JCU Logo
JOHN CABOT UNIVERSITY

COURSE CODE: "DMA/CMS 342"
COURSE NAME: "Experimental Film"
SEMESTER & YEAR: Fall 2023
SYLLABUS

INSTRUCTOR: Ra Di Martino
EMAIL: [email protected]
 HOURS: T 6:30 PM-9:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS:
COURSE DESCRIPTION:
The course surveys the major experimental film and video movements of the twentieth and twenty-first century by closely examining the audiovisual works and theories of artists that are in dialogue with and run parallel to commercial cinema industries. Supporting and interweaving this historical review through assignments, students will focus on analysis, engage with curatorial methods and issues, and explore the creative act of experimentation with short audiovisual works through personal mobile device technology.
SUMMARY OF COURSE CONTENT:
The course surveys the major experimental film and video movements of the twentieth and twenty-first century by closely examining the audiovisual works and theories of artists that are in dialogue with and run parallel to commercial cinema industries. Supporting and interweaving this historical review through assignments, students will focus on analysis, engage with curatorial methods and issues, and explore the creative act of experimentation with short audiovisual works through personal mobile device technology.
LEARNING OUTCOMES:
The course surveys the major experimental film and video movements of the twentieth and twenty-first century by closely examining the audiovisual works and theories of artists that are in dialogue with and run parallel to commercial cinema industries. Supporting and interweaving this historical review through assignments, students will focus on analysis, engage with curatorial methods and issues, and explore the creative act of experimentation with short audiovisual works through personal mobile device technology.
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance 20
PARTICIPATION TO CRITS AND DISCUSSIONS 30
Experimental Video 1 & 2 / MID-TERM 20
Experimental Video 3 & 4 30

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
The course surveys the major experimental film and video movements of the twentieth and twenty-first century by closely examining the audiovisual works and theories of artists that are in dialogue with and run parallel to commercial cinema industries. Supporting and interweaving this historical review through assignments, students will focus on analysis, engage with curatorial methods and issues, and explore the creative act of experimentation with short audiovisual works through personal mobile device technology.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

SCHEDULE

Week 1: Introduction and First Films/First Experiments

Course Introduction: this is an important class to understand how the course is structured in terms of theory and practice.

This is a creative course in which everyone has to give great input into ideas and to finalize a project for the final exhibition.

Screen: Examples of First Films/First Experiments to more recent independent directors––from Avant Garde Films––focus on Maya Daren and Jonas Mekas, Michael Snow, Stan Brakhage

Workshop: Experimental Video 1 Introduced

 

Week 2: Avant Garde/Experimental Film continued

Workshop: Video exercises––capturing and editing video 1 (2 to 4 min)

Screen:

 

Week 3: Performance and video

*Presentation & Crits ––Experimental Video 1 due

Workshop: Experimental Video 2 Introduced Performance video

Screen: Screen: Examples of Performance and Film including Vito Acconci, Catherine Sullivan, Gilbert and George,

Allora & Calzadilla, Gilbert and George  Luigi Ontani, Marina and Ulay

 

Week 4: Independent Cinema

Workshop: shooting of Performance videos

Screen: Examples of Independent Cinema––focus on John Cassavetes and Agnes Varda

 

Week 5: Video Art

Workshop: Video exercises––editing distance and closeness

Screen: Examples of Video Art––focus on Isaac Julian, Meriem Bennani, Philippe Parreno, Pierre Huyghe and Hito Steyrl

 

Week 6: Counter Cinema

Workshop: Video exercises––editing movement and stillness

Screen: Examples of Counter Cinema–– including Jean-Luc Godard, Laura Mulvey and Valie Export

 

Week 7: MID-TERM

Workshop: Presentation & Crits ––Experimental Video 2 due: Performance video

Experimental Video 3 Introduced

 

Week 8: Site Visit 

Site Visit: TBD (museum or exhibition venue, meeting with fimmaler / artist or curator)

 

Week 9: Hybrid documentary (between reality and fiction)

Workshop: Video exercises––capturing shooting of Hybrid documentary

Screen: Examples of films that move between fact and fiction––focus on Ben River, Ben Russell, Invernomuto, Deimantas Narkevicius

*Research Paper Proposal due

 

Week 10: Contemporary Indipendent cinema I

Workshop: Group Project Exhibit Introduced - editing Hybrid Documentary

screen: tbc

 

Week 11: Expanded Cinema

Workshop: *Presentation & Crits –– Experimental Video 3 due: Hybrid Documentary

 Experimental Video 4 Introduced and and Group Project Exhibit Planning

Screen: Expanded Cinema examples––focus on Steven McQueen and Diana Thater

*Research Paper draft due

 

Week 12: Curatorial Methods and Issues / Field Trip

Site Visit: TBD (museum or exhibition venue, meeting with curator)

 

Week 13: 

Contemporary Indipendent cinema II

Workshop: Video exercises––editing personal and final video and Group Project Exhibit Planning
Screen: Examples of more recent independent films––focus on Johanna Hogg, Kamal Alijafari, Apichatpong Weeraasethakul

 

Week 14: Curatorial Methods and Issues

Workshop: Group Project Exhibit Planning

*Presentation & Crits ––Experimental Video 4 due

 

Week 15: Finals Week

*Presentation––Group Project: Experimental Curatorial Approaches; Final Student Screening (on or off campus tbd)