Spring 2009

Undergraduate Course Listings (Archived)

DMS 101A BASIC FILM MAKING
Chouinard:: MW 9:00-10:50pm :: CFA 278
REG#339315

This course is intended to provide a basic introduction to 16mm film production. Classes will include screenings, lectures, and demonstrations. Students will learn basic camera operation, lighting, editing, and sound acquisition. In addition, the course will explore the critical relationship between theory and practice in the context of film production. Students will be required to complete collaborative class projects, individual assignments, and a critical paper. Each student will also be required to complete a short, non-sync, 16mm film project. Class materials will cost approx. $150. Lab fee: $100. Class size is strictly limited. Fulfills Basic Production Requirement

 

DMS 101B BASIC FILM MAKING
Lodhie :: MW 1:00-2:50pm :: CFA 286
REG#408422

This course is intended to provide a basic introduction to 16mm film production. Classes will include screenings, lectures, and demonstrations. Students will learn basic camera operation, lighting, editing, and sound acquisition. In addition, the course will explore the critical relationship between theory and practice in the context of film production. Students will be required to complete collaborative class projects, individual assignments, and a critical paper. Each student will also be required to complete a short, non-sync, 16mm film project. Class materials will cost approx. $150. Lab fee: $100. Class size is strictly limited. Fulfills Basic Production Requirement

 

DMS 103A BASIC VIDEO
Douglas :: MW 11-12:50pm :: CFA 286
REG#240395

This course is a basic introduction to the tools and techniques of video production. Students will become familiar with using video and develop strategies for its application as an alternative medium of communication. Crucial to this project is the concurrent development of a critical perspective on mainstream media culture. Video art screenings and readings in media theory will critically address the relations between viewers, producers, and the media. Students must expect to acquire materials and texts costing approx. $50.00 to be used in exercises in classroom presentations. Access to equipment and editing facilities will be available. Lab fee: $100. Class size is strictly limited. Fulfills Basic Production Requirement

 

DMS 103B BASIC VIDEO
Parkins :: TR 9-10:50am :: CFA 278
REG#109044

This course is a basic introduction to the tools and techniques of video production. Students will become familiar with using video and develop strategies for its application as an alternative medium of communication. Crucial to this project is the concurrent development of a critical perspective on mainstream media culture. Video art screenings and readings in media theory will critically address the relations between viewers, producers, and the media. Students must expect to acquire materials and texts costing approx. $50.00 to be used in exercises in classroom presentations. Access to equipment and editing facilities will be available. Lab fee: $100. Class size is strictly limited. Fulfills Basic Production Requirement

 

DMS 105 BASIC DOCUMENTARY
Davis :: MW 9:00am-11:50am :: CFA 235
REG#068384

This course will present students with the fundamental, theoretical, creative, and technical concerns of documentary and video production. Students will be introduced to methods of research, production design, approach to subject, interviewing and the structuring of information, as well as the technical video skills of camera work, sound recording, and lighting and editing, as they apply specifically to the documentary process. The demands of documentary expression require preparation with a different emphasis from that which applies to the personal and experimental approaches to filmmaking and video making. Materials and texts will cost approx. $50. Lab fee: $100. Class size is strictly limited. Fulfills Basic Production Requirement

 

DMS 108 FILM HISTORY 2
Finnegan :: TR 9:00am-10:50am :: CFA 112
REG#212394

This course will continue with the history of cinema from roughly WWII to the present day. Taking a multi-cultural look at this medium, this course will show a myriad of films from all over the world made by visionary directors who have changed the aesthetic, conceptual and ideological landscape of filmmaking throughout it�s history. We will be examining cinema paradigm shifts inspired by such movements as /Italian Neo-Realisism/, /New German Cinema/ , /The French New Wave/ and /Third World Cinema/ The course will provide students with basic tools and skills to analyze, both technically and conceptually, how filmic images are constructed, how they create meaning, how they influence our lives and how they have become embedded in our historical, ideological and cultural landscape. Fulfills Intro To Interpretation Requirement

DMS 109 FILM INTERPRETATION
Johnson :: TR 11:00am-12:50pm :: CFA 235
REG#174974

Film Aesthetics have had an enormous impact on the development of media, from television to the internet to video games, as well as on our personal experiences of our everyday lives: “I feel like I’m in a movie!” This course provides an introduction to the main concepts and themes that constitute the rapidly expanding field of Film Studies.  In this course, we will learn to recognize the techniques and conventions that structure our experience of cinema – narrative, mise-en-scene, cinematography, editing, sound, genre – in order to understand how these various components combine to yield an overall sense of film form. We will survey global film history, critically viewing examples of silent film, classical Hollywood, world cinema, experimental, documentary, and independent narrative film. We will also examine isolated clips from a variety of films as they relate to the weekly discussion topics. Fulfills Intro To Interpretation Requirement

 

DMS 110 PROGRAMMING FOR DIGITAL ART
Staff :: TR 9:00am-10:50am :: CFA 242
REG#039481

Beginner programming course geared towards Media Study majors with little to no experience who want to pursue Programming Graphics, Game Design and Virtual Reality. This course introduces basic concepts of Computer Science with the Python programming language, while incorporating a Media Study perspective.  Non Majors welcome if space available. Fulfills Basic Production Requirement

 

DMS 121A BASIC DIGITAL ARTS
Fulmore :: MW 9-10:50am :: CFA 244
REG#288937

This course will present fundamental concepts and methods that underlie the use of computers in generating and processing digital works and examine them in the context of contemporary artistic practice in painting, photography, film, and video. The impact of computers, both present and potential, on the more traditional arts will be discussed. Through the use of imaging audio and presentation software, students will explore the various ways in which computers deal with images, sound and structures, adapting these methods to produce work of their own. Work by contemporary artists working in the digital medium will be shown and examined on a regular basis. The class size is strictly limited. Lab fee: $100. Fulfills Basic Production Requirement

 

DMS 121B BASIC DIGITAL ARTS
Delrieu Schulze :: MW 11-12:50pm :: CFA 244
REG#396325

This course will present fundamental concepts and methods that underlie the use of computers in generating and processing digital works and examine them in the context of contemporary artistic practice in painting, photography, film, and video. The impact of computers, both present and potential, on the more traditional arts will be discussed. Through the use of imaging audio and presentation software, students will explore the various ways in which computers deal with images, sound and structures, adapting these methods to produce work of their own. Work by contemporary artists working in the digital medium will be shown and examined on a regular basis. The class size is strictly limited. Lab fee: $100. Fulfills Basic Production Requirement

 

DMS 155 (LECTURE) INTRODUCTION TO NEW MEDIA
Caporlingua :: T 9:00am-10:50am :: CFA 112
REG# xxxxxx(Register for a lab, this will enroll you for the lecture as well)

DMS 155 A1 (LAB) INTRODUCTION TO NEW MEDIA
Caporlingua:: R 9:00am-10:50am :: CFA 244
REG#402722

DMS 155 A2 (LAB) INTRODUCTION TO NEW MEDIA
Caporlingua :: R 11:00am-12:50pm :: CFA 244
REG#218922

This course provides an introduction to design and the production of interactive multimedia. The content of the class will focus on the theoretical and practical aspects of creating and integrating digital media with authoring/presentation tools. This class will lay the foundation for creating interactive projects for the web and CD-ROMS, and will integrate art, journalism, and music through hands-on developmental projects in our new state-of-the-art Mac lab. Students will learn the process and skills necessary to create a web site and an interactive CD-ROM which integrates animation, graphic design, sound, and text, working in Adobe Photoshop, Macromedia Dreamweaver, Flash animation, Sound Edit 16, and Illustrator. The course will accommodate 48 students. Enroll now! Get the technological edge! Lab fee $100. Fulfills Basic Production Requirement

 

DMS 215 INTRODUCTION TO SOUND
Thompson :: TR 9:00am-10:50am :: CFA 232
REG#226386

This course is designed to give students a theoretical, historical and practical introduction to sound as a creative medium. Sound art is a broad discipline that is inherently interdisciplinary, with strong roots in modern music, installation and performance art. Through a series of readings, discussions, and collaborations, we will investigate the ways that sound influences our understanding of public space. We will also examine the work of contemporary artists that use sound as a relational medium through interactive technologies and participation-based practices. Students will have the opportunity to create experimental installations through self-directed Lab Projects. Lab fee $100.

 

DMS 259 INTRODUCTION TO MEDIA ANALYSIS
Roussel :: TR 9:00am – 10:50am :: CFA 112
Reg #330929

This course is designed to provide students with an historical and theoretical context for current and – hopefully – future developments in media. The course begins with an extended (more than one lecture) discussion of the nature of media focused on the work of Marshall McLuhan. With this as a context, we will read key texts in 20th century media theory including essays by Habermas, Adorno, Debord, Hall, Baudrillard, Barthes, etc. Finally, we’ll read current (21st century!!) work addressing issues in social networking, immersive media and the impact of databases on narrative. Some of this material is – ahh – dense but my approach to it is straightforward: I believe in reading a smaller number of essays carefully as opposed to reading more material quickly. Where I think it is appropriate I provide reading guides but I would be lying if I didn’t say that you will probably spend some time in front of a book with a frown on your face. Many short assignments. The Department of Media Study is based on the idea that making media can be as analytical and critical an act as writing about media so, where appropriate, I’ll entertain either response to the assignment.

 

DMS 316 CRITICISM
Roussel :: MW 3:00pm – 4:50pm :: CFA 235
Reg #282000

Introduces the craft of literary criticism, including techniques of close reading, two or more sorts of literary theory, and strategies for writing and revising critical papers.>

 

DMS 333 WORLD CINEMA
Glazier :: MW 3:00pm – 4:50pm :: CFA 232
Reg #075838

Introduces students to a collection of film and television productions, from colonized, neo-colonized, and decolonized countries whose political, economic, and cultural structures have been shaped by the colonial process.

 

DMS 341 INTERMEDIATE VIDEO WORKSHOP
Bouquard, M.J. :: TR 1:00pm-2:50pm :: CFA 278
REG#241330 PR: DMS 103, 104, 105, or 106

In this course, students will explore and experiment with the video medium through a series of short exercises. Improvement of technical knowledge and skills will be emphasized, and creativity encouraged. Topics to be explored will include: video camera, advanced shooting techniques, sound gathering techniques, microphone placement and selection, non-linear sound editing, lighting techniques for studio and location, non-linear editing. Students learn properties of audio, video and still assets, and practice importing, logging, and insert assembly editing. They also develop a sensitivity to the unique aesthetic and usability criteria of digital video in application environments. Fulfills * Intermediate Production

 

DMS 401 FILM WORKSHOP
Caplan :: TR 1:00pm-2:50pm :: CFA 232
REG#087832

This is an advanced film production course designed for students who have successfully completed the intermediate film production class and have produced at least one short 16mm film. This course will explore the key components of independent production. Students will develop a major project from pre-production through the initial stages of post-production. Students are required to come to the class with an initial concept for a substantive project to be completed during the spring semester. Students will maintain a journal, produce a pre-production package, produce a production book and a fine cut of their final film project. In Addition, students will make a short autobiographical film and explore Narrative, Documentary, and Experimental elements in filmmaking. Students can expect to spend $450 for materials and processing for the course. Students will receive some assistance with supplies and film stock.

 

DMS 404 ADVANCED EDITING
Elder :: TR 3:00pm-4:50pm :: CFA 235
Reg #376194

This course is an advanced workshop in which students create an original documentary project in video (or film, still photography, audio or web-based formats with the permission of instructor). Creativity and originality will be stressed with exercises to encourage “seeing”, “listening” and artistic risk taking. Individual projects may go in many creative directions including the political, personal, humorous, experimental, conventional, transgressive, ethnographic, client-based or activist. Students will gain a solid understanding of contemporary non-fiction forms and the particular problems which non-fiction makers face. Films by contemporary artists will be shown on a regular basis with special attention to experimental documentary work. We will look at dramatic structure, story telling, and narrative/non-narrative forms of editing. Emphasis will be given to production techniques which bring access and intimacy to the video subject and integrity to the documentary. The course will explore ethical issues and problems of privacy and intrusion. Students will develop production skills in research, fieldwork, collaboration, interviewing, location sound recording, camera skills, and production management. Each student will produce one short documentary piece, with supporting assignments in shooting, sound, and digital editing on the Media 100. A written production book will be required. A class film festival ends the semester. Prerequisite: DMS Basic Documentary, or DMS Basic Video and DMS Intermediate Video. Lab fee: $100. Attendance is mandatory.

 

DMS 409 NON FICTION FILM
Elder :: TR 11:00 am- 12:50pm :: CFA 235
Reg # 023767

This course examines popular American documentary films looking at diverse representations of American culture. We explore independent award-winning contemporary works with themes of gender, ethnicity, popular music, sexual orientation, murder, justice, rock stars, racism, disability and history. Particular focus is on the curious relationship between the images of reality and reality itself, and on America’s love affair with reality media. Emphasis is placed on understanding the thin shifting line between fiction and non-fiction and challenging the notion of documentary “truth.” Students develop analytical and interpretive media skills that are applicable to all film and video. Students learn non-fiction critical theory including Nichols, Winston, Ruby, and Renov and analyze artistic elements of non-fiction film and video including visual narrativity, storytelling, spontaneous camera work, editing, audio, and common elements for artistic and commercial success. The class explores different documentary styles including experimental docs, cinema verite, fake docs, diary and reflexive docs, collaborative making and cutting edge contemporary work. We address the ethical and artistic considerations of filming real people and real communities. Works of Wiseman, Pennebaker, Kopple, Maysles, Freidrich, O’Rourke, Riggs, Morris, and more. Attendance is required as well as two papers and a take-home exam. Be prepared to see a lot of great films!

 

DMS 411 FILM THEORY
Henderson:: MW 1:00pm – 2:50pm :: CFA 235
Reg #257076

This course is an exploration of the principal theories of film through a critical reading of texts and a close examination of films. The texts to be perused comprise several groups. Classical film theory includes Munsterburg, Kuleshov, Pudovkin, Eisenstein, Balasz, Arnheim, Bazin, and Godard. The critique of classical film theory includes Burch, Perkins, and Henderson. The course will also explore semiotics, psychoanalysis, and poststructuralism, in Barthes, Eco, Metz , Pasolini, Baudry, Heath, and in feminist film theory, including Gledhill, Mulvey, Silverman, Modleski, Doane, and Studlar. A section on avant-garde theory will include Vertov, Epstein, Deren, Brakhage, Sitney, and Michelson. These topic areas will be set in interaction throughout: e.g., Soviet editing and antirealism are continued in the avant-garde; rhetorical figures such as metaphor, metonymy, ellipsis, condensation, and displacement, can be traced in very different theoretical contexts and in close readings of individual films. This course is an exploration of the principal theories of film through a critical reading of texts and a close examination of films. The texts to be perused comprise several groups. Classical film theory includes Munsterburg, Kuleshov, Pudovkin, Eisenstein, Balasz, Arnheim, Bazin, and Godard. The critique of classical film theory includes Burch, Perkins, and Henderson. The course will also explore semiotics, psychoanalysis, and poststructuralism, in Barthes, Eco, Metz, Pasolini, Baudry, Heath, and in feminist film theory, including Gledhill, Mulvey, Silverman, Modleski, Doane, and Studlar. A section on avant-garde theory will include Vertov, Epstein, Deren, Brakhage, Sitney, and Michelson. These topic areas will be set in interaction throughout: e.g., Soviet editing and antirealism are continued in the avant-garde; rhetorical figures such as metaphor, metonymy, ellipsis, condensation, and displacement, can be traced in very different theoretical contexts and in close readings of individual films.

 

DMS 415 SOCIAL WEB MEDIA
Larsen :: W 1:00pm – 2:50pm :: CFA 112
Reg #257076

What defines the future of the Internet? The strategic tag cloud of tomorrow includes terms like The Internet of Things, RFID, Web2.0, Grid Computing, LambdaRail, Internet2 and many others. Social Web Media maps online group formation and emerging computing technologies that amplify cooperation and distributed creativity. While most of the theory in this field is dominated by entrepreneurial management rhetoric, we will focus on independent social web media in the cultural sector. What is worth defending about the current end-2-end Internet? The middle-class household Internet of the developed world enables a culture of sharing in the unregulated commons, free culture (i.e. file sharing, open source culture), cultures of participation and generosity (i.e. citizen journalism, open archives, open journals, knowledge repositories), and network culture (i.e. the ability for self-organized social networks to form). Today, more often than not we are users *and* producers online. Fulfills Advanced Analysis or New Media or Media Study Elective

 

DMS 416 REFLECTIONS ON FILM NARRATIVE
Staff :: MW 1:00pm – 2:50pm :: CFA 112
Reg#372612

This course will review the main theories of narrative structures and film editing so as to achieve a better understanding of the potential of film narrative. It will include a comparative analysis of the films and ideas proposed by D. W. Griffith and Sergei Eisenstein, and in addition discuss digital processes in media and how the use of synthetic images and sounds can potentialize the narrative cinema heritage in contemporary world cinema. Students must conduct original research on an approved topic, and present a final paper for successful completion of the course.

 

DMS 418 LAB: CONCEPT CONTENT CRITIQUE
Bardin :: M 5:00pm – 6:50pm :: CFA 232
Reg# 326434 Notice: This is a 2.0 credit lab

(Course required if taking DMS 431 and DMS 434, not DMS 415 and 418.)
This course will explore the trajectory of art through conceptualization, content creation and finally critique of the finished piece. Students will learn how to talk and write about their own practice as well as the work of others in the class. Through an examination of creation and critique processes students will learn how to establish a healthy critical distance from their work enabling them to engage in a more successful and well rounded practice. The class is open to students creating in any medium. Readings will include work by Roland Barthes, Immanel Kant, Walter Benjamin, Hans Haacke, Joseph Beuys. A large portion of the course will constitute critiques from curators and artists from the community, UB Professors from a variety of disciplines as well as visiting curators and artists. This lab is a Co-Requirement for DMS 415 and DMS 418 but others welcome if seats are available. Contact instructor for permission.

 

DMS 418 DYSTOPIC VISIONS IN FILM
Bardin :: MW 11am – 12:50pm :: CFA 232
Reg #148176

This advanced course in film analysis will give students the opportunity to develop their analytical and writing skills in relation to the theories and methodologies surrounding the themes of dystopia. We will explore this broad topic through the close analysis of myriad film genres and through the lens of film theory and critical theory. Films are likely to include Children of Men, Alphaville, Dark City, 28 Days Later, Metropolis, Blade Runner, If and Minority Report. Authors will include Plato, Laura Mulvey, Slavoj Zizek, Godard, John Berger and Walter Benjamin.

 

DMS 420 ADVANCED DIGITAL ARTS/PROGRAMMING GRAPHICS
Pape :: TR 1:00pm – 2:50pm :: CFA 242
Reg#477403

This production course will satisfy the Advanced Production Requirement. Lab fee $100. Contact: dave.pape@acm.org

 

DMS 422 MEDIA & PORTFOLIO DESIGN
Kim :: TR 5:00pm – 6:50pm :: CFA 244
Reg# 185762

This class will help you learn how to present yourself as a media maker or artist through the web, multi-media, and print media design. It’s important to have basic multidisciplinary skills and knowledge. As a media maker you need to have some basic designing skills to present your work and yourself. Through this course students will receive instruction and gain practical experience in the presentation of their portfolio. Formats covered in this course: Print media such as brochures and poster using Indesign and Photoshop, websites using opensource software, demo reels using a video editing software (if you have video or film works) and DVD authoring and design using DVD Studio Pro. Basic skills with Photoshop, InDesign, website building, and video editing software required. This course counts as an elective.

 

DMS 431 ADVANCED MODELING
Hand :: M 6:00pm – 9:50pm :: CFA 242
Reg # 376887 – Co-requisite: DMS 418 LAB

Experimental Animation in Autodesk Maya is a course in which we will explore the fundamentals of animation, followed by in conventional usages of the platform. We will deal with both imperative process of animation, then move into dynamic an procedural methods of animation. Finally, we will cover further rendering issues, and post processing in Adobe After Effects. $100 lab fee.. Lab fee $100.

 

DMS 434 3D MACHINCIMA
Hand :: MW 1:00pm – 2:50pm :: CFA 242
Reg # 193693 – Co-requisite: DMS 418 LAB

This course explores the creation and implementation of 3d models constructed in Autodesk Maya. We will learn the pipeline for creating objects, textures and animations that can then be imported into various 3d environments, game mods, engines and virtual worlds. Projects will focus on collaborative development of asset sets into simple games or projects in satellite classes. Can be applied towards Intermediate Production Course, Non-Production Course, or towards Electives. Co-req: DMS 418 LAB Concept Content Critique. $100 lab fee.

 

DMS 435 NARRATIVE SCRIPTWRITING
Henderson :: MW 9:00am – 10:50am :: CFA 235
Reg #457589

This course gives students first-hand experience with all the primary aspects and stages of preproduction planning (scriptwriting, storyboarding, and structural diagramming) of a feature film. Script analysis will be a major component of the course. Open to DMS majors who passed portfolio and for Critical Studies majors who obtain permission of instructor.

 

DMS 440 WOMEN DIRECTORS
Staff :: TR 11:00am – 12:50pm :: CFA 112
Reg # 230815

“The future belongs to the film that cannot be told.”-Germaine Dulac, 1928 This course lays the groundwork for an ongoing critical engagement with films made by women. We will examine the relationship between feminist film theory and filmmaking, and pay close attention to how directors articulate theoretical models through cinematic tactics. We will screen and analyze films by such maverick makers as Maya Deren, Ida Lupino and Trinh T. Minh-ha, and learn firsthand why and how they have come to act as touchstones of feminist scholarship and production practices. Some contemporary directors will present their work in person. Study of subject matter, material conditions (i.e., economic, social, political), formal experimentation, and narrative complexities will shine light on the innovative qualities of both individual films and the collective body of titles. In addition to writings by the directors, texts by Laura Mulvey, bell hooks, B. Ruby Rich, and others will animate our readings of the films. The seminar will address in depth such topics as “the male gaze” and its subversion; the (dis- and re-) remembering of women in film history; representations of otherness; race, gender and sexuality; self-reflexivity and intertextuality; film as art and film in relation to other arts; author/auteur-ship and speaking subject or voice; and anti-illusionism and active spectatorship. The course will conclude with a focus on short experimental films and art videos. Assignments include a term paper, weekly readings, short essays, presentations of readings, and participation in class debate.

 

DMS 442 ADVANCED VIDEO PRODUCTION
Conrad :: TR 11:00am – 12:50pm :: CFA 232
Reg #187742

This course is a very hands-on introduction to the real world of the producing and exhibiting video maker. It focuses on some of our most central and troubling creative problems: What kind of project should I make, and why? How do I organize my project? How important is our cultural environment for our work? Is it important to create as individuals or in groups? And what do I do with my work when it’s “done”? In this course each individual will develop their own approach to the production of video projects; some will do work that can be completed quickly (preferred!), others will work on longer projects. Some will work alone, others in groups. Much of the class time will be devoted to observing one another’s working processes and progress. Each student will be responsible for discussing or showing their work or ideas, or presenting a summary of an assigned topic, during a four-minute time slot each week. In addition, there will be lectures, workshops, and discussions of technical and aesthetic issues including advanced editing, audio, and special effects. Other course activities (productions, showings, field trips) are also an option. Students will use both studio and field production equipment, and will work on nonlinear editing facilities. There is a lab fee for Advanced Video, in addition to which the student should plan for up to $100 in additional costs, including a standard video production text for reference. Regular and punctual attendance at course meetings is mandatory. Grades are based on the number of classroom presentations made (60%), personal progress in work completed (25%), participatory attendance (7.5%), and periodic quizzes on course topics (7.5%). Lab Fee $100. Fulfills * Advanced Production

 

DMS 451 AVANT GARDE CINEMA
Lodhie :: MW 5:00pm – 6:50pm :: CFA 286
Production Section Reg#324192, Theory Section Reg #229798

This is an advanced course exploring the history, theory and production of avant-garde and experimental cinema. Our focus will be on works which endeavor to push the boundaries of the medium. Extensive readings, screenings and discussion will be complemented by in-class workshops in alternative film processes including: hand-processing, pinhole cameras, cameraless filmmaking, photograms, optical printing, and film loops. Films by Brakhage, Deren, Anger, Conner, Jacobs, Baillie, Snow, Benning, Frampton, Sharits, and others. Texts by: Tom Gunning, David James, Annette Michelson, P. Adams Sitney, Maya Deren, Stan Brakhage, Hollis Frampton, Scott MacDonald and others. Pre-requisites: DMS 101, portfolio This course section fulfills DMS theory requirements. Students will submit a final paper. [Production Section] Same as above. This course section fulfills DMS production requirements. Students will submit a final production project.

 

DMS 455 3D SYNTHETIC CHARACTERS IN ANIMATION
Staff :: W 5:00pm – 8:40pm :: CFA 112
Reg # 393800

Comparative analysis of the development of three-dimensional synthetic characters in cinema with examples from early stop motion films to contemporary 3D digital animation. Students must conduct original research on an approved topic, and present a final paper for successful completion of the course. Can be applied towards Advanced Analysis or Electives.

 

DMS 456 ART OF VISION
Caplan :: W 10:00am – 12:50pm :: CFA 278
Reg#022017

The Art of Vision is a course structured to increase student sensibility toward the art of filmmaking. Through intense weekly production, lecture, selected screenings, and a high degree of experimentation, students will be guided individually to develop their own filmmaking skills. Students will be responsible for choosing their direction of production, which can incorporate any number of genre including thesis work. Students who attend this class should be prepared to work hard and achieve results. $100 Lab fee.

 

DMS 462 GAME DESIGN
Pape :: TR 3:00pm – 4:50pm :: CFA 242
Reg# 363917

This is a course in videogame design. We are less concerned with becoming videogame developers and more concerned with becoming videogame designers. Of course, the boundaries between the two practices are not discreet, and we will, as a practice of creating good game design, create, i.e. develop, games. In our exploration of game design, we will look at several gametypes, starting with traditional board games and working our way through major movements in videogame design. We will consult critical texts to illuminate our discussions of these games, as well as to provide us with direction in our own game experiments. Students will divide into game design teams to complete the bulk of the coursework. Students are expected to perform their responsibilities to the team to the best of their abilities, and peer evaluations will be used in determining each student’s individual grade. Students in this course are expected to be driven and possess a great deal of personal initiative. This is not a course where students are hand-fed the skills they need to carry out their creative vision. Rather, students will depend greatly on their existing skills and the skills of their teammates.

 

 

DMS 463 INTERACTIVE FICTION
Liszkiewicz :: W 9:00am – 10:50am :: CFA 232
Reg# 151819

Video games encompass an increasingly diverse set of practices, populations, and locations–from fantasy football to multi-player medieval fantasy; from simulations of real life to alternate realities; from fanatics to activists; from nightclubs to competitive arenas to public streets to the classroom; from consoles to mobile phones to large-screen projections. In this course we will analyze not only popular games but interactive installations, pervasive games, mixed and virtual reality environments. We will discuss the interdisciplinary nature of a cultural practice which depends on art, artificial intelligence, computer graphics, interface design, human-computer interaction, psychology, narrative, networking and technical innovation. We will ask why interactive experiences are popular, and try to understand the social and cultural implications of games and gaming. This course can be applied towards your Advanced Analysis and Electives requirements in either Production or Critical Studies. REQUIRED for the Games Studies Certificate.

 

DMS 485 MEDIA ROBOTICS 2
Bohlen:: MW 11am-12:50pm :: CFA 246
Reg#257996

This course is dedicated to understanding data and data acquisition in the context of digital media arts. Reliably acquiring and interpreting data from external devices is an important part of building non-trivial behaving artifacts. This course will allow students to better understand both the concepts as well as the techniques underlying a variety of data acquisition methods. The course will expose students to fundamental ideas behind sensing, sensor design and sensor interfaces. A substantial part of the course is dedicated to machine vision, an area of active research in both the engineering sciences as well as the arts. Course materials include readings in perception theory, sensor design, fundamentals of machine vision as well as documentation of select art works that engage in advanced sensing methods. Our lab has a wide array of sensor types, an industry grade commercial machine vision library as well as an open source research grade vision library, small footprint microprocessor based ccd cameras, ieee1394 compliant digital cameras, analogue video cameras with fast frame grabber cards and an open source C++ programming environment. With this infrastructure and instructor guidance, students will be able to explore all aspects of data collection. More info at: www.acsu.buffalo.edu/~mrbohlen/machinevision.html. Lab fee $100.

 

DMS 496 (1- 4 CR VARIABLE) MEDIA ARTS INTERNSHIP
Staff
REG#Permission of Instructor

Media Study majors have the opportunity to gain variable academic credit for internships in local and national media production companies, television stations, cable companies, and media access centers. This is an unpaid internship available to majors. Guidelines are set by an internship supervisor in collaboration with a faculty sponsor to provide hands-on practical experience in an on-the-job training program. For registration info, see Nancy King in 231 CFA. Media Study Elective

 

DMS 499 (1-4 CR VARIABLE) INDEPENDENT STUDY
Staff
REG#Permission of Instructor

Students may arrange for special courses of study with faculty through “Independent Study.” The instructor will set the guidelines for the course on an individual basis. It permits the student to study, independently, in an area where no course is given. Syllabus for Independent Study should be prepared prior to semester, signed by the instructor, with one copy on file with the department. For registration info, see Nancy King in 231 CFA. Lab fee for production work: $100 Media Study Elective