Spring 2012

DMS Spring 2012 Undergraduate Course Descriptions

DMS Undergraduate Class Schedule – Spring 2012

DMS 103B BASIC VIDEO
Grado :: TR 9:00am-10:50pm :: CFA 235
REG#20432

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 101B BASIC FILM MAKING
Staff :: MW 9:00-10:50pm :: CFA 278
REG#20707

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
Hurson :: MW 9:00AM – 10:50PM :: CFA 232
REG#20590

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 105A BASIC DOCUMENTARY
Avery :: MW 11:00am-12:50pm :: CFA 232
REG#20719

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 105B BASIC DOCUMENTARY
Waxman :: TR 9:00AM – 10:50AM :: CFA 278
REG#20479

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
Fink :: TR 11:00-12:50pm :: CFA 112
REG# 16597

Film History (DMS 108) will expose students to screenings and scholarship chronicling the political and technological conditions of film production from the 1890’s to the present. We will broadly examine early motion pictures, pre-code Hollywood, German Expressionism, French Impressionism and Surrealism, Soviet Montage, Neorealist, the French New Wave, Post-Colonial African filmmaking, 1970’s Hollywood, digital filmmaking, and large format documentary. Attendance, readings, weekly response journal, and research paper are required.

DMS 109 FILM INTERPRETATION
Kohlberg :: TR 9:00am-10:50am :: CFA 112
REG# 17060

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
Pfister:: TR 9:00am – 10:50am :: CFA 242
REG#17658

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. Lab fee: $100. Fulfills Basic Production Requirement.

DMS 121A BASIC DIGITAL ARTS
Levin :: MW 9:00am-10:50am :: CFA 244
REG#20858

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
Sargent :: MW 11:00AM – 12:50PM :: CFA 244
REG#20546
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 INTRODUCTION TO NEW MEDIA
Dalton :: 1:00pm – 2:50pm :: CFA 244
REG# 10856

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 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, Dreamweaver, Flash animation, and Illustrator. The course will accommodate 48 students. Enroll now! Get the technological edge! Lab fee $100 Fulfills Basic Production Requirement.

DMS 212 INDIAN IMAGE ON FILM A
Adare-Tasiwoopa :: W 4:10PM – 6:50PM :: Location TBA
REG#15807
Course is crosslisted with American Studies. For more information, refer to the course descriptions on the Department of American Studies website. Fulfills the Media & Culture requirement.

DMS 213 IMMIGRATION & FILM
Hernandez-Stewart :: MW 1:00PM – 2:50PM :: CFA 232
REG#17536
By looking at representative examples of American and foreign films, this course will critically examine the role of cinema in the construction and exploration of the figure of the racial, ethnic, cultural and social theory. Our topics will include (1) racial, ethnic and cultural identity and its reciprocal relationship with cinema, (2) the notion of realism in relation to the representation of race and ethnicity in film, (3) the cinematic representation of inter-ethnic and intra-ethnic conflict, (4) the position of cinema in the debate between assimilation and multiculturalism. Films will be screened in class and discussed against the background of focused critical readings. The aim of the course is to provide you with an opportunity to develop your critical thinking and writing abilities through class discussions, close readings of films and critical literature, and writing assignments. The course fulfills the American Pluralism requirement. Fulfills the American Pluralism requirement or Media and Culture or Media Study Elective.

DMS 213 IMMIGRATION & FILM
Jaramillo :: TR 9:00AM – 10:50PM :: CFA 232
reg#20351
By looking at representative examples of American and foreign films, this course will critically examine the role of cinema in the construction and exploration of the figure of the racial, ethnic, cultural and social theory. Our topics will include (1) racial, ethnic and cultural identity and its reciprocal relationship with cinema, (2) the notion of realism in relation to the representation of race and ethnicity in film, (3) the cinematic representation of inter-ethnic and intra-ethnic conflict, (4) the position of cinema in the debate between assimilation and multiculturalism. Films will be screened in class and discussed against the background of focused critical readings. The aim of the course is to provide you with an opportunity to develop your critical thinking and writing abilities through class discussions, close readings of films and critical literature, and writing assignments. Fulfills the American Pluralism requirement or Media and Culture or Media Study Elective.

DMS 216 CREATIVE VIDEO WORKSHOP
staff :: MW 11:00AM – 12:50PM :: CFA 278
REG# 16554

Prerequisites: DMS 103 or DMS 105.

This course is a workshop in the tools of video, and an introduction to grant writing and budget creation. It offers exercises in video production for students who have had some previous experience with video as a creative medium, and the opportunity to learn about and apply current granting formats, using in class projects for grant proposals. The course will emphasize the development of technical skills and knowledge, which are necessary for the effective use of video as an artistic tool and for documentation or personal expression. The student will produce a series of projects using cameras, lighting, editing, and other aspects of production and post-production. Using cross-culture material to create video work, each student will need to spend a substantial amount of time working with studio, portable, and editing facilities outside the regular class hours. In addition, some outside videotape viewing, gallery visits, as well as short papers will be required. Reading will include classroom handouts in addition to the assigned book. $100 lab fee.

. This course can count towards the “non- *” Intermediate Production course or as an elective.

DMS 259 MEDIA ANALYSIS
James :: MW 9:00am-10:50am :: CFA 112
REG#17625
is introductory course to Media Analysis examines the rise of especially visual mass media in the 20 th century, from photography, television, and film, to new media. It pays close attention to media historical moments, such as fascism and film in post world war II Italy, or the postmodern turn with the event of digitality. Due to the urgency of political events, we will closely analyze the current media-war-coverage considering mainstream as well as independent media discourses. The respective media are analyzed in light of their materiality. Methodologies vary between Ideology-critique, Cultural Studies, Political Theory, Postmodern Theory, and Semiotics. Students will write essay exams based on course lectures and essays from the course reader. Fulfills Intro to Interpretation.

DMS 315 WEB PROGRAMMING
Pape, D.E. :: TR 9:00AM – 10:50AM :: CFA 244
REG#24251

Introduction to web-based script programming. Course will examine the scripting and database tools that are used to create modern, dynamic web sites. Students will learn to use open source systems such as PHP, MySQL, and Apache. Other topics will include client-side scripting (AJAX) and application development with current “Web 2.0″ sites such as Google Maps, Flickr, or Facebook. Students are expected to have background experience in either programming or web design (HTML, CSS, etc).
Lab fee is $100

DMS 316 3-D MODELING FOR GAMES
Baumgaertner :: MW 4pm-5:50pm :: CFA242
Reg# 17742

This course is designed to provide students with an understanding of how to make 3D models for “real time” programs like games and simulations. Students will utilize Autodesk Maya as well as Adobe Photoshop to make models and other assets from scratch for their own unique creations. The topics taught in this class include low polygon modeling, photography, texture creation, and material creation. Additional material will be taught using Turtle for texture baking and surface transferring. Enrolling students should come to the first class with a sketch pad (unlined) which can be purchased at the student bookstore. $100 lab fee. Fulfills non “*” intermediate production requirement or can be used as an elective.

DMS 341 INTERMEDIATE VIDEO WORKSHOP
Vo :: TR 11:00am – 12:50pm :: CFA 278
REG#17343 Prereqs: DMS 103 or 105 and Portfolio. Corequisite : DMS 422

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. Must take DMS 422 concurrently. Fulfills * Intermediate Production requirement.

PRIVATE: DMS 401 ADVANCED CINEMATOGRAPHY
Caplan :: TR 9:00am-10:50am :: CFA 232
REG#38021
This is an advanced film production course designed for students who have successfully completed the intermediate film production or intermediate video production class. 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. $100 Lab Fee. Fulfills Advanced Production Requirement

PRIVATE: DMS 409 NON-FICTION FILM
Elder :: TR 11:00am-12:50pm :: CFA 235
REG# 26880
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. Fulfills Advanced Analysis or Media Study Elective.

DMS 411 FILM THEORY
Roussel :: MW 1:00PM – 2:50PM :: CFA 112
REG#16907

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 INT/ADVANCED FILM PRODUCTION: ALTERNATIVE MEANS
Lee :: F 12:00 PM – 4:00 PM :: CFA 278
REG# 11945

This is a media production course open to undergraduate and graduate students who have successfully completed a basic-level film production course and solidly grasp the fundamentals of 16mm film production. This course will build upon the basics of film production with an emphasis on: alternative and experimental methods of 16mm production (hand-processing, camera-less film techniques, in-camera special effects, etc.); use of motorized synch-sound film cameras; and the notion of “expanded cinema” in film and video presentation. Short exercises will be assigned in addition to a substantive final project. Hands-on production will be supported with praxis- and theory-based readings and screenings of contemporary and historical work. Note: Emulsion-based film processes can be expensive, so students should expect to spend $250-$400 in additional costs for materials and processing for the course. Students will receive some assistance with supplies and film stock. Lab fee: $100.

DMS 415 SOCIAL WEB MEDIA
Clark :: T R , 6:00 PM – 7:50 PM :: CFA 244
Reg# 24635

What does social media look like after the recent world events? How will the advent of Google+ and emerging social media change the landscape of the social web? What comes after social media? How will you use it? What will you create? This class combines analysis of web media in terms of participation and community formation with practical skills needed to shape the future of social media. We will examine social networking sites, blogging, peer-to-peer networks, reputation economies, mobile communication technologies, activism, and surveillance while developing a critical framework for discussing the state of networked culture. We will also gain a practical understanding of New Media through the use and creation of our own social web tools.

DMS 416 GENDER AND FILM
Shilina-Conte :: R, 6:00 to 9:40 pm :: 112 CFA
Reg# 17429

This course is designed as a survey of international women’s filmmaking. We will engage in conversations about images of / by women and women-related issues, both from a historical as well as contemporary point of view. The course will be structured around the concept of Gender Across Borders, which will be interpreted both geographically and theoretically, literally and metaphorically. Trans-, cross- and inter- will be the key elements of this class, as we talk about Boundaries and Binaries, Margins and Merges. We will discuss works by American and international women directors in the global / transnational context, as well as analyze the intersections of gender and sexuality, identity, race, ethnicity and the theory of the senses, looking at the ways these concepts traverse and converse. In addition, we will learn about the development of critical feminist and post-feminist thought, reading essays by Laura Mulvey, Barbara Creed, Tania Modleski, Linda Williams, Ann Kaplan, Kaja Silverman, Joan Copjec, Vivian Sobchak, and Laura Marks. In order to expand the boundaries and diversity of women’s filmmaking, we will view one full-length narrative or documentary film and one short video work each week.

This class will also provide you with a unique opportunity to be part of the Gender Institute’s International Women’s Film Festival, which will showcase a broad variety of films directed by women. Films for the festival are carefully selected and in some instances may be otherwise unavailable for viewing in Western New York. Admission to the festival will be free of charge to students in this class. This course will also introduce you to film terminology and sharpen your ability to generate and articulate personal responses to films. There are no prerequisites and both film and non-film majors are welcome.

DMS 416 WEARABLE MEDIA
E. Conrad :: Friday 11:00am – 2:40pm :: CFA 246
Reg# 24602

This production course explores the expressive potential of soft circuitry and wearable media. We will explore the materials and construction techniques of “soft computing” (conductive fabrics, yarns, etc.) to create expressive objects and interactive fashions. Technologies are not merely exterior aids, but interior changes of consciousness. They affect how we understand ourselves by co-structuring possibilities of thought. The focus of this course will be the interaction and interrelationship between soft technologies and bodies. There are no prerequisites – introductory electronics and sewing techniques will be reviewed. $100 Lab Fee.

DMS 418 SCRIPTWRITING: ALL MEDIA
Anstey :: MW 11:00AM – 12:50PM :: CFA 235
reg#17217

In this production workshop students will concentrate on writing and editing text/script elements for their media projects. The course will explore both traditional and experimental methods for generating and structuring text for fictional and documentary work. Texts may include original writing, interview material, collaged or found fragments, that will be performed, heard or displayed in the final piece. The texts may be linear, non-linear, interactive, poetic … This opportunity to focus on the text is for students at any stage of a project (conception through finishing); in any media (film, video, animation, performance, interactive); and those working with English as a second language or with translated material.
Fulfills Advanced * Intermediate Requirement.

DMS 422 VIDEO ANALYSIS
Conrad, T.
T 5:00pm – 6:50pm SEM CFA 112
R 3:00PM – 4:50PM LAB CFA 232

Reg # 24469 SEM (3 cr.), #13921 LAB (1 cr.)

Pre-Requisite: DMS 341 Or DMS 400

Note: Students must enroll in DMS 422SEM and DMS 422LAB in the same term.

A survey of contemporary video and media art. The aim of this course is to provide access to contemporary media arts information, and in particular to media work which is generally unavailable otherwise in Buffalo — and then to provide a forum for discussion, and for developing our own ideas. Most of the Tuesday meetings will comprise screenings of work. Then on Wednesdays the Undergrad and Graduate sections will meet separately to discuss the artists whose works have been seen and related topics of media arts interest. Some of the classes will be conducted via Skype, including interactive meetings with visiting artists whenever possible. Students should plan to take notes on the screenings and other activities, since a lot of ground will be covered rapidly. Assignments will include online viewing of other video works and short weekly written exercises in the form of terse commentaries with accompanying citations from online sources. Some assigned articles will be made available online, along with lots of recommended reading resources. Since access to the work screened in class is very limited, attendance is mandatory. There is no lab fee and no final exam – so regular weekly participation is especially important.

Fulfills Advanced Analysis, Media & Culture or elective requirement.

DMS 424 (LECTURE/LAB) PROGRAMMING GRAPHICS 2
Pape, D E :: SEM M 11:00am – 12:50pm :: CFA 242
REG# 13001

Coletta :: Lab W 11:00am – 12:50pm :: CFA 242
REG# 13918

This production course extends students knowledge of interactive and real-time graphics programming, building on the fundamentals learned in Programming Graphics 1. The course will cover advanced techniques for rendering, animation, and interaction. We will also look at the past work of established artists and technologists in computer graphics. Students will work individually or in small teams to produce a significant semester project, of their own choosing.Prerequisites are experience in a programming language such as Python, C, C++, or Java (DMS 121, CSE 113/4/5 or equivalent). Permission of Instructor required. Lab fee $100. Contact: dave.pape@acm.org Fulfills Intermediate Production

DMS 434 ART OF VISION — CANCELLED
Caplan :: T R , 11:00 AM – 12:50 PM : CFA 232
reg# 16521

In every production situation there are a series of questions, which detail a variety of aesthetic choice. Those issues have to do with camera placement, camera angle, and length of shot, exposure, framing, all light, sound and movement. The Art of Vision is a course structured to increase student sensibility toward the art of filmmaking. This course will examine and answer those production issues in an attempt to make the student aware of the range of possibilities when confronted with shooting on location, in the field or in a studio. Through intense weekly production, lecture, selected screenings, and a high degree of experimentation, students will be guided individually to develop their own filmmaking skill. Students will be responsible for choosing their direction of production, which can incorporate any number of genres, including thesis work. A high level of production will be stressed and students will work in digital video, film, photography and sound-only situations. Students who attend this class should be prepared to work hard to achieve results.
Lab fee is $100

DMS 439 VIRTUAL WORLDS 2
Noonan :: TR 1pm – 2:50pm :: CFA 242
REG #16364

Increasingly we live, play, and work in virtual worlds created by computer graphics, 3D models, scripts and programs; places inhabited by networked people and autonomous computer characters. Students with a background in 3D modeling and/or programming are encouraged to take this production course, where the creative process will be seeded by a study of virtual, augmented, and mixed reality worlds built by artists, activists, and game-designers. We will also consider questions of values in games, and critical, experimental & activist design practices.

Students will be introduced to production flow and issues of working collaboratively as student teams focus on the creation of one major, finished project in Unity 3D. Projects will go through the following stages: concept brain-storming; concept refinement; design documents (design drawings, interactive plan, allocation of tasks, timeline etc.); implementation1; user/player testing; implementation 2; final show

ENG 441 CONTEMPORARY CINEMA
Shilina-Conte :: W 5:00PM – 7:40PM :: CFA 112
Reg# 17611

This course will be structured around the contemporary cutting-edge paradigm of the theory of the senses in film studies. Cinema is traditionally regarded as an audio-visual medium, but in our course we will transgress the borders of this bilateral definition, aiming at a multisensory or “embodied experience of cinema” (Laura Marks). In this class we will interpret not only the ways we “see” and “hear” films, but also explore them through our senses of touch, smell and even taste. As Thomas Elsaesser points out, “film and spectator are like parasite and host, each occupying the other and being in turn occupied.” This synesthetic experience and unique approach of confrontation and conflation with the screen through our Mind, Body and Senses will open for us new modes of knowing and representing the world through film and media. It will help us to cultivate a deeper appreciation of cinema as an art form, and discover the “hidden senses” (both literally and metaphorically). The class will also give you an opportunity to learn more about yourself in terms of engaging your mind and spirit in ways that you haven’t thought of before. The assigned readings will include excerpts and articles by Linda Williams, Laura Marks, Vivian Sobchack, Jennifer Barker, Hamid Naficy, Thomas Elsaesser, Elena del Rio and others. By definition, exploration of taste and smell will include screenings and discussions of food in the movies. We will sample different cuisines around the world: Babette’s Feast by Axel (French), Eat Drink Man Woman by Ang Lee (Chinese), Tampopo by Itami (Japanese, and the first “noodle western”), Big Night by Scott and Tucci (Italian), Like Water for Chocolate by Arau (Mexican), and Chocolat by Hallstrom (for dessert), which will provide us a lot of “food for thought.” Make sure you eat before you come to class!

DMS 447 SOUND DESIGN
Bouquard :: MW 3:00PM – 4:50PM :: CFA 235
REG# 24252

This course will introduce film/video/animation students into world of image and sound postproduction, to provide knowledge and tools necessary to complete post work on their projects. All areas of digital postproduction editing and sound design from editing to final mixing will be explored. As well as how to effectively use sound design to enhance storytelling capability of films, evaluate music choices, music edit, create sound design to enhance story points, discover design opportunities, and select right sound effects. Powerful sound design helps create a strong emotional effect on audiences by enhancing a video/film’s pace, tone, and feel. In this course, learn how to make convincing sound effects and tracks for a video/film/animation. Through the study of effects and Foley, gain a thorough understanding of what it takes to create a high-impact soundtrack to support a picture. Gain hands-on experience using Pro Tools and walk away knowing how to use sound to give projects emphasis and punch. $100 lab fee

PRIVATE: DMS 455 LARGE SCALE SENSOR NETWORKS 2
Bohlen :: M 5:00pm – 8:50pm :: CFA 246
reg#17556

PRIVATE: DMS 456
Glazier :: T 3:30PM – 6:30PM :: CFA 232
REG #20107

DMS 463 GAME STUDIES COLLOQUIUM
Mak :: MW 1:00 PM – 2:50 PM :: CFA 235
REG#24468

The goal of this advanced theory course is to provide you with analytical tools and a background in readings to address the history, design, cultures, and theory of games and gaming. Taking games as a broad category describing a variety of design, production, and play practices, we will examine analog games, digital and computer games, as well as other, more experimental forms, through lenses varying from art history to economics to philosophy to computer science. This course will provide a strong foundation for students interested in the history of games, game design for artists, play as activism, and contemporary media cultures.
Students will engage in independent research and develop their own ideas around games and gaming. We will provide you with support – both theoretical and technical – to expand your research, writing, and rhetorical skills. The broad base of topics we will address will guarantee that you will find something that piques your interest.

DMS 484 LANGUAGE MEDIA POETICS
Glazier :: MW 3:00PM – 4:50PM :: CFA 232
REG# 16877

This course offers an immersion into language media in literature, performance, film, and digital media, with an emphasis on Beat literature and postmodern poetries. THIS MAY BE ONE OF THE BEST COURSES ON BEAT LITERATURE YOU WILL EVER FIND! The course centers on a variety of literary artists including Kerouac, Ginsberg, Creeley, Olson, Duncan, Burroughs, Bowles, Weiner, Bernstein, Andrews, Howe, Hejinian, Cortez, Bukowski, and Henry Miller, among others. These are writers and writers who explore different levels of literary and artistic explorations, sometimes the seamy underside, sometimes the ecstatic extremes, the visionary, the experimental, the marginalized, the sensory, spiritual, or down-and-out, sometimes the truly avant-garde. Students will undertake readings of texts by these writers, watch films, video, and other documentary resources about/related to them, explore New Media works that extend these experimental practices into the twenty-first century, and hear from current leading authors in the field. We will explore why these writers entered these margins of experience, what can be gained from engaging their illusions, inspirations, and exhaustions, and how these practices might inform what students do with language in their own practice, thinking, and media production. Course will develop student skills on reading/writing in all areas, including critical and creative practices useful to media project production and other creative and scholarly endeavors. These include reflections, responses, creative close reading approaches, and analysis by students, themselves as artists and engaged cultural participants. Whether applying for graduate school, entering the work force, devoting their energies to their own artwork, or simply enriching their undergraduate education, this course offers students, regardless of major, working both in and out of the creative arts a unique opportunity to engage these works. There are NO prerequisites for this class. Course requirements include reading, exams, a film journal, an oral presentation, and a final project. Attendance is crucial. For Media Study majors, this course fulfills advanced analysis or Media Study elective. Course text: TBA.

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 information, see Luann Zak 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 information, see Luann Zak in 231 CFA. Lab fee for production work: $100 Media Study Elective.