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JOHN CABOT UNIVERSITY

COURSE CODE: "DMA/CMS 387"
COURSE NAME: "Expanded Cinema"
SEMESTER & YEAR: Spring 2025
SYLLABUS

INSTRUCTOR: Adele Tulli
EMAIL: [email protected]
 HOURS: W 12:30 PM 3:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES: Prerequisite: Junior Standing or Permission of the Instructor
OFFICE HOURS:
COURSE DESCRIPTION:
Though often overlooked, the act of projection is at the heart of cinema (the act or process of causing a picture to appear on a surface). This studio course focuses on the creation of moving image-based work, exploring how time and space are used as materials to create form and inspire content within the contemporary film genre known as expanded cinema. The technical, historical and psychological aspects of the projected image will be studied in order to re-think cinema as a group and investigate how the projected image can find meaning outside the black box of theaters or the white cube of galleries. Two personal experimental video projects will lead to a final group video installation that will use the environment within the vicinity of John Cabot University’s campus (Trastevere neighborhood) to inspire site-specific works while also becoming the location of the final outdoor projection event.
SUMMARY OF COURSE CONTENT:

This course focuses on the history, theory and production of an exciting contemporary art form known as expanded cinema, which encompasses cinema, visual, sound and performance based arts. Linked to other branches of cinema such as counter cinema, video art and experimental film, expanded cinema is rooted in the origins of film, exploring the act of projection (the process of causing a picture to appear on a surface). It later developed as a branch of cinema in the 1960s upholding the idea of revealing and breaking conventions through modes of production and spectatorship. Yet as technology has evolved, its practice has increasingly become a popular vehicle of expression for artists, often entering popular culture through art galleries, museums, TV, film and commercial entertainment. Today expanded cinema stands at the intersection between cinema and art, image and object, underground and mainstream.
LEARNING OUTCOMES:

By the end of the course, students should be able to:

- Understand the historical and theoretical foundations of expanded cinema, including its relationship to experimental film, video-art, counter-cinema and other unconventional film practices.

- Apply innovative and experimental techniques in audiovisual production, exploring creative and original approaches to narrative, form, and viewer interaction in their projects.

- Conceptualize and execute site-specific installations, effectively integrating spatial, environmental, and temporal elements into their artistic practice

- Understand how to use principles and technologies of audio recording and digital cameras as well as basic principles of editing & sound design

- Articulate their artistic intentions and critically evaluate their work

TEXTBOOK:
NONE
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Project 1 / Sound-driven project 15
Project 2 / Found Footage project 15
Project 3 / final project: Site-specific Installation 30
Projects proposals and response textsEach project will be accompanied by a “Proposal” outlining the student’s initial idea and a “Response Text,” a more thorough paper that will follow each project and will critically evaluate the artistic intentions, analyze the creative and technical challenges, and reference relevant readings and viewings. 20
Participation and attendanceDue to the course structure, the nature of the creative process and technical aspects connected with each project, students are required to work in and out of class. This includes allowing ample time to plan, record and edit. it is absolutely essential that you attend each class and participate actively during crits and in helping on each other’s productions. Only two unexcused absences will be tolerated. In the case of excused absences due to documented illness or family emergencies, please present a Dean's note as soon as possible (you should submit the Excused Absences Request Form, also available on the Registrar’s Office webpage).20

-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

COURSE WEEKLY OVERVIEW:

Please note that this schedule is subject to change. The course Moodle site will be the best place to get current course information.

Week 01:

Introduction / course overview / viewings

Studio: Project 1 Assignment: Working with Sound (2 min)

Due Next Class:

Project 1 Proposal

 

Week 02:

Lecture: Expanded Cinema, pushing the boundaries of cinema

Viewings

Studio: Project 1 Proposals Review and Sound Recording Basics

Due Next Class:

Project 1 Sound Recording

 

Week 03:

Studio: Sound and video Editing + digital resources

Due Next Class:

Project 1 Sound Recording & edits

 

Week 04:

Lecture: The body as canvas

Viewings

Studio: Project 1 finalization

Due Next Class:

Project 1 finalization and Response Text

 

Week 05:

Project 1 Students Presentation and discussion

Studio: Project 2 Assignment: Found Footage film

Viewings

Due Next Class:

Project 2 Proposal

 

Week 06:

Studio: Project 2 Proposals Review and discussion

Lecture: Re-mediated images. Found footage and artist film

Viewings

Due Next Class:

Project 2 research and assembly edit

 

Week 07:

Studio: creative editing techniques

Viewings

Due Next Class:

Project 2 finalization

 

SPRING BREAK

 

Week 08:

Studio: Students Presentation and discussion

Midterm crits

Project 3 Assignment: Outdoor Video Projection/Installation

Viewings

Due Next Class:

Project 2 export and Response Text

 

Week 09:

Lecture: Between the black box and the white cube

Studio: Advanced Camera Composition & video projection basics (surfaces, formats)

Viewings

Due Next Class:

Project 3 proposals

 

Week 10:

Studio: Project 3 Proposals Review and discussion

Projection Location Site Visits & Community Outreach Strategies

Viewings

Due Next Class:

Project 3: Research/Gather/Record Material

 

Week 11:

Lecture: Counter-cinema, guerrilla images and critical media interventions

Viewings

Studio: project 3 development

Due Next Class:

Project 3: Record and edit material

 

Week 12:

Studio: Project 3 Editing & Projecting Tests; Preparation & Promotion

 

Week 13:

Studio: Project 3 Final Editing, Installation Tests, Tweaks, Preparation, Promotion.

 

Week 14:

Project 3 Exhibition

Due Next Class:

Project 3 Response text

ADDITIONAL NOTES:

Out of Pocket Materials: Students enrolled in this course should provide their own external USB hard drive (500GB-4TB) to store and archive captured material and video projects. These drives must be Mac-formatted.

 

 

READINGS

Arcagni, Simone (2014). Cinema Futuro. Nero Editions.

Altman, Rick (Ed.). (1992). Sound Theory, Sound Practice. Routledge.

Barthes, Roland (1986). Leaving the Movie Theater. In The Rustle of Language (pp. 345-349). Hill and Wang.

Buñuel, Luis (1991). Cinema, Instrument of Poetry. In P. Hammond (Ed.), The Shadow and Its Shadow: Surrealist Writings on the Cinema (pp. 117-120). Polygon.

Connolly, Maeve (2009). The Place of Artists’ Cinema: Space, Site, and Screen. Intellect Ltd. (ebook)

Dercon, Chris (2002). Gleaning the Future from the Gallery Floor. Vertigo, 2(2), 3-5.

Leighton, Tanya (Ed.). (2008). Art and the Moving Image: A Critical Reader. Tate Publishing.

Mekas, Jonas (1964, February 6). On the Expanding Eye. Village Voice.

Mondloch, Kate (2010). Screens: Viewing Media Installation Art. Electronic mediations, v. 30, University of Minnesota Press. (ebook)

Rees, A. L., Curtis, D., White, D., & Ball, S. (Eds.). (2011). Expanded Cinema: Art, Performance, Film. Tate Publishing

Rush, Michael (2007). Video Art. Rev. ed. New York: Thames & Hudson,

Uroskie, A. V. (2014). Between the Black Box and the White Cube: Expanded Cinema and Postwar Art. University of Chicago Press.

Youngblood, Gene (1970). Expanded Cinema. E. P. Dutton & Co.