, technical and cultural problems raised by the primary content and secondary readings in three pa "Becoming Digital" traces the change in practice, theory and possibility as mechanical and chemical media are augmented or supplanted by digital media. These changes will be grounded in a semester length study of "reports from the front." These reports, found and introduced by students throughout the semester, are the material produced by and about soldiers and civilians on the battlefield from the introduction of wet photography during the Crimean and Civil Wars to contemporary digital content posted daily to Web 2.0 sites from areas such as Iraq and Afghanistan and possibly even the games and simulations they've inspired. Students will work through the ethical, aesthetic, technical and cultural problems raised by the primary content and secondary readings in three pa

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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.htm

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This is a case study from a JISC funded project that invited performance students to use mobile devices to capture multi-media reflections ‘on the move’. Video editing was used to enable students to look again at their reflections and to organise and make sense of them. The case study describes the project and summarises the students' learning and experiences. It contains links to learning resources created, including a video editing tutorial.

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Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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21G.031 examines the terms "avant garde" and "Kulturindustrie" in French and German culture of the early twentieth century. Considering the origins of these concepts in surrealist and dadaist literature, art, and cinema, the course then expands to engage parallel formations across Europe, particularly in the former Soviet Union. Emphasis on the specific historical conditions that enabled these interventions. Guiding questions are these: What was original about the historical avant-garde? What connections between art and revolution did avant-garde writers and artists imagine? What strategies did they deploy to meet their modernist imperatives? To what extent did their projects maintain a critical stance towards the culture industry? Surveying key interventions in th 21G.031 examines the terms "avant garde" and "Kulturindustrie" in French and German culture of the early twentieth century. Considering the origins of these concepts in surrealist and dadaist literature, art, and cinema, the course then expands to engage parallel formations across Europe, particularly in the former Soviet Union. Emphasis on the specific historical conditions that enabled these interventions. Guiding questions are these: What was original about the historical avant-garde? What connections between art and revolution did avant-garde writers and artists imagine? What strategies did they deploy to meet their modernist imperatives? To what extent did their projects maintain a critical stance towards the culture industry? Surveying key interventions in th

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This course examines Japanese popular culture as a way of understanding the changing character of media, capitalism, fan communities and culture. Topics include manga (comic books), hip-hop and other popular music in Japan, anime (Japanese animated films) and feature films, sports (sumo, soccer, baseball), and online communication. Emphasis will be on contemporary popular culture and theories of gender, sexuality, race, and the workings of power in global culture industries. This course examines Japanese popular culture as a way of understanding the changing character of media, capitalism, fan communities and culture. Topics include manga (comic books), hip-hop and other popular music in Japan, anime (Japanese animated films) and feature films, sports (sumo, soccer, baseball), and online communication. Emphasis will be on contemporary popular culture and theories of gender, sexuality, race, and the workings of power in global culture industries.

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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.htm

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Includes audio/video content: AV lectures. This course concentrates on close analysis and criticism of a wide range of films, from the early silent period, classic Hollywood genres including musicals, thrillers and westerns, and European and Japanese art cinema. It explores the work of Griffith, Chaplin, Keaton, Capra, Hawks, Hitchcock, Altman, Renoir, DeSica, and Kurosawa. 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. Includes audio/video content: AV lectures. This course concentrates on close analysis and criticism of a wide range of films, from the early silent period, classic Hollywood genres including musicals, thrillers and westerns, and European and Japanese art cinema. It explores the work of Griffith, Chaplin, Keaton, Capra, Hawks, Hitchcock, Altman, Renoir, DeSica, and Kurosawa. 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.

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