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Intermediate Video builds on the concepts and technical skills introduced in Intro to Video, and has a different theme each term. This semester of Intermediate Video will be focused on the following thematic, conceptual and formal questions.

Since its inception, film has been used for propaganda - disseminating information with a particular slant, whether subtle or obvious - by regimes and independent players across the political spectrum. As the means of production and circuits of distribution become ever more accessible to individuals, we have moved from an era of focused agitprop into a new era of diffused disinformation.

The Scriptorium, a “place for writing,” is a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with writing and revising—essai means “trial” or “attempt”—as we work to create new habits and productive strategies for analytical writing.

The Scriptorium, a “place for writing,” is a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with writing and revising—essai means “trial” or “attempt”—as we work to create new habits and productive strategies for analytical writing.

An introduction to 16mm film techniques, students will shoot and edit analog 16mm film, develop by hand and finally will transfer film to video. Through screenings, experiments and hands-on workshops students will learn about cinematography and the photochemical process. Taking advantage of the special tactile, tangible nature of analog film, material properties will also be explored- direct tactile methods such as loops, paint/scratch on film and laser etching.

This Scriptorium, a “place for writing,” functions as a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with discussion, writing, and revising—essai means “trial” or “attempt”—as we create new habits and strategies for our analytical writing. We will write in various essay structures with the aim of developing a well-supported thesis; in addition, we will revise collaboratively, improve our research and citation skills, and study grammar and style.

This Scriptorium, a “place for writing,” functions as a class for writers interested in improving their critical essay-writing skills. We will read to write and write to read. Much of our time will be occupied with discussion, writing, and revising—essai means “trial” or “attempt”—as we create new habits and strategies for our analytical writing. We will write in various essay structures with the aim of developing a well-supported thesis; in addition, we will revise collaboratively, improve our research and citation skills, and study grammar and style.

This semester-length, 2-credit course, intended for students who will continue to the Advanced Projects in Film/Video II course in spring 2023, supports advanced students in planning, pre-production, and early production (or for 8th term students, post-production and finishing) for more complex, larger-scale, longer-duration, self-directed film/video projects. It also includes a screening series where we watch and analyze feature and mid-length films.

This production course is designed to get students producing video immediately: we will look at basic techniques with an emphasis on simple and self-devised methods of media production, efficient approaches to lighting and sound, and emphasize quick turnover time to create a great amount of work in a relatively short period of time.

This production course introduces students to the fundamentals of working in video and the language of film form. Drawing on the energy, intensity and criticality of avant-garde film and contemporary video art practices, students will complete a series of projects exploring all basic aspects of film/video production (centered on DSLR cameras), such as cinematography, mise-en-scène, editing and sound design.

“Not long ago, a near prerequisite for vanguard architecture was an engagement with theory; lately it has become an acquaintance with art” or so observed Hal Foster in his 2011 book ‘The Art Architecture Complex.’ While ideas about what constitutes cutting edge architecture may have transformed in the decade since, entanglements between art and architecture and the reciprocal effects that they have on each other remain central to architectural discourse.

“Not long ago, a near prerequisite for vanguard architecture was an engagement with theory; lately it has become an acquaintance with art” or so observed Hal Foster in his 2011 book ‘The Art Architecture Complex.’ While ideas about what constitutes cutting edge architecture may have transformed in the decade since, entanglements between art and architecture and the reciprocal effects that they have on each other remain central to architectural discourse.

Can architecture be understood in the same terms as a photograph? A piece of writing? A painting? A film? Or does it require its own vocabulary, rules, precedents, and sensibilities?