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2011-12 Undergraduate Index A-Z
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Moving Image [clear]
| Title | Offering | Standing | Credits | Credits | When | F | W | S | Su | Description | Preparatory | Faculty | Days | Multiple Standings | Start Quarters | Open Quarters |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
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Ruth Hayes and Anne de Marcken (Forbes)
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | Images of animals are the oldest known artworks; they are also some of the first images that children in western culture see and learn to recognize. From 35,000 year old cave paintings to Disney animations, from the fables of Aesop to the many thousands of animal videos uploaded to and viewed on YouTube, images and stories of the animals with whom we have evolved weave in and through western culture. The images proliferate as our experiences with actual animals become increasingly rare.Students will study how we see, understand and represent animals in an effort to learn about human relationships with animals as “other” and as mirrors of ourselves. They will engage in analyzing and deconstructing a variety of visual and written representations of animals to discover what these images and texts communicate about humans and their cultures, about the relationships between human and animals, and about animals themselves. Through a series of creative and technical assignments, students will interrogate their own consumption and creation of animal imagery and their own relationships with individual animals. As they execute these assignments, students will build skills in observation, research, critical thinking, conceptual design, writing, drawing and animation. | Ruth Hayes Anne de Marcken (Forbes) | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||||
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Ariel Goldberger
Signature Required:
Spring
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day and Evening | S 12Spring | This program will immerse students in studying the intense and lively cultural life of New York City, the most active arts production center in the United States, and perhaps the world. Sessions will meet weekly in different cultural institutions to participate in art events as active audience members, to develop an educated and critical appreciation of the richness, complexity and current trends of artistic production in New York.We will spend two weeks on campus doing preparatory research in areas of each student's interest in order to create the structure for an individual project or practicum. Students may choose to create a project by engaging in artistic work, research, or both. Students will be responsible for making all necessary arrangements for room and board, as well as budgeting for individual event tickets. All students will be expected to present a final report of their experience and project.After the initial two weeks of research and preparation, participants in the program will fly to New York City for six or seven weeks, where they will engage in group and individual activities, depending on each student practicum or project. Students will attend some events as a group and some related to their own projects. We will attend events in a wide range of sites, from established world-renowned institutions to emergent art spaces.Depending on the season, performance events may include events in places such as PS 122, La MAMA, The Kitchen, HERE Art Center, off-off-Broadway small theaters, the Brooklyn Academy of Music, Broadway productions and Lincoln Center. Regular dance events may include modern dance performances, experimental works, festivals at the Joyce Theater, and more traditional ballet events in venues such as the New York City Ballet. Specific visual arts events may consist of trips to the gallery "scene" in Chelsea, PS1, MOMA, DIA Arts Center, The Met, under the radar spaces and other sites. We may attend poetry readings at places such as The Bowery Poetry Club, the Nuyorican Poets Cafe, The St. Marks Poetry Project, The Academy of American Poets and The New York Public Library. The class will also endeavor to attend other culturally relevant institutions such as the Japan Society, the Asia Society, The Jewish Museum, The Schomburg Center, The Dwyer Cultural Center and El Museo del Barrio to experience a wide range of cultural diversity. Most weekly group activities will be followed by a discussion or seminar.We will spend the final week of the quarter back on campus in Olympia, completing final report presentations for the whole class. | architecture, community studies, consciousness studies, cultural studies, dance, field studies, language studies, literature, media studies, moving image, music, queer studies, somatic studies, theater, visual arts, and writing. | Ariel Goldberger | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Tom Maddox
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | W 12Winter | Storytelling has changed in extraordinary ways during the thousands of years separating preliterate tellers and singers of tales from contemporary novelists, graphic artists, or filmmakers. However, in all their work we can recognize the elements and structures of . This program is for students who want to understand these elements in order to make better stories, and who want to develop a deep, practical understanding of the structures that govern forms such as film, television, and the short story. Primarily, they will learn the grammar and practice of storywriting by examining the works of masters and attempt to apply this knowledge in their own work. Students who want to tell stories are welcome, whatever their chosen expressive mode--prose, poetry, graphics, film, television, videogame script, or any other genre or mix of media. Movies and television are media that pose unique challenges and opportunities regarding story and dramatization; they are also the dominant media of our time. They are inherently collaborative and demand specialized talents and skills from a writer, who must work within limits imposed by time, space, money, and the myriad complexities of production, as well as the formulaic expectations that have come to govern the 50-minute television drama or 22-minute comedy and the 120-minute film. Thus we will spend considerable time examining how screenplays work and discovering the conventions governing them.We will also pay attention to short stories, perhaps the most demanding story form, in order to learn from its masters how to combine economy of expression with great power. Authors will most likely include Anton Chekhov, William Faulkner, Eudora Welty, Flannery O'Connor, Alice Munro, and Raymond Carver.Students will begin the quarter by describing a storytelling project they want to complete; then, in consultation with the faculty, they will write a project proposal detailing their goals. The projects will be the core and driving force of student work. As the quarter progresses, students also submit work in progress for ongoing critique and guidance. At the end of the quarter, they will present their finished project for group review and response.Every week students will read stories and view films or television episodes. They will also participate in weekly film and story seminars, where they will respond to the week's viewing and reading. In weekly story workshops, they will submit their work for group critique and do a series of workshop exercises. Finally, every week will end with meetings of the SIGs (special interest groups). These small groups will be defined, organized, and run by the students. This is the part of the program where students are free to define their own topic and pursue it according to their own needs. As examples, these might include short fiction, situation comedies, hard-boiled detective fiction, or graphic novels. | writing, screenplay writing, American film, theory of fiction, and literary studies. | Tom Maddox | Freshmen FR Sophomore SO Junior JR Senior SR | Winter | Winter | ||||
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Harumi Moruzzi
Signature Required:
Spring
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Contract | FR–SRFreshmen - Senior | 12, 16 | 12 16 | Day | S 12Spring | This Individual Study offers opportunities for students who are interested in creating their own courses of study and research, including internship and study abroad. Possible areas of study are Japanese studies, cultural studies, literature, art and film. Interested students should first contact the faculty via e-mail (moruzzih@evergreen.edu) before the Academic Fair for spring quarter. | Japanese studies, cultural studies, international studies, literature and film studies. | Harumi Moruzzi | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Anne Fischel
Signature Required:
Spring
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day | S 12Spring | The faculty is prepared to support student learning in media theory, community studies, documentary work, or work with organizations and groups, either on a project or through internships. Proposals to work on nonfiction media projects will also be considered if you have prior coursework and/or production experience. | media, journalism, community education, community organizing | Anne Fischel | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Walter Grodzik
Signature Required:
Winter
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Contract | SO–SRSophomore - Senior | 16 | 16 | Day | W 12Winter | Individual study offers individual and groups of students the opportunity to develop self-direction, to learn how to manage a personal project, to focus on unique combinations of subjects, and to pursue original interdisciplinary projects without the constraints of an external structure. Individual and groups of students interested in a self-directed project, research or internships in Queer Studies or the Performing and Visual Arts should contact the faculty by email at | Walter Grodzik | Sophomore SO Junior JR Senior SR | Winter | Winter | |||||
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EJ Zita and Mark Harrison
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | What motivates and facilitates creativity, discovery, and invention, in arts and in sciences? To what extent do scientists and artists work within traditional practices or bodies of knowledge, and how do they move beyond and expand standard models or forms to achieve true innovation?What are the roles of community, genius, luck, plain hard work, and being in the right place in the right time in history? Are certain resources prerequisite, or is creativity truly democratic? Can any patterns be discerned in revolutions in science? In art? What qualifies as a revolution or innovation? We will explore questions such as these by reading (and sometimes staging) plays, fiction, philosophy, and nonfiction about arts and sciences. We will learn about the advent and development of the moving image. Students may, individually or in teams, explore and present special cases of particular interest to them, as research projects. Students will write short, thoughtful essays and responses to peers’ essays. We will learn some classical and modern physics (from dynamics to quantum mechanics and/or cosmology) using mostly conceptual methods. | physics, performing and visual arts, teaching, sciences, and philosophy of science. | EJ Zita Mark Harrison | Mon Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | |||
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Harumi Moruzzi and Tomoko Hirai Ulmer
Signature Required:
Winter
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day and Evening | F 11 Fall | W 12Winter | Japan is a vital, energetic and dynamic society that is constantly reinventing itself even while struggling to maintain a semblance of cultural and social continuity from the long lost past. Meanwhile, the conception and image of Japan, both in Japan and the West, has varied widely over time mostly due to Japan’s changing political and economic situation in the world. In the late 19th century when Japan re-emerged into Western consciousness, Lafcadio Hearn, the Greek-Irish-American writer who later became a Japanese citizen, thought of Japanese society and its people as quaintly charming and adorable, whereas Americans in the 1940s viewed Japan as frighteningly militaristic and irrational. While the French semiotician Roland Barthes was bewitched and liberated by Japan’s charmingly mystifying otherness during his visit to Japan in 1966, when Japan began to show its first sign of recovery from the devastation of WWII, the Dutch journalist Karel Van Wolferen was disturbed by the intractable and irresponsible system of Japanese power in 1989, when Japanese economic power was viewed as threatening to existing international power relations. As is clear from these examples of how Japan was viewed by Westerners in the past, the idea and image of Japan is highly dependant on the point of view that an observer assumes. This is a full-time interdisciplinary program devoted to understanding contemporary Japan, its culture and its people, from a balanced point of view. This program combines the study of Japanese history, literature, cinema, culture and society through lectures, books, films, seminars and workshops, with a study of Japanese language, which is embedded in the program. Three levels of language study (1st, 2nd, and 3rd-year Japanese) will be offered for 4 credits each during the fall and winter quarters. The language component is offered by Tomoko Ulmer in the evening. In fall quarter we will study Japan up to the end of American occupation. We will emphasize cultural legacies of the historical past. In winter quarter, we will examine Japan after 1952. Special emphasis will be placed on the examination of contemporary Japanese popular culture and its influence on globalization. Although this program ends officially at the end of winter quarter, students who are interested in experiencing Japan in person can take Japanese language classes in Tokyo through Harumi Moruzzi’s Individual Study: Japanese Culture, Literature, Film, Society and Study Abroad in spring quarter. | Japanese literature and culture, film studies, cultural studies and international relations. | Harumi Moruzzi Tomoko Hirai Ulmer | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | |||
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Eddy Brown and Marilyn Freeman
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | How do you distill the essence of a great story? How do you convey that essence across media boundaries? Is an adaptation a process of translation or creative destruction? How is a work rendered with an audience in mind? This two-quarter program will explore these questions by using 'adaptation' as a portal into creative writing, and literary and film analyses. Students will examine, analyze and critique a range of written works, both fiction and nonfiction, that have been adapted for the screen. We will study a variety of literary genres and art forms including: the short story, novel, biography, memoir, essay, screenplay, and film. We will follow each selected literary work from original text through screen adaptation in order to decipher and appreciate its singularity as a work of art and as a representative of its respective genre, its transformation into a cinematic production, and its relatedness to other narrations of the human experience. We will study the genesis, creative process, and presentation of each story on both the page and screen, including the consideration of its hypothetical, intended, and ideal audiences, and socio-cultural representations. In fall quarter, students will be introduced to fundamental aspects of narrative, to the principles of classical story design, and to exemplars of narrative adaptations across media. Skills will be developed in literary and film analyses through lectures, readings, screenings, seminars and critical writing assignments. Students will begin to build creative writing skills through a sequence of short-form assignments in fiction, creative nonfiction, and screenwriting, and through the practice of critiques and peer reviews. The quarter will conclude with collaborative student presentations of critiques of literary texts and their corresponding adapted films. In winter quarter studies will deepen in literary and film art and analyses in order to more fully understand the process of adapting the screenplay and the role of the screenwriter. Students will originate their own short-format projects in literary fiction or nonfiction, and develop adaptations through a series of progressive story design and writing assignments: controlling ideas, character bios, primary outlines, treatments, step-outlines, preliminary screenplays, revisions, synopses, loglines, and story reports. Students will conclude the program with staged readings of screenplay adaptations. This program is focused on literature, film, and creative writing. Students may be required to attend off-campus film screenings. Students are expected to participate fully in all program activities, and to work about 40 hours per week including class time. | literature, film, writing, and visual arts. | Eddy Brown Marilyn Freeman | Tue Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Fall | Fall Winter | ||
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Naima Lowe and Julia Zay
Signature Required:
Fall
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Contract | JR–SRJunior - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | S 12Spring | The Electronic Media internships provide opportunities for in-depth learning of a variety of media skills and concepts. They require a year-long commitment for fall, winter and spring quarters. Interns enroll for 12-16 credits per quarter with room for a 4-credit part-time class or other academic components. Interns work 30 to 40 hours a week and are paid 15 to 19 hours a week, depending on credit distribution. The intern's primary responsibilities are focused on supporting instruction, maintenance and administration for specific labs, facilities, and production needs under the supervision of the staff. The interns meet weekly as a group to share skills, collaborate on projects, and to facilitate working together on productions and cross training between areas. All interns will be working in the new Center for Creative and Applied Media, the rebuilt HD video and 5.1 surround audio production studios. For specific descriptions of the internships, please refer to . | media production, professional studio management, and computer applications in media art. | Naima Lowe Julia Zay | Mon Tue Wed Thu Fri | Junior JR Senior SR | Fall | Fall | |
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David Cramton
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Program | FR–SRFreshmen - Senior | 12 | 12 | Day and Evening | Su 12Summer Full | In 10 weeks, we will learn what it takes to take an idea and turn it into a fully realized, finished, and delivered media production utilizing field and studio techniques. We will learn scripting, budgeting, scheduling, casting, locating, shooting, editing, and finishing video productions. In addition to lecture and seminar, we will do hands-on exercises in the field and in the Center for Creative and Applied Media, Evergreen’s state of the art media studio. We will bring in guest lecturers who are working professionals and experts in their fields to share tips, tricks, and techniques to aid us in the pursuit of storytelling power, and we will take field trips to see how it is done in the big leagues. The capstone of the program will be when the entire class forms the crew of a short film, entirely written, planned, directed, edited, and finished by students. The goals of the class are several: 1) to expose the student to the collaborative, team nature of larger scale production, 2) to empower the student with the skills and knowledge to produce their own media productions at a larger scale, and 3) for the student to experience part of the breadth of media production techniques and understand when and how to apply them in their own practice. | David Cramton | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Julia Zay and Naima Lowe
Signature Required:
Fall
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | F 11 Fall | W 12Winter | What does it mean to make moving images in an age described as digital, informational, postmodern and even post-postmodern? How do we critically engage with the history and traditions of media practices while testing the boundaries of established forms? What responsibilities do media artists and producers have to their subjects and audiences? In this program, students will engage with these and other questions as they gain skills in film/video history and theory, critical analysis, media production, collaboration and critique.This is an intensive full-time, two-quarter program linking media theory with practice. We will explore a variety of media modes and communication strategies, emphasizing documentary and experimental forms the material properties of sound and moving image media, and the strategies artists and media producers have employed to challenge mainstream media forms. We will experiment with alternative approaches to production, including non-fiction, abstract film, video art, alternative scripting techniques, autobiography, essay films, installations and performance. Additionally students will develop skills in analysis and criticism through screenings, readings, seminars, research and critical writing. We will also spend significant time in critique sessions discussing our creative and critical work. This, like all program activities, is designed to emphasize the importance of collaboration in the production of media. In fall quarter students should expect to complete both short skill-building exercises and short projects. These exercises and projects will have thematic and technical guidelines that are consistent with the program curriculum, and students should expect to work collaboratively on most of them. In winter quarter students will continue to work on skill-building exercises and will complete both collaborative and solo short projects, again with guidelines that are consistent with the program curriculum. | media arts, visual arts, communications, and education. | Julia Zay Naima Lowe | Sophomore SO Junior JR Senior SR | Fall | Fall | |||
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Naima Lowe and Ben Kamen
Signature Required:
Spring
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Program | SO–SRSophomore - Senior | 16 | 16 | Day | S 12Spring | As an extension of the , and Programs (taught in Fall and Winter 2011 by Naima Lowe and Ben Kamen), students will have the opportunity to explore the shared histories, theories and practices of post-modern, conceptual, and experimental media and music. Our work will complicate the commonly perceived relationships between music and moving image (the music video or the movie soundtrack) by focusing on collaboration, interactivity, installation and performance. Thematically, we will also address issues of the how the development of particular technologies have influenced experimental media and music. The program will have three key components: 1) The execution of weekly collaborative group assignments that enhance and develop skills in media and music production, performance, installation, and interactivity. 2) The development of a quarter long independent project that combines concepts and practices from experimental media and music. This project will also include a research paper on an artist or art practice that relates to the creative work. 3) A weekly seminar will include readings and screenings oriented towards approaches to contemporary experimental music and media including performance, installation, collaboration, collectivism, and abstraction, while also studying the histories of media and musical technologies that have influenced work in these fields. We will also take occasional short field trips to local and regional venues showcasing experimental music and media. Program Applications will be available by February 2012. | Media production, electronic music, visual arts. | Naima Lowe Ben Kamen | Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Donald Foran and Marilyn Freeman
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Program | FR–SRFreshmen - Senior | 16 | 16 | Day | S 12Spring | “Awareness of the divine begins with wonder. It is the result of what man does with his higher incomprehension. The greatest hindrance to such awareness is our adjustment to conventional notions, to mental clichés. Wonder or radical amazement, the state of maladjustment to words and notions, is therefore a prerequisite for an authentic awareness of that which is.” From Abraham Heschel’s How do we cultivate a disciplined sense of wonder?We invest a lot of personal energy in certainty—being certain of what we know, of how we feel, of what we think, and, of course, of what others think of us. Heschel’s quote suggests that there are many ways to enter into not knowing, to be surprised anew, to experience wonder and amazement. In order to challenge conventional notions productively we might need to cultivate a healthy maladjustment. But, it’s difficult to subvert the dominant paradigm.How might we as writers and media artists use poetry and video essay to intensify our awareness of everyday experience, to explore our experience, and to express our findings artfully while keeping an audience in mind?The purpose of this program is to heighten our curiosity and to foster the possibility for amazement in the everyday by developing interrogative strategies rooted in the creative practices of writing poetry and personal essays, and of crafting video essays.The program will include creative writing intensives in poetry and creative nonfiction as well as a series of electronic media workshops in which students will gain basic competencies in alternative audio/visual scriptwriting, audio recording and editing, photography, and multimedia editing. Lectures, screenings, and guest writers and artists will address or engage formal, historical, and conceptual concerns in poetry, creative nonfiction literature, film and video essay, and will relate to issues of dominant paradigms, heresy, imagination, reflexivity, the everyday, representations of the self and other, auteur theory, and collaboration. Through weekly seminar papers and discussions students will reflect in more depth on the program’s themes, issues, activities, and texts.A rigorous collaborative midterm electronic media project will require students to interrogate everyday experience in a shared way while negotiating issues of authorship, voice, collectivism, project management, and accountability. Students will exercise creative writing skills and electronic media competencies in this comprehensive midterm assignment, blending their literary works with audio and images in video essays that are crafted collaboratively.Finally, each student will individually craft a video essay that demonstrates a disciplined sense of wonder by drawing on the program’s creative practices and that takes up our thematic concern with radical amazement. The quarter will conclude with student presentations of final projects. | Donald Foran Marilyn Freeman | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Spring | Spring | ||||
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Anne de Marcken (Forbes)
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Program | FR–SRFreshmen - Senior | 8 | 08 | Day | Su 12Summer Session II | Philosopher Theodor Adorno, wrote, “The essay’s innermost formal law is heresy.” And heresy rules the video essay—a defiant mix of text, sound, and image confounding the boundaries of literature and time-based art. In this program we’ll study video essays by contemporary writers and filmmakers who are redefining the essay as an emergent form of creative nonfiction media art. We’ll also study—through lectures, screenings, and readings—the video essay’s origins in literature and film. Finally, through progressive workshops and assignments in writing, scripting, audio recording, photography, and editing, students will craft their own video essays. Please visit - . | Anne de Marcken (Forbes) | Tue Wed Thu | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer | ||||
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Mark Harrison
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Program | FR–SRFreshmen - Senior | 8 | 08 | Weekend | Su 12Summer Session I | The Western is the richest and most enduring genre of American film. It is both formula film and a source of great innovation. Beginning with Reconstruction, this program will examine the important connections between the Western and the tale of expansion (economic, geographic, ecological, cultural) and violent conquest that is the American frontier myth. The primary texts for this program will be Richard Slotkin's James McPherson's and by David Lusted. Supplementary readings will include passages from Richard White’s by Thomas Schatz, and other short readings. This is a partial online program. Students will need access to a comprehensive source for DVD rentals (such as Netflix, Amazon.com, Deep Discount, etc.) and will be using Moodle for required online seminars. | Mark Harrison | Sat | Freshmen FR Sophomore SO Junior JR Senior SR | Summer | Summer |
