Penn State University
– School of Visual Arts
Fall 2014
ART 316 Video Art
Professor: Eduardo Navas
(ean13@psu.edu)
Mondays & Wednesdays
11:15 AM – 2:15 PM
Office Hours: 10 AM –
11 AM, 209 Arts Cottage
Course Description (as
defined by Penn State School of Visual Arts)
This
is a studio art class that focuses on creating, authoring, exhibiting, and
critically evaluating video and time-based arts. This new media course explores
experimental uses of video by visual artists with an emphasis on integrating
digital video into current studio practice (i.e., new media digital arts, mixed
media, installation, and performance). The course will engage students in
research methods to advance their skills in time-based media and to help them
develop an understanding of the critical evaluation and assessment of video and
time-based artworks and media projects.
This
course explores the nature and potential of digital video art practice and
media
production
through lectures, readings, demonstrations, studio practice, and critiques.
Assignments
will cover a range of digital video authoring applications central to video
and
time-based arts production.
Emphasis of Class:
In
this course students explore concepts of sequential media, meaning the concept
of movement with different forms of digital visual presentation, such as still
graphics animation, typography and video. The influence of film language across
various media disciplines will be discussed at length and explored with a
hands-on-approach to produce multimedia motion projects. Students will explore
concepts of motion in art, design and video, and will gain a theoretical and
practical understanding of sequential movement.
The class is specifically focused on
how to create engaging experiences with still images, video footage, text and
sound. Participants will gain a theoretical and practical understanding of film
and video production that will prepare them to develop advanced projects for
their own interests as well as for future classes.
Class Structure
Class
sections for the most part will be
divided as follows: on Monday, the first half of class will consist of
critiquing weekly exercises and projects, followed with lectures on video
editing and formal aspects of film language. Wednesdays is lab time. This is the
time for students to go over technical issues that come up with their editing
process. Screenings of specific videos and films will be scheduled on specific
days either Monday or Wednesday. The screening days will be defined throughout
the term, and students will be notified with ample time to prepare for the
screenings. The students will turn in a total of seven projects, which are
Project
1: Stop Motion (no sound)
Project
2: Stop Motion (with Sound)
Project
3: Graphics/Still Images and Video (with sound)
Project
4: Video Analysis
Project
5: First Advanced Video
Project
6: Second Advanced Video
Project
7: Final
Details
on each project will be announced at least two weeks prior to the due date.
Learning Outcomes:
A Note on Plagiarism
Plagiarism
will not be tolerated. A student who commits plagiarism will be reported to the
office of the visual arts. The studentıs behavior will be taken very seriously
and dealt with according to the guidelines provided by Penn State University
– School of Visual Arts. To avoid plagiarism, please cite your sources
when appropriate.
Academic Integrity
Statement
University Policies and Rules Guidelines states that academic integrity is the pursuit of
scholarly activity in an open, honest and responsible manner. Academic
integrity is a basic guiding principle for all academic activity at The
Pennsylvania State University, and all members of the University community are
expected to act in accordance with this principle. Consistent with this
expectation, the University's Code of Conduct states that all students should
act with personal integrity, respect other students' dignity, rights and
property, and help create and maintain an environment in which all can succeed
through the fruits of their efforts. Academic integrity includes a commitment
not to engage in or tolerate acts of falsification, misrepresentation or
deception. Such acts of dishonesty violate the fundamental ethical principles
of the University community and compromise the worth of work completed by
others.
Academic dishonesty includes but
is not limited to acts such as cheating on exams or assignments; plagiarizing
the words or ideas of another; fabricating information or citations;
facilitating acts of academic dishonesty by others; claiming authorship of work
done by another person; submitting work completed in previous classes; and/or
submitting the same work to multiple classes in which a student is enrolled
simultaneously.
Accessibility
Statement
Penn State welcomes students with disabilities into the
University's educational programs. Every Penn State campus has an office for
students with disabilities. The Office for Disability Services (ODS) Web site
provides contact information for every Penn State campus: http://equity.psu.edu/ods/dcl. For
further information, please visit the Office for Disability Services Web site: http://equity.psu.edu/ods.
In order to receive consideration for reasonable
accommodations, you must contact the appropriate disability services office at
the campus where you are officially enrolled, participate in an intake
interview, and provide documentation: http://equity.psu.edu/ods/guidelines. If the documentation
supports your request for reasonable accommodations, your campusıs disability
services office will provide you with an accommodation letter. Please share
this letter with your instructors and discuss the accommodations with them as
early in your courses as possible. You must follow this process for every
semester that you request accommodations.
Safety Information
Students
in the School of Visual Arts may find themselves working in the shop or in
their studios or classrooms using a variety of power and hand held equipment,
which may cause injury. Students should use the shop only after having received
an orientation in the use of such equipment and when supervised by faculty or
shop personnel. Should any injuries occur, in the shop, studios, or classrooms
in the School of Visual Arts please report them to Matt Olson, Shop Supervisor,
Room 108-A Visual Arts Building, Phone: 814-865-3962, email: mjo5165@psu.edu.
Required Equipment
You
will need an external hard drive that is fast enough to handle real time
editing of your videos. You will have to bring this hard drive with you to all
class lab sessions. If you donıt have one, it will be extremely difficult to
develop your projects successfully. The possibility of your files becoming
corrupted is higher if you store your working files on the hard drive of the
computer you will use to edit your project. Video cameras will be used
throughout the semester, if you donıtı have a good camera you should check one
out from the media center.
Required Books
(These
books are available at the bookstore)
Deleuze, Gilles, Cinema 1. Minneapolis: Minnesota Press, 1986.
Deleuze, Gilles, Cinema 2. Minneapolis: Minnesota Press,
1989.
Recommended Book
(This book is available
at the bookstore)
You are not required to
buy the following book, but you are strongly encouraged to purchase it. Many of
the examples that will be presented throughout the term are also discussed in
the book:
Rush, Michael. New Media in Art. New York: Thames &
Hudson, 1999.
Additional Recommended Books
I will not require the
books listed below for class, but I strongly encourage you to buy the following
texts which are meant to function as complementary reference manuals. They will be quite useful not only
during class, but also for other classes and future projects.
John Jackman, Lighting for Digital Video and Television
(Amsterdam, Boston, New York:
Focal
Press, 2010).
Steven Katz, Film Directing: Shot by Shot (Studio City: Michael Wiese, 1991).Course
Requirements
Please
note that final grades are dependent upon consistent performance in all course
requirements.
Grading
Total 100%
Grade Scale
Attendance
Semester Schedule
Note
that the class includes a series of short exercises and screenings, which are
considered part of class participation. These sessions are designed to
complement the successful completion of your projects. Lectures on history and
theory will shift according to the studentsı needs to gain practical knowledge
from week to week.
Week 1:
Monday, August 25, 2014
Introduction
to Class | Concepts of sequential media | Lecture on Film: View La Jettee | Examples | Read: Deleuze, Cinema 1 Chapter 1 & 2 (pp. 1-28) |
First Project Assigned (Due September 10)
Wednesday, August 27, 2014
Lecture
on film language continued | Stop Motion and Time Based Media Lecture | Weekly
Project Assigned, due on Wednesday September 3 | Lab Time
Week 2:
Monday, September 1, 2014
Labor Day, no class
Wednesday, September 3, 2014
Online
and inclass Discussion of Deleuze Cinema
1, C. 1 & 2
Weekly
Assignment Due | Discussion of Weekly Assignment
Work
on First Project due on Wednesday September 10, 2014 | Read Deleuze, Cinema 1 Chapter 3 & 4 (pp. 29 - 70)
Week 3:
Monday, September 8, 2014
Lecture
on Video Editing | Online and inclass discussion of Deleuze Cinema 1, C. 3 & 4 | Lab Time: work
on first project
Wednesday, September 10,
2014
Due: Project 1, Stop Motion (no sound) |
Class Critique
Homework: Develop one paragraph
concept proposal with storyboard for Stop Motion (with Sound) | Read: Deleuze, Cinema 1 Chapter 5 & 6 (pp.
70-101)
Week 4:
Monday, September 15, 2014
Due: Concept proposal and
storyboard for Project 2, Stop Motion (with Sound)
Basic
Editing Techniques | Principles of Narratives and Montage | Online and inclass
discussion of Deleuze Cinema 1, C. 5
& 6.
Wednesday, September 17,
2014
Lecture
on Sound | Screening of film or video | Lab Time | Read: Deleuze, Cinema 1 Chapter 7 & 8 (pp. 102-140)
Week 5:
Monday, September 22, 2014
Due: Project 2, Stop Motion (with Sound)
10% | Class Critique
Wednesday, September 24,
2014
Moving
Typography Lecture
Homework: Develop one paragraph
concept proposal with storyboard for Project 3 on Graphics/Still Images and
Video (with sound)) | Online and inclass discussion of Deleuze Cinema 1, C. 7 & 8 | Read: Deleuze, Cinema 1 Chapter 9 & 10 (pp.
134-177)
Week 6:
Monday, September 29, 2014
Due: One paragraph concept
proposal with storyboard for Project 3 on Graphics/Still Images and Video (with
sound) | Lecture on Image, Text, and Sound | Online and inclass discussion of
Deleuze Cinema 1, C. 9 & 10 |
Read: Deleuze, Cinema 1 Chapter 11
& 12 (pp. 178-216)
Wednesday, October 1, 2014
Lab
time to work on Project 3
Week 7:
Monday, October 6, 2014
Due: Project 3, Graphics/Still Images and Video (with sound) 10% | Class
Critique
Homework: Guidelines for Film/video
Analysis available – begin research for film analysis
Wednesday, October 8, 2014
Online
and inclass discussion of Deleuze Cinema
1, C. 11 & 12 | Read: Deleuze, Cinema
2 Chapter 1 & 2 (pp. 1-43) | Lab time to work on Weekly Assignment |
Week 8:
Monday, October 12, 2014
Due: Preliminary materials for
film analysis | Technics in video
analysis
Wednesday, October 14, 2014
Online
and inclass discussion of Deleuze Cinema 2,
C. 1 & 2 | Read: Deleuze, Cinema 2
Chapter 3 & 4 (pp. 35-67) | Lab time to work on Project 4
Week 9:
Monday, October 20, 2014
Due: Project 4, Video Analysis 10%
Homework: One paragraph concept
proposal with storyboard for Project 5, First Advanced Video
Wednesday, October 22, 2014
Online
and inclass discussion of Deleuze Cinema 2,
C. 3 & 4 | Read: Deleuze, Cinema 2
Chapter 5 (pp. 84-125) | Lab Time
Week 10:
Monday, October 27, 2014
Due: One paragraph concept
proposal with storyboard for Project 5, First Advanced Video | Lecture on
Advanced Video Editing | Online and inclass discussion of Deleuze Cinema 2, C. 5 | Read: Deleuze, Cinema 2 Chapter 6 (pp. 126-155)
Wednesday, October 29, 2014
Lab
Time to Work on Project 5.
Week 11:
Monday, November 3, 2014
DUE: Project 5, First Advanced Video |
Class Critique
Wednesday, November 5, 2014
Introduction
to Diverse Formats for Output
Homework: One page concept proposal
with storyboard for Project 6. | Online and inclass discussion of Deleuze Cinema 2, C. 6 | Read: Deleuze, Cinema 2 Chapter 7 (pp. 156-188)
Week 12:
Monday, November 10, 2014
Due: One page concept proposal
with storyboard for Project 6, Second Advanced Video | Video Screening
Wednesday, November 12, 2014
Online
and inclass discussion of Deleuze Cinema 2,
C. 7 | Read: Deleuze, Cinema 2
Chapter 8 (pp. 189-224) | Lab Time
Week 13:
Monday, November 17, 2014
DUE: Project 6, Second Advanced Video | Class Critique
Wednesday, November 19, 2014
Homework: Proposal for Final project
| Online and inclass discussion of Deleuze Cinema
2, C. 8 | Read: Deleuze, Cinema 2 Chapter 9 (pp. 225-261) | Lab Time
Week 14:
Monday, November 24 2014
SPRING BREAK
Wednesday, November 26, 2014
SPRING BREAK
Week 15:
Monday, December 1, 2014
Due: proposal for Final project.
Learn
Advanced Techniques for Output | Online and inclass discussion of Deleuze Cinema 2, C. 9
Wednesday, December 3, 2014
Brief
review of works | Proposal to be critiqued
Week 16:
Monday, December 8, 2014
Final Project Critiqued,
Part 1 Assignment
includes a brief essay on one of the readings assigned throughout the semester.
The text cited in assignment 3 cannot be cited in your final assignment.
Wednesday, December 10, 2014
Final Project Critiqued,
Part 2
Week 17: December 15, 2014
Due: Final Project.