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JOHN CABOT UNIVERSITY

COURSE CODE: "DMA/CMS 380"
COURSE NAME: "Editing, Remixing and Critical Media Practice"
SEMESTER & YEAR: Spring 2024
SYLLABUS

INSTRUCTOR: Ra Di Martino
EMAIL: [email protected]
 HOURS: T6:30 PM 9:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisites: Junior Standing, COM 230
OFFICE HOURS:
COURSE DESCRIPTION:
The course focuses on the variety of new forms of critical engagement with audiovisual media --transformative remix videos, mash-ups, re-cuts, vids and the ‘video essay’. All of these formats entail the appropriation and reutilization of pre-existing audiovisual footage — pulled from films, television programs, commercials, music videos, and so forth — in a way that deconstructs, questions, critiques, subverts or analyzes its aesthetic construction and cultural meaning. Students will expand their conceptual and technical skills by engaging these emerging forms of critical media practice, both by tracing their historical development and their relation to preceding trends in avant-garde cinema and contemporary art, and by creating their own political remix videos and analytical video essays. The course alternates weekly screenings and seminars, and includes four Final Cut Pro editing tutorials spread throughout the semester.
SUMMARY OF COURSE CONTENT:

The course will investigate the key qualities and approaches to experimental film dealing with the concept of archive and how these methods can be applied in analyzing and making audiovisual works today. Weekly lessons will combine historical overviews with screenings of significant works with practical workshops. Film analysis, and exhibition/ visits will provide research material for class discussions, providing insight regarding the films and filmmakers presented. Students will be required to participate during in-class exercises and to do projects outside of class in order to explore and build their creative ideas and skills in editing and storytelling. These creative works will all be dealing with the idea of what is an archive today, both personal and historical. A series of students presentation of filmmakers works will be developed throughout the semester, is also needed for the completion of the course. Lastly the students will be asked to apply to Unarchive film festival in Trastevere, Maya 2024, as part of their student's program. 

 
LEARNING OUTCOMES:

By the end of the course, students will:

• Gain an understanding of the history and theory of archival experimental cinema and ways to edit. 

• Strengthen the ability to develop a visual language using space and time as materials in creative works

• Expand personal concepts and methods regarding the creative process within film and research-based projects

• Reach greater technical, analytical and curating skills related to the production and exhibition of moving image-based works.
TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Attendance, participation to crits and contribution 40
Final Project 30
Mid-Term  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:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed. The final exam period runs until ____________
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 films by directors––from Avant Garde Films onwards 

 

Week 2: Avant Garde/Experimental Film continued

Workshop: Video exercises––editing

Screening

 

Week 3: Performance and video

*Presentation & Crits ––Experimental Video 1 due (4 min)

Workshop: Experimental Video 2 Introduced

Screening of archive films / and film dealing with archive as a concept

 

Week 4

Workshop: Experimental Video 2 editing

Screening of archive films / and film dealing with archive as a concept

 

Week 5

*Presentation & Crits ––Experimental Video 2 due

Screening of archive films / and film dealing with archive as a concept

 

Week 6

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 to AAMOD ARCHIVE 

 

Week 9: Hybrid documentary (between reality and fiction)

Workshop: Video exercises––

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

 

Week 10

 

 

Week 11

 

 

Week 12

 

Week 13 

 

Week 14

preparation for the application to unarchive film festival

 

Week 15: Finals Week

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