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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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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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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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"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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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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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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Professor David Lubin gives his second Terra Lecture in American Art on Howard Pyle?s illustrations of Robin Hood and pirates and their representation in movies. David M. Lubin is the Terra Foundation for American Art Visiting Professor 2016-17 at Oxford University, as well as the Charlotte C. Weber Professor of Art at Wake Forest University in Winston-Salem, North Carolina. Professor Lubin is the author of Act of Portrayal (Yale, 1985), Picturing a Nation (Yale, 1994), Titanic (BFI, 1999), and Shooting Kennedy (California, 2003), which was awarded the Smithsonian American Art Museum?s Eldredge Prize for distinguished scholarship in American art. His most recent book is Grand Illusions: American Art and the First World War (Oxford, 2016). He also co-edited World War I and American Art Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Professor David Lubin gives his second Terra Lecture in American Art on Howard Pyle?s illustrations of Robin Hood and pirates and their representation in movies. David M. Lubin is the Terra Foundation for American Art Visiting Professor 2016-17 at Oxford University, as well as the Charlotte C. Weber Professor of Art at Wake Forest University in Winston-Salem, North Carolina. Professor Lubin is the author of Act of Portrayal (Yale, 1985), Picturing a Nation (Yale, 1994), Titanic (BFI, 1999), and Shooting Kennedy (California, 2003), which was awarded the Smithsonian American Art Museum?s Eldredge Prize for distinguished scholarship in American art. His most recent book is Grand Illusions: American Art and the First World War (Oxford, 2016). He also co-edited World War I and American Art Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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21F.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 the fields of poet

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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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"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 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 https://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

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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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21F.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 the fields of poet

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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 colour photograph of the historic Golcha Cinema in Daryaganj, Old Delhi.

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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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1c Modifying an existing image, 2a Meet the marquee selection tools, 2b Using the magic wand and lasso tools, 2c Further selections, transforming and cropping, 3a Selections using the Quick Mask mode, 3b Moving a selection from file to file and layer basics, 3c More layer basics, 1 Introducing Photoshop, 2 Introducing Selections, 3 Introducing Layers

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

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Finger signing - alphabet - a to z in sign language (Shockwave movies - swf files)

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

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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

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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 https://ocw.mit.edu/terms/index.htm

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