ABOUT THE SCREEN TESTS
In August 1962, Andy Warhol (American, 1928–1987) began making silkscreen paintings of popular icons, including a series of images of Marilyn Monroe that he began a month after her death. He went on to experiment in portrait making with public photo booth machines, which automatically take four exposures several seconds apart and print them in a strip, like a sequence of film frames.
Combining the seriality of these silkscreen and photo booth portraits with the ephemeral quality of the filmed image, between 1964 and 1966 Warhol shot approximately 500 rolls of film: several-minute silent portraits of acquaintances, friends, and celebrities, including many of the artists musicians, poets, actors, models, playwrights, curators, collectors, critics, and gallerists who composed New York City's avant-garde scene. Some subjects were invited to the artist's East 47th Street studio, known as The Factory or The Silver Factory, to sit for their portraits; others were captured spontaneously. At times Warhol left his subjects alone with the camera, creating a heightened sense of vulnerability that is perceptible in the films. His first subjects, seated before a sterile backdrop, were asked not to move or speak (later portraits were shot under more flexible conditions). These films, known as "stillies" around the Factory, were also referred to by Warhol as Living Portrait Boxes, and, later, as Screen Tests.
Warhol shot the portraits at the standard speed for sound film (24 frames per second), but specified that they should be projected at a 16 frames per second, the conventional projection speed for silent films in the early period of cinema. The result is an unusually slow fluidity of pace, a rhythm gently at odds with the large-scale close-ups, which are rendered almost abstract by stark contrasts of light and shadow. The images, still yet moving, play in a continuous loop, bearing a timeless presence.
UNIVERSITY MISSION
Felician University is an independent co-educational Catholic/Franciscan University founded and sponsored by the Felician Sisters to educate a diverse population of students within the framework of a liberal arts tradition. Its mission is to provide a full complement of learning experiences, reinforced with strong academic and student development programs designed to bring students to their highest potential and prepare them to meet the challenges of the new century with informed minds and understanding hearts. The enduring purpose of Felician University is to promote a love for learning, a desire for God, self knowledge, service to others, and respect for all creation.
SCHOOL OF ARTS AND SCIENCES MISSION
The School of Arts and Sciences is committed to promoting the University’s Franciscan-Felician mission by providing an environment that fosters the intellectual, emotional, and spiritual development of our students. The Liberal Arts curriculum challenges students to explore creative ways of thinking within a broad scope of study that integrates intellectual traditions with essential values. Our diverse programs encourage students to become lifelong learners and compassionate contributors to the well-being of others throughout their lives.
DEPARTMENT OF ART MISSION
The Art Program at Felician College produces artists with the skills, knowledge, and critical sensibility to effectively communicate ideas through individual forms of expression. Offering a variety of courses in Fine Art, Graphic Design, and Photography and New Media, the Department’s objective is to emphasize the teaching of technique in concert with the critical study of different historical forms of art production, providing a life-long reference of cultural understanding.
Through a rigorous and dynamic curriculum, graduates of the Art Program will be able to implement a variety of creative skills and techniques, as well as produce a range of forms and styles; critique works of art based on their survey knowledge of major historical examples and schools of thought; recognize trends in contemporary cultural thinking; understand the importance of the arts in society; assess their personal strengths and interests; and create and present work suitable for exhibition and publication. Ultimately, graduates will be able to integrate and synthesize their skills, knowledge, and experience into a powerful career strategy.
ART-260-A FILM VIDEO ART Updated 01/16/19 |
"All technical refinements depress me. The perfection of photography, the big screens, the stereo sound, all of it makes possible a servile reproduction of nature; and that reproduction bores me. ... The artist's personality interests me more than the copying of an object." - Jean Renoir, 1959
"When you have a poor image, there's lots more room to dream." - David Lynch, 2005 |
COURSE DESCRIPTION
From Super-8 film to digital video, this class explores film and video as fine art. Students will experiment with different media, producing short pieces that will be edited and published using software such as Final Cut Pro and DVD Studio Pro.
COURSE OBJECTIVES
This course satifies GECC Theme Area III - Communication & Expression:
In this course, students will:
RECOMMENDED TEXT
REQUIRED & OPTIONAL MATERIALS
COURSE CONTENT
Week One (01/16)
Introduction
- Screening: Lumiere
- Screening: David Lynch Ice Bucket Challenge
- Discussion: Gregory Crewdson
- Reading: Kodak Super 8 Camera
Week Two (01/23)
Introduction to Final Cut Pro – presentation on importing video/audio files and basic video editing
- Screening: Un Chien Andalou, Meshes in the Afternoon
- Reading: Rush, Time Art & Film and Avant-Garde Cinema I, pp. 7-20
- Reading: Rush, Video Installation Art, pp. 116-124
PROJECT: Found Footage
Parameters
- Choose 1 sound and 1 commercial (distributed in class)
- Re-edit commericial to sound to create new meaning
- Be creative
DUE: TBA
Week Three (01/30)
Presentation on the rhythm of editing, replacing existing audio tracks with new audio, adding credits and titles, and exporting video
- Reading: Brenneis, Chapters 7 & 8
- Reading: Rush, Conceptual Video, pp. 93-107
- Reading: Rush, Duchamp to Cage to Fluxus, pp. 21-27
- Reading: True Blue Stands Out in an Earthy Crowd
Week Four (02/06)
- Critique
- Screening: Blue, Green Pink Caviar
PROJECT: See What I Have Done
Parameters
- Record yourself reading this passage
- Create a video of using colors and transitions:
- The colors/transitions should represent your idea of what's happening
- Use different colors to represent the different characters
- Use audio sources created in Garageband
- Use at least 3 transitions
DUE: TBA
Week Five (02/13)
Introduction to GarageBand – presentation on using color mattes, video/audio layering, and transitions
- Reading: Rush, Exploring Identities, pp. 148-165
Week Six (02/20)
- Critique
- Screening: Andy Warhol's Screen Tests, Faces
- Reading: Rush, Film and Avant-Garde Cinema II, pp. 27-33
- Reading: Rush, A New Medium, pp.78-92
PROJECT: Screen Test
Parameters
- Create three 2-1/2-minute screen tests of yourself
- Black-and-white
- Silent
- Reduce speed by approx. 80% to equal 3 minute running time
- No cuts or transitions (all in-camera)
DUE: TBA
Week Seven (02/27)
Presentation on video camera functions, black-and-white conversion, stripping audio, and frame-rate adjustments
Week Eight (03/06)
Spring Break - no class
Week Nine (03/13)
- Open Lab
PROJECT: A body in motion tends to stay in motion (triangle piece #1)
Parameters
- Create a short experimental video about motion using the studio triangle
- Length, as appropriate; does not have to be a continuous shot
- Color or black-and-white, as appropriate or necessary
- Sound, as appropriate or necessary
- Transitions, as appropriate or necessary
DUE: TBA
PROJECT: A body at rest tends to stay at rest (triangle piece #2)
Parameters
- Create a short experimental video using the studio triangle
- Length, as appropriate; does not have to be a continuous shot
- Color or black-and-white, as appropriate or necessary
- Sound, as appropriate or necessary
- Transitions, as appropriate or necessary
DUE: TBA
Week Ten (03/20)
Midterm
A practical exam that asks you to recreate a video sequence from raw footage and audio.
- Midterm Review Topics
- Arrow
- Blade
- Retime Editor (changing speed, reversing clips)
- Clip Opacity
- Audio (adding, deleting, detaching)
- Colors
- Transitions
- Screening: La Jettee
- Reading: Rush, Personal Narratives, pp. 107-113
- Response Paper #1
PROJECT: Confinement
Parameters
- Prisons Rethink Isolation, Saving Money, Lives and Sanity
- Federal Judge Approves California Plan to Reduce Isolation of Mentally Ill Inmates
- New York City to End Solitary Confinement for Inmates 21 and Under at Rikers
- Create an experimental video about confinement
- Color or black-and-white, as appropriate or necessary
- Sound, as appropriate or necessary
DUE: TBA
Week Eleven (03/27)
Presentation on compositing video, working with multiple video channels, and animation
- Critique
- Screening: Dans ma peau
- Reading: Rush, Exploring the Political, pp. 125-138
- Response Paper #2
Week Twelve (04/03)
- Reading: Rush, Digital Art, pp. 168-171, 192-201
Week Thirteen (04/10)
- Critique
- Screening: Amer
- Reading: Rush, Exploring the Lyrical, pp. 138-148
- Reading: When Do We "Get It"?
- Response Paper #3
Week Fourteen (04/17)
Week Fifteen (04/24)
Week Sixteen (05/01)
- Critique
- Open studio & lab
Week Seventeen (05/08)
Final
- Screening
No work accepted after 05/08
PROJECT: For every action there is an equal and opposite reaction
Parameters
- Create a short experimental video about action and reaction
- Color or black-and-white, as appropriate or necessary
- Sound, as appropriate or necessary
DUE: TBA
PROJECT: Monotony
Parameters
- Create a short experimental video about repetition
- Color or black-and-white, as appropriate or necessary
- Sound, as appropriate or necessary
DUE: TBA
PROJECT: Force equals mass times acceleration
Parameters
- Create a short experimental video about force
- Color or black-and-white, as appropriate or necessary
- Sound, as appropriate or necessary
DUE: TBA
GRADING RUBRICS
PROJECTS | 10 pts. | 6 pts. | 2 pts. |
Content |
Sequence elements are thoughtfully chosen and appropriate for the project. | Sequence elements are appropriate, but do not complement the project. | Sequence elements are not appropriate for the project. |
Structure |
Sequence is well organized with careful editing. | Sequence is organized, but editing is careless. | Sequence is poorly organized and edited. |
Originality |
Interpretation of the project parameters shows independent thought and creative ideas. | Intepretation of the project parameters shows some creativity, but lacks in realization of ideas. | Interpretation of the project parameters is obvious. |
Ingenuity | Appropriate use of the features of Final Cut effectively communicates ideas. | Somewhat appropriate use of the features of Final Cut, but lacks relevance to ideas. | Indiscriminate use of the features of Final Cut. |
GRADING POLICIES
Total percentage is 100, which is translated into a letter grade using the standards published in the University Catalog (see below); there will be no grading curve.
Felician University operates on the 4.00 grading system and determines the academic standing of students according to the following scale:
Grade | Description | Numerical Equivalent | Quality Points |
A | Outstanding | 100-95 | 4.000 |
A- | Excellent | 94-90 | 3.670 |
B+ | Very Good | 89-87 | 3.333 |
B | Good | 86-83 | 3.000 |
B- | Above Average | 82-80 | 2.670 |
C+ | Average | 79-77 | 2.333 |
C | Acceptable | 76-70 | 2.000 |
D | Poor | 69-65 | 1.000 |
F | Failure | 64 or below | 0.000 |
FA | Failure due to non-attendance | 64 or below | 0.000 |
COURSE POLICIES
NOTE