Discussion: T 4:30-6:00, Room 343
Studio A: T 4:00-5:00, Skiles 343
Studio B: T 5:00-6:00, Skiles 343
Practicum A: TH 6:00-8:00, Skiles 369 or IDT Lab
Practicum B: TH 8:00-10:00, Skiles 369 or IDT Lab
Instructor Contact Info:
Ellen Strain, email@example.com
WK: 404.894.8923 HM: 404.249.9141
Office hours by appointment
Sherry Strickland, Video TA
Contact for equipment concerns:
Combining practice and theory, this class uses video as a medium to explore a special topic within visual culture studies. More specifically, this quarter we will conduct an historical investigation of the ideological implications of bodily representations. Central to this investigation will be the changing nature of the apparatuses used to image the body and the location of such images at the intersection of scientific/medical discourse and art theory. Moving from painting to performance art to electronic media, the course material will focus on not only the technologies used to visualize bodily exteriors and interiors but the technologies applied to the body that confound notions of exteriority/interiority. Technologies designed to tame the abject body will be examined as well as avant garde art practices that politicize the abject body. Theoretical investigation will accompany an introduction to the basic video and audio tools.
Although theory and production issues are initially explored separately through the division of class time into discussion periods focusing on the readings and hands-on practicum sessions focusing on specific technical tasks, students are expected to bridge the two in their final project. Although the entire class will meet for the discussion periods, the class will be broken down into two groups with each group attending only one of the two practicum sessions hosted each week and one of the studio sessions (when a studio is scheduled in place of a discussion period). Studio sessions will involve discussing student work in progress or collaborative projects completed in a two-hour time period.
Required ReadingThe following books can be purchased through Amazon (2-3 days delivery time):
Prerequisite KnowledgeStudents enrolling in this class are expected to have the following skills:
The course grade will be based on three brief writing assignments, two technical mastery projects, one final project involving both a video and a written component, and participation in class discussions. The writing assignments as well as the technical mastery projects may be preparatory work for the final project. In other words, you may use these smaller assignments to further explore theoretical and visual material that you are developing for the final project. The grade breakdown is as follows:
3 X 10% CONTEMPLATION PAPERS/PROPOSALS. Students are required to write two papers applying, contemplating, or elaborating upon issues introduced in one or more of the articles. Each contemplation paper should be one to two pages, single-spaced. Students should concentrate on articles they find particularly interesting in order to further their analysis of subjects that will feed into the final project. Students will also be required to turn in a two-page proposal detailing their concept for the final project.
2 X 15% TECHNICAL MASTERY PROJECTS. In the form of an abbreviated project, students should exhibit their mastery over one or more of the techniques introduced in the practicum sessions. The content of these projects will not be evaluated, only the use of the technical tools. While the first technical mastery project may be completed by teams, the second technical mastery project should be done on an individual basis.
30% FINAL PROJECT. The final project may be a video or other digital artifact that furthers the theoretical analysis of the three terms around which the course content is focused: bodily representation, aesthetics, and technology. The final project will also include a three page, single-spaced design rationale that positions the project within the issues raised by the readings. Students may work individually or in groups of two for the final project.
10% PARTICIPATION. Students are expected to attend every discussion period, participate in discussions of the readings, and bring visual artifacts for study by the class. Participation will be based on attendance, contributions to discussion, and reading quizzes.
WEEK ONEMarch 30. Discussion: Historicizing Corporeal Representation and Anatomical Art (ES)
April 1. Practicum: Production Planning, Sound Recording, Lighting, Shooting (JB)
April 6. Discussion: Conceptualizations of the Body (ES)
Robert D., Romanyshyn, "Body as specimen" and "The abandoned body and its shadows," Technology as Symptom and Dream. London: Routledge, 1989.
Film viewing: Zed and Two Noughts (Peter Greenaway)
April 8. Practicum: Analog Editing (JB)
April 13. Studio Session (both sections meet 4-6). Collaborative Project: Bodies, Motion and Interactivity in Theater (JB)
April 15. Practicum: Codecs, Compression, Media Cleaner Pro, and Video Capture (JB)
WEEK FOURApril 20. Discussion: Bodily Distortions in 2D Art (JB)
April 22. Practicum: Media 100 (ES)
TECHNICAL MASTERY PROJECT #1 DUE (extended Videopticon deadline for GT)
WEEK FIVEApril 27. Discussion: Performance Art and the Politicized Body (ES)
April 28. Videopticon
April 29. Practicum: Premiere in a Nutshell (ES)
WEEK SIXMay 4. Studio Session: Technical Mastery Projects & Final Project Discussion (ES & JB)
May 6. Practicum: After Effects BasicsMovement, Masks, Effects (ES) WEEK SEVEN
May 6. Practicum: After Effects BasicsMovement, Masks, Effects (ES)
May 11. Discussion: Scanned Bodies and the Medical Gaze May 13. Practicum: From Analog to Digital AudioSound Edit (JB) WEEK EIGHT May 20. Practicum: After EffectsCompifying, Tracking Mattes, Animation (ES) WEEK NINE
Sarah Kember, "Medicines New Vision?" The Photographic Image in Digital Culture (ed. Martin Lister). London: Routledge, 1995.
Carol Stabile, "Shooting the Mother: Fetal Photography and the Politics of Disappearance," Camera Obscura: A Journal of Feminism and Film, Special Issue: Imaging Technologies, Inscribing Science, ed. Paula Treichler and Lisa Cartwright (January 1992).
Film Screening: Looker (Michael Crichton)
Linda S. Kauffman, "David Cronenbergs Surreal Abjection" and "J. G. Ballards Atrocity Exhibitions," Bad Girls and Sick Boys: Fantasties in Contemporary Art and Culture. Berkeley: UC Press, 1998.
Barbara Creed, "Horror and the Carnivalesque: The Body-monstrous," Fields of Vision: Essays in Film Studies, Visual Anthropology, and Photography (eds. Leslie Devereaux and Roger Hillman). Berkeley: University of California Press, 1995.
Film screening: Dead Ringers (David Cronenberg) and Videodrome (David Cronenberg)
TECHNICAL MASTERY PROJECT #2 DUE
Linda Williams, "Corporealized Observers: Visual Pornographies," Fugitive Images: From Photography to Video (ed. Patrice Petro). Bloomington: IU Press, 1995.
Ellen Lupton and J. Abbott Miller, "Hygiene, Cuisine, and the Product World" Incorporations (ed. Jonathan Crary and Sanford Kwinter). New York: Urzone, 1992.
Margaret Morse, "What Do Cyborgs Eat? Oral Logic in an Information Society," Virtualities: Television, Media Art, and Cyberculture. Bloomington: IU Press, 1998.Studio
May 13. Practicum: From Analog to Digital AudioSound Edit (JB)
WEEK EIGHTMay 18. Discussion: Monsters and the Abject Body in Film (ES)
May 20. Practicum: After EffectsCompifying, Tracking Mattes, Animation (ES)
WEEK NINEMay 25. Discussion: Loose EndsPorn, Cannibalism, Cyborgs, and Excrement (ES)
May 27. Practicum: Sound Mixing in Deck II (JB) WEEK TEN
Readings due: none
CONTEMPLATION PAPER #2 DUE
May 27. Practicum: Sound Mixing in Deck II (JB)
WEEK TENJune 1. Studio Session: Work in Progress (JB)
June 3. Practicum: Advanced Sound Workshop and Electroacoustical Performance (JB) * * * SCREENING OF FINAL PROJECTS: THURSDAY, JUNE 10, 6PM * * *
June 3. Practicum: Advanced Sound Workshop and Electroacoustical Performance (JB)
* * * SCREENING OF FINAL PROJECTS: THURSDAY, JUNE 10, 6PM * * *