DMS 101 A
Basic Filmmaking
MW 9-10:50
Reg.#155993
CFA 232
DMS 101 B
Basic Filmmaking
TR 3-4:50
Reg.#030620
CFA 286
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: $75. Class size is strictly limited.
DMS 103 A
Basic Video
MW 9-10:50
Reg.#483150
CFA 286
DMS 103 B
Basic Video
TR 9-10:50
Reg.#226331
CFA 286 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: $75. Class size is strictly limited.
DMS 105 A
Basic Documentary
Andrew Golebiowski
TR 11-12:50
Reg.#106256
CFA 286 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.
Lab fee: $75. Class size is strictly limited.
DMS 108
Film History 2: The Syntax of Paranoia
Bernadette Wegenstein
MW 11-12:50
Reg.#353380
CFA 112 The Syntax of Paranoia explores film history with special regard to
the representation of paranoia in film. Psychoanalytical film theory and apparatus
theory will be applied to the analysis and interpretation of such films as The
Man Who Knew Too Much (Alfred Hitchcock, 1955), North by Northwest (Alfred Hitchcock
1959), The Manchurian Candidate (John Frankenheimer 1962), Repulsion (Roman
Polanski 1965), Blade Runner (Ridley Scott 1982), L’Enfer (Claude Chabrol
1994), The Usual Suspects (Bryan Singer 1995), Lost Highway (David Lynch 1996),
L’Apartment (Gilles Mimouni 1996), Conspiracy Theory (Richard Donner 1997),
and Memento (Christopher Nolan 2000). The TV-series The X-Files (Chris Carter
1995-) serves as an additional source for the analysis of paranoia in the filmic
code. The psychoanalytical and psychiatric definitions of Paranoia and Schizophrenia
form the basis for this exploration of the possibilities of the representation
of paranoia in film. A “paranoid website” will serve as a course
resource and archive for students.
DMS 108 T
Film History 2: American Cinema
Brian Henderson
ARR
Telecourse
Reg.#251821
ARR This course is an introductory course in film studies and explores
Hollywood films as an art, a craft, an industry, and a system of communication
and representation. The course will examine how Hollywood films work, technically,
formally and culturally, to reinforce—and sometimes to challenge—the
ideas that Americans have of themselves, their society, and their nation.
DMS 109 EAT
Introduction to Film Interpretation
Erica Eaton
MW 3-4:50
Reg.#402971
CFA 112 This course is an introduction to film analysis that is intended to
help prepare students for upper level theory, film history and analysis courses.
Through lectures, projects, discussions and screenings, students will examine
various eras and movements within film from a feminist perspective. Basic concepts
within critical theories will be investigated. Readings will be on line through
the course reserve system.
DMS 121 A
Basic Digital Arts
Leiley Vassigh
MW 9-10:50
Reg. #388370
CFA 244
DMS 121 B
Basic Digital Arts
Aaron Miller
TR 1-2:50
Reg.#191817
CFA 244 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: $75.
DMS 155 A
Intro to New Media
Rich Cherry
T 9-10:50 (lecture)
<<<>>>
A1: R 9-10:50 (lab) Reg.#25893/Borkowski
A2: T 11-12:50 (lab) Reg.#421543/Borkowski This course is an introduction to the desktop tools and fundamental
interactive design principles used in the development of digital multimedia
in the context of creating a web-based or stand-alone project. The content of
the class will focus on the theoretical (project management, copyright, etc)
and practical aspects of creating digital media and integrating it into an HTML
based project with authoring/presentation tools including Photoshop, Fireworks,
Flash and Dreamweaver. This class will lay the foundation for creating interactive
digital media by integrating disciplines such as: Art, Journalism, and Music
through hands-on development projects.
DMS 213
Immigration and Film
Beth Rheingold
TR 10-11:50
Reg.#393037
CFA 232 We will examine cinematic representations of immigrants, paying close
attention to social and political constructions of ethnic “difference”
and notions of “the other.” The class will consist of assigned readings,
regular class discussion, a presentation, a final exam, film screenings, and
short response papers. Films will include: Chaplin’s The Immigrant; Silver’s
Hester Street; D.W. Griffith’s Broken Blossom; Wang’s Eat a Bowl
of Tea, and others. Attendance is mandatory. Non-majors welcome. Fulfills the
American Pluralism requirement.
DMS 215
Programming 4 Multimedia
Dan Neveu
MW 11-12:50
Reg.#039538
CFA 242 Permission of Instructor/Majors Only
This course is an introduction to computer programming for all intended digital
concentration majors in Media Study. It is highly recommended that you enroll
in this course if you intend to pursue the digital arts in Media Study. This
course will give you the necessary background to aid you in DMS 419 and DMS
420. Graduate students may informally audit the course if they need programming
experience. Lab fee $75.
DMS 217
The Role of the Producer
Joe DiPasquale
MW 9-10:50
Reg.#301515
CFA 112 This course will introduce the student to the world of creating media
for broadcast, cable networks, and feature films within the studio system. The
current Hollywood scene will be a major component of the course.
DMS 221
Web Design
Deborah Fertig
TR 12-1:50 (new time)
Reg.#383604
CFA 244 Have you ever wondered what it takes to create an exceptional website?
This course examines the web design process from conception to completion,
incorporating topics such as Information Architecture, Information Design, Graphic
Design, Interactive Marketing, Branding Impact, Personalization, Usability,
and Design Consistency. Students will learn both the analytical and creative
sides of web design, and will take part in all facets of the web design process,
as it is currently done in the professional world. Classes will be designed
as both lectures and labs, giving the students the ability to engage in "hands-on",
constructivist learning, while simultaneously developing their own personal
design style and specific tastes. Programs such as Photoshop, Illustrator, Fireworks,
DreamWeaver, Homesite, BBEdit, ImageReady, and Flash will be used throughout
the semester, though not in their entirety. This course combines both website
analysis and hands-on design, and requires the ability to handle comprehensive
weekly assignments, some challenging in nature. Students will also be expected
to produce a professional-quality website, at completion of the course. Since
this is a beginners web design course, there is no pre-requisite and is open
to all DMS majors, however familiarity with the above programs and topics is
encouraged.
DMS 231 FAB
3D Character Animation
Jesse Fabian
M 6-9:50
Reg.#028206
CFA 242 Permission of Instructor
This course will provide students with an understanding of 3D animation principles
and how to use digital tools effectively to create great media pieces. Using
Maya, a state-of-the-art 3D modeling and animation software developed by Alias/Wavefront,
students will explore how to best communicate personality, gesture, expression
and movement in course projects. This is a rare opportunity to gain valuable
experience working with a professional 3D animator. Related topics include project
management, digital video production, and other skill areas necessary for fluency
in 3D media production. Lab fee: $75.
DMS 304
Video Analysis II
Tony Conrad
MW 1-2:50
Reg.#396494
CFA 235 Vdeo Analysis is a survey of historical and contemporary practices
in video, with an emphasis on the work of independent media artists. Since this
course is cenetered upon a body of work that is not widely distributed, much class time will be devoted to critical viewings of video works.
This means that much of the informational substance of the course must be supplied
by the readings, which will include a large course packet and two textbooks.
There will be regular quizzes on these readings, and a series of short essays
will be assigned throughout the semester. Students who have taken DMS 303, the
first semester of Video Analysis, may expect a change of emphasis and content in DMS 304. This semester we will focus
on three specific video applications: political activism, performance, and video's
relation to music. Grades will be based on the essays (55%); reading quizzes
(20%); and regular attendance (25%), which is mandatory.
DMS 341 KNO
Intermediate Video Workshop
Meg Knowles
Reg.#161957
TR 1-2:50pm
CFA 244
PR: DMS 103, 104, 105, or 106 This course is a workshop in the tools of video. It offers exercises
in intermediate video production for students who have had some previous exposure
to video as a creative medium. 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 buy at least three videocassettes for use in hands-on assigned
exercise concerning cameras, lighting, editing, and other aspects of production
and post-production. Other topics to be covered are video electronics and staging.
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 video tape viewing, as well as short papers, will be required.
Readings will include classroom handouts in addition to the assigned textbook.
Total minimum expenses for each student is $50. Lab fee: $75. Attendance is
mandatory.
DMS 343
Digital Video
Deborah More
W 6-9:50pm
Reg.#480135
CFA 242 Digital Video provides students with an understanding of digital video
production, theory, and practice. The course also provides an overview of the
evolution of digital video, from the '70's to the present use on the Internet
plus the impact of High Definition Television on the video industry. Lab work,
lectures, and guest presentations will give students practical exposure to new
media tools, software/hardware, system configuration, and television broadcast
requirements for digital video. Students are encouraged to work with a variety
of software programs and available in DMS labs, including but not limited to
Adobe PhotoShop, Premier, and AfterEffects, among numerous others. A tour of
UB's supercomputing facility will be provided. Field trips may also include
tours of local television broadcast facilities for an overview of the Avid Media
Composer and Symphony digital editing systems. Students will output their work
to digital video in the process of completing weekly lab exercises. Occasional
written assignments plus a significant digital video project will be required.
Lab fee $75.
DMS 401 MIS
Advanced Film
Vince Mistretta
MW 12-1:50
Reg.#179332
CFA 286 Permission of Instructor Only
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. Lab Fee $75.
DMS 404 ELD
Advanced Documentary Production
Sarah Elder
TR 3-4:50
Reg.#053285
CFA 235 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.
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, or permission of instructor.
DMS Intermediate Video is also very helpful. Materials and text approximately $50. Lab Fee $75.
DMS 409
Non-fiction Film: Contemporary Documentary
Sarah Elder
TR 12-1:50pm
Reg.#012673
CFA 112 This course examines the development of independent documentary film
and video, and looks at the experimental "edges" documentary artists
are
exploring today. We will look at the representation of American culture with
themes of gender, ethnicity, disability murder, war, popular music, institutions
and history. The class will analyze camera work, editing, sound tracks, and
the structure of narrative story telling. Attention will be given to major issues
of non-fiction media including the myth of "truth", author_s voice,
subjectivity, reflexivity, participatory cinema, and the moral and ethical considerations
of filming real people. Particular focus will be on the curious relationship
between reality and the artist_s images of reality. We will explore different
documentary styles including cinema verite, early non-fiction, fake docs, reality
TV, and experimental works. Finally, we will look at America_s love affair with
"real" media and the thin shifting line between fiction and non-fiction,
between films of "make-believe" and films of "believe".
Be prepared to see some great films! Attendance is required with readings, two
papers and one final take-home exam.
DMS 411
Film Theory
Brian Henderson
MW 9-10:50
Reg.#421101
CFA 235 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 412
Theory of Film Narrative
Brian Henderson
MW 3-4:50
Reg.078308
CFA 235 Description not yet available.DMS 415
Virtual Tales
Josephine Anstey
MW 10-11:50
Reg.#040086
CFA 246 Virtual Tales is a course designed to bring together students, artists
from the region, and UB faculty to develop a geographically-distributed virtual
reality art experience. The course will have three aspects; an introduction
to existing VR art experiences, artists and issues; discussion of the creative
content of Virtual Tales; and implementation. The course is designed for students
with a background in graphics programming, or for those with a background in
Maya modeling and an interest in modeling for real time applications. The course
will introduce the students to a VR authoring toolkit based on C++ and IRIS
Performer. This system, Ygdrasil, has been specifically designed for large scale
art projects. The toolkit handles a number of activities common to VR environments,
such as assembling objects into a world, collision detection, navigation, and
detecting events and passing messages in response to them. Those without programming
experience can use a textfile to build VR worlds using their own models and
a variety of modules designed to provide interactivity and assign behaviors
to objects. Programmers can extend the system, building their own customized
modules as this production demands. Ygdrasil is a networked system, so at both
the development and exhibition stages, participants can enter the virtual environment
from remote locations. The class will use the equipment and VR systems at CCR
and the Department of Media Study. $75 lab fee.
DMS 416
Virtual Communities
Vanessa Dennen
Reg.#040086
ARR
**This is an ON-LINE course** Please contact Vanessa Dennen, vdennen@mail.sdsu.edu
This course will explore the human, environmental and technical factors that
are intertwined to create Web-based communities. Throughout the semester, students
will read about and explore various computer-based virtual communities. Seminar
discussions will focus on what components are necessary to have a "community"
and the technical and social requirements for membership in a mediated community.
As the semester progresses, the class will join and conduct small "experiments"
with these communities. The semester will culminate in a design project in which
students lay the foundations for their own virtual communities. Students should
be comfortable using a computer and the Web. No further technological expertise
is required for this course, although students with Web development skills may
have the opportunity to use them. Lab fee $75.
DMS 417
Usability Testing
Vanessa Dennen
ARR
Reg.#208055
**This is an ON-LINE course** Please contact Vanessa Dennen, vdennen@mail.sdsu.edu
Why do computer-based products succeed or fail? Many factors play into this
equation, but one critical factor is interface of interaction design. Human-computer
interaction (HCI) is the study of how humans use computers. Knowledge in this
area is essential to producing successful computer programs. This class will
explore current topics in HCI and interface design while developing computer-based
products in a group environment with a focus on developing a user-friendly interface.
Students in this course should have Basic Digital Arts or the equivalent and
be familiar with either Web production or Macromedia Director. Lab fee $75.
DMS 418 FIN
Medical Visualization
Dr. M. Fineberg
MW 4-5:50pm
Reg.#386345
Park 146
Permission of Instructor The latest concepts of biotechnology and medical visualization will
be discussed on an introductory level. Emphasis will be placed upon recent technological
advances in the areas of virtual reality, simulation, human interface technology,
computer assisted surgery, medical lasers, and nanotechnology. Independent Research
will be assigned to develop human computer interfaces in surgical simulation
and medical visualization. Focus groups will be formed consisting of students
of media study, engineering, computer science, art, and premedical studies.
Educational Goals and Objectives are to teach students the basics of biotechnology
and medical visualization; to assist students in developing independent research
skills by working in focus groups to design biomedical devices; to provide students
with the opportunity to learn cross-disciplinary aspects of a major field of
study that will enhance overall understanding of that field; to provide students
with access to medical research; and to provide a mechanism for students from
different departments to collaborate on biomedical projects. This is a great
course for Media Study students with an interest in digital visualization and
virtual reality-the career possibilities for such knowledge are endless. No
pre-med knowledge necessary; no programming skills necessary. Power point knowledge
a plus. E-mail daf4@acsu.buffalo.edu for permission.
DMS 420 A
Advanced Digital Arts: 3D Virtual Environments
Josephine Anstey
MW 1-2:50
Reg.#441241
CFA 246
Permission of Instructor This production course will extend students knowledge of OpenGL and
c++ into the realm of 3D computer graphics programming. We will be using the
CAVE library to build virtual environments, which will be displayed on a low-cost
VR system at Media Study. Students will learn about the hardware needed for
VR systems, (tracking, interactive devices and display devices). The programming will focus on skills for designing VR applications
and object-oriented programming. However, the major focus of the course will
be on creating interactive art experiences by programming both graphics and
sound. Lab Fee $75.
DMS 420 B
Advanced Digital Arts: CompArtsII
Marc Bohlen
TR 1-2:50
Reg.#162016
CFA 244
Permission of Instructor CompArtsII stresses the relationship between the abstraction of the
computational process and subjectivity of human perception. CompArtsII is the
second of a multi-part series introducing media, computer science and art students
to the possibilities of using computational processes as forms of artistic expression
and art-based research. In particular, CompArtsII is interested in computation
issues surrounding Computer Vision, biometrically acquired data and its consequent
analysis. The course explores various notions of biometrics, intrusive and non-intrusive
and investigates both conceptual as well as technical approaches in dealing
with sensitive data. A large part of the course is dedicated to computer vision
as it applies to new medias investigation. A variety of additional sensors such
as heat, light, pressure, tilt and bend sensors as well as noise canceling microphones
will be available for experimentation. Students are expected to be proficient
in a high level programming language such as C++ and Matlab. Prerequisites:
Programming for Multimedia and DMS419 or equivalent courses, & approval
of Instructor.
DMS 421XWS
Media & Gender
Elayne Rapping
TR 9:30-10:40
Reg.#230611 This Course will look at the history and development of gender imagery,
from the age of oil painting to the current age of globalized mass mediated
images. It will examine the impact of mass media on gender representation, socialization
and identity construction in the United States as well as the rest of the world,
and the way in which ethnic, geographic, cultural, racial and religious differences
affect the way gender images are received and used. Email: rapping@acsu.buffalo.edu
DMS 422 XWS
Special Topics: 20th Century Women in Novels, Films and Television
Elayne Rapping
T 12-2:40
Reg.#479223 This class will examine, through contemporary readings, film and video
viewings and class discussion, the changing ways in ways in which the representation
of women, and gender roles and relations generally, have changed over the course
of the last century, due to the influence of the women's movement as well as
other social and cultural forces. Email: rapping@acsu.buffalo.edu
DMS 434/534
Bodyworks
Bernadette Wegenstein
MW 1-2:50
Reg.#234331
CFA 232 Bodyworks: Medicine, Technology and the Body at the Turn of the Millennium
takes the late twentieth century as its historical timeframe for an analysis
of concepts and representations of the human body under the influence of new
technologies. In an interdisciplinary framework, evidence from both scientific
and artistic “discourse universes” will be under analysis. The aim
of this course is to examine the thesis that the dramatic new ways of imaging,
controlling, intervening, remaking, possibly even choosing bodies have participated
in a complete reshaping of the notion of the body in the cultural imaginary,
and a transformation of our experience of actual human bodies. An extensive
course website will serve as a resource and archive for students. The website
will consist of a databank of digitized film clips, readings (links to the online
reserves at the undergraduate library), weblinks, and additional research material
on Bodyworks related issues. This undergraduate and graduate seminar will be
crosslisted with the departments of English (ENG 444, Reg.#398849) and Comparative
Literature.
DMS 436/536
Narrative Filmmaking
Joe DiPasquale
MW 11-12:50
Reg.#020300
CFA 232 Description not yet available.
DMS 440/540
Women Directors
Caroline Koebel
R 12-3:20
Reg.#287425
CFA 232 In this course, students will gain a critical understanding of women
as feature film directors. We will look in particular at English-language productions
from the 1990's by a cross-generation of emerging and established filmmakers,
including Jane Campion, Julie Dash, and Mary Harron. Each seminar will focus
on one movie and attendant readings. In considering specific instances of women's
presence in feature film directing, we will also face "uncomfortable truths"
(Manohla Dargis) regarding the under-representation of women directing both
studio and independent productions. Course work includes weekly screenings and
readings, response papers, a class presentation, and a term project in the form
of a research paper, screenplay, zine, or a web site.
DMS 442 CON
Advanced Video
Tony Conrad
MW 3-4:50
Reg.#455781
CFA 286 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%).
NEW COURSE!!!!
DMS 455 FER/606 FER
Concepts in Animation Graphics
Deborah Fertig
T/R 3-4:50
Reg.#373602
CFA 244
Prerequisite: DMS 121; DMS 221; or DMS 155 This course is split into two parts - the first half focuses on Macromedia
Flash 5, while the second half concentrates Macromedia Director 8. Students
are encouraged to have prior basic experience with at least one or the other,
and will have the ability to learn each in depth. Both programs will be taught
from the intermediate (to advanced) level, and will cover such topics as special
effects in animation, creating complex animations for the web, and the creation
of CD-Rom games and similar kiosk platforms. Light Action Scripting and/or Lingo
knowledge is preferred. Students will be required to produce two mini-projects,
one in Flash mid-semester, and one in Director at the end of the semester (in
addition to weekly assignments in each). This course will be somewhat fast-paced
and diligence is expected. Students will come away from this course with a comprehensive
understanding and appreciation of animation (motion) graphics.
DMS 490
Internship
Staff
Variable Credit 1-4
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.
DMS 499
Independent Study
Staff
Variable Credit 1-4
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: $75
