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Week |
Subject |
Related Preparation |
1) |
Orientation |
|
2) |
Exploration of experimental approaches to cinema |
Reading: A. L. Rees, A History of Experimental Film and Video, Pp.1-14
Screening: Return to Reason, 1923, Man Ray
Entr’acte, 1924, Réne Clair
|
3) |
Interpretation of imagery in avant – garde aesthetics
|
Readings: P. Adams Sitney, Visionary Film Meshes of the Afternoon, Pp.3-16
Stan Brakhage, Film and Reality, Metaphors of Vision, Pp.228-234
Screening: Ballet Mécanique, 1924, Fernand Léger & Dudley Murphy
Anémic Cinema, 1926, Marcel Duchamp |
4) |
Experimentations in art and cinema |
Reading: A. L. Rees, A History of Experimental Film and Video, Pp.15-28
Suggested Reading: P. Adams Sitney, Visionary Film, Ritual and Nature, Pp.20-46
Screenings: Un Chien Andalou, 1928, Salvador Dali & Luis Bunuel
Blood of a Poet, 1930, Jean Cocteau |
5) |
Introduction to alternative methods & techniques |
Reading: A. L. Rees, A History of Experimental Film and Video, Pp.28-47
Screening: Meshes of the Afternoon, 1943, Maya Deren & Alexander Hammid
La Jetee, 1962, Chris Marker |
6) |
Discovery of new visions |
Reading: Bill Viola, Illuminating Video, Video Black-The Mortality of the Image, Pp.477-486
Suggested Reading: Peter Gidal, Experimental Cinema, The Film Reader, An Interview with Hollis Frampton,
Pp.273- 280
Screenings: Fuses, 1965, Carolee Schreeman
Zorns Lemma, 1970, Hollis Frampton |
7) |
Restructuring and reinventing the relations between text, image and sound |
Reading: A. L. Rees, A History of Experimental Film and Video, Video Stirs, Pp.87-89
Suggested Reading: Yoko Ono, Screen Writings, Mini Film Scripts, Pp.18-30
Screenings: Flux Film Anthology
Works of Tony Oursler |
8) |
Fundamental issues and key concepts of non-narrative structures |
Reading: Paul Schimmel, Out of actions : between performance and the object, Pp.12-24
Suggested Reading: Jessica Helfand, Screen, One, Two, Three, Faux:
The Myth of Real Time, Pp.3-9
Screenings: The Street of Crocodiles, 1986, Quay Brothers
Wavelength, 1967, Michael Snow
|
9) |
Understanding and investigating the problems of video art |
Reading: Norman M. Klein, Illuminating Video, Audience Culture and the Video Screen, Pp.375-403,
Vito Acconci, Illuminating Video, Television, Furniture, and Sculpture: The Room
with the American View, Pp.125-134
Suggested Reading: Margaret Morse, Illuminating Video, The Body, the Image,
and the Space-in-Between, Pp.153-167
Screenings: Works of Bruce Nauman and Chris Burden |
10) |
Realization of boundaries as guidelines for the creation of a new art form and a cinematic language |
Reading: D.N.Rodowick, Gilles Deleuze’s Time Machine, A Short History of Cinema, Pp.3-17
Suggested Reading: Paolo Cherchi Usai, The Death of Cinema: History, Cultural Memory,
and the Digital Dark Age, Pp.3-12
Screenings: Passing, 1991, Bill Viola
Landscape with Philip Glass, Robert Ashley |
11) |
Theories and ideologies of experimental works |
Reading: : Marshall McLuhan, The Medium is the Massage, Pp.1-10
Bruce & Norman Yonemoto, Illuminating Video, The Medium Is the Mess...age, Pp.242-248
Suggested Reading: Florian Brody, The Digital Dialectic: New Essays on New Media,
The Medium is the Memory, Pp.130-149
Screening: About A Theological Situation In The Society Of Spectacle, 2001, Masayuki Kawai
Works of Nan June Paik
|
12) |
The connections between experimental cinema and the other art forms |
Reading: Avant-Garde Film Motion Studies, Scott Mac Donald, Pp: 17-36
Screenings: Painting to See the Room Through, 1961, Film No.5 ( Rape, or Chase ), 1969, Yoko Ono |
13) |
The relationship between experimental cinema and main stream cinema, music clips, commercials, TV and media |
Reading: Edited by Gregory Flaxman, The Brain Is Te Screen, An Interview with Gilles Deleuze, Pp: 365 - 373
Screenings: The Way Things Go, 1987, Peter Fischli & David Weiss
Screening of a selection of scenes from contemporary commercials, music clips and conventional cinema |
14) |
Feedback on the necessary approaches and methods for the development of the final projects and final papers |
Research and Production of Projects. Preparation of the projects / Research for the paper and preparation for writing the paper |
Course Notes: |
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References: |
1. Visionary Film: The American Avant-garde, 1943-2000, edited by Sitney, P. Adams, New York Oxford University Press,2002.
2. Illuminating video: an essential guide to video art, edited by Doug Hall and Sally Jo Fifer, New York, N.Y. : Aperture in association with the Bay Area Video Coalition, 1990
3. Gilles Deleuze’s Time Machine, David Norman Rodowick, Durham, NC: Duke University Press, 1997
4. A history of experimental film and video : from canonical avant-garde to contemporary British practice, A.L. Rees, London :BFI Publishing, 1999
5. Experimental Cinema in the Digital Age, Malcolm Le Grice, British Film Institute, 2002
6. The Death of Cinema: History, Cultural Memory, and the Digital Dark Age, Paolo Cherchi Usai, British Film Institute, 2001
7. Experimental cinema : the film reader, edited by Wheeler Winston-Dixon and Gwendolyn Audrey Foster, London ; New York :Routledge, 2002
8. The digital dialectic : new essays on new media, edited by Peter Lunenfeld, Cambridge, Mass. : MIT Press, 2000
9. Out of actions : between performance and the object, 1949-1979, organized by Paul Schimmel, Los Angeles: The Museum of Contemporary Art , New York : Thames and Hudson , 1998
10. Screen: Essays on Graphic Design, New Media, and Visual Culture, Jessica Helfand, Princeton Architectural Press, 2001
11. Nam June Paik: Video Time, Video Space / General Editors, Toni Stooss and Thomas Kellein, New York : H.N. Abrams, 1993
12. Screen writings : scripts and texts by independent filmmakers, edited by Scott MacDonald, Berkeley : University of California Press, 1995
13. New screen media : cinema/art/narrative, edited by Martin Rieser, Andrea Zapp, London : BFI Pub., 2002, 2004
14. The medium is the Massage, Marshall McLuhan, Quentin Fiore ; produced by Jerome Agel, Corte Madera, CA : GingkoPress, 2001
15.Avant-Garde Film Motion Studies, Scott Mac Donald, Cambridge University Press, 1993
16. The Brain Is Te Screen, Edited by Gregory Flaxman, University of Minnesota Press, 2000 |