Gwybodaeth Modiwlau
Module Identifier
TF33430
Module Title
EXPERIMENTAL MEDIA WORKSHOP
Academic Year
2010/2011
Co-ordinator
Semester
Semester 2 (Taught over 2 semesters)
Pre-Requisite
Course Delivery
| Delivery Type | Delivery length / details |
|---|---|
| Lecture | 10 x 3 hour Lecture/Workshops per week |
| Other | 10 x 2 hour Screenings |
Assessment
| Assessment Type | Assessment length / details | Proportion |
|---|---|---|
| Semester Assessment | Video Piece 1 (3-6 minutes) | 20% |
| Semester Assessment | Proposal / Analysis of Piece 1 | 5% |
| Semester Assessment | Video Piece 2 (3-6 minutes) | 20% |
| Semester Assessment | Proposal / Analysis of Piece 2 | 5% |
| Semester Assessment | Video Piece 3 (5-10 minutes) | 40% |
| Semester Assessment | Proposal / Analysis of Piece 3 Three video work are included in the assessment of the course. This allows the students to take risks, to attemp multiple approaches to the same problem, and to realize the various projects that emerge during the formulation of a research project. In all, the multiple projects allow the student more space to develop their research process and the quality of the work itself. | 10% |
| Supplementary Assessment | Resit: Proposal / Analysis of Piece 1 To re-sit any particular element, the student must re-submit a substantially improved (re-edited or re-shot for example) piece of work, or an alternative, substitute project that fulfills the assessment criteria. | 5% |
| Supplementary Assessment | Resit: Proposal / Analysis of Piece 2 | 5% |
| Supplementary Assessment | Resit: Proposal / Analysis of Piece 3 | 10% |
| Supplementary Assessment | Resit: Video Piece 2 (3-6 minutes) | 20% |
| Supplementary Assessment | Resit: Video Piece 1 (3-6 minutes) | 20% |
| Supplementary Assessment | Resit: Video Piece 3 (5-10 minutes) | 40% |
Learning Outcomes
On successful completion of this module students should be able to:
1. Demonstrate the ability to identify and develop an advanced aesthetic, philosophical , political or cultural problem for investigation, using a self-directed research plan.
2. Identify and plan an appropriate self-directed media practice methodology to investigate this problem.
3. Demonstrate the ability to formulate, realise, and edit advanced media works (through self-directed work), with a developed critical awareness of what they are creating and the process used to produce it.
4. Show an advanced critical awareness of the connections between their work and current video production and theoretical writing, and use these areas to inform their practice.
5. Exhibit the ability to use video cameras and editing equipment with advanced skill.
6. Exhibit the ability to develop a portfolio of advanced completed vide works as a basis for further investigation.
Number 6 above needs correcting. Instead of vide works - 'video works'.
Brief description
The Advanced Experimental Workshop is an arena for video productions that challenge the rules of mainstream media. Taking a particular artistic problem or concept as the basis for work, students will seek new films and new ways to produce them.
In the workshop, you will be free to produce experimental work in a genre of your own choice: a piece of video art, a film designed for the web, a narrative film in an innovative style, an abstract work, or a video designed for installation, for example. The key criterion is that the production explores a distinct creative, intellectual or philosophical problem.
Apart from developing our own productions, we will also explore the key areas or themes of experimental production. Potential screenings may include exciting, challenging films by Peter Greenaway (The Cook, The Thief, HIs Wife and Her Lover), Oliver Stone (Natural Born Killers), Derek Jarman (The Last of England), Stan Brakhage (Anticipation of the Night), Matthew Barney (Cremaster Cycle), Godfrey Reggio (Koyaanisqatsi), Jean-Luc Goddard (Vivre Sa Vie), Michelangelo Antonioni (The Passenger), Bill Viola (I Do Not Know What It Is I Am Like), Pat O'Neill, (Water and Power), Betzy Bromberg (A Darkness Swallowed), Jem Cohen (Chain), Kenneth Anger (Lucifer Rising) among others (film list subject to change).
In the workshop, you will be free to produce experimental work in a genre of your own choice: a piece of video art, a film designed for the web, a narrative film in an innovative style, an abstract work, or a video designed for installation, for example. The key criterion is that the production explores a distinct creative, intellectual or philosophical problem.
Apart from developing our own productions, we will also explore the key areas or themes of experimental production. Potential screenings may include exciting, challenging films by Peter Greenaway (The Cook, The Thief, HIs Wife and Her Lover), Oliver Stone (Natural Born Killers), Derek Jarman (The Last of England), Stan Brakhage (Anticipation of the Night), Matthew Barney (Cremaster Cycle), Godfrey Reggio (Koyaanisqatsi), Jean-Luc Goddard (Vivre Sa Vie), Michelangelo Antonioni (The Passenger), Bill Viola (I Do Not Know What It Is I Am Like), Pat O'Neill, (Water and Power), Betzy Bromberg (A Darkness Swallowed), Jem Cohen (Chain), Kenneth Anger (Lucifer Rising) among others (film list subject to change).
Content
The course is partly intended to offer advanced exploration of key topics in experimental production, and to use these discussions to inform the students' own practice. Therefore, each session will inreoduce a topic within experimental production/media, with corresponding screenings of examples for discussion.
Potential topics include: contrasting methodologies and philosophies of production; investigations of the medium; investigation of self and the politics and aesthetics of self-portrayal; documentary and fictional approaches within experimental media; the relationships between video art and other forms of alternative media practice such as experimental cinema and the art film; the relationship betweenn moving image experimentation and movements in the art world; video and media appropriation; video and gender/ feminism/ sexuality; video and landscape; video for installation; other areas.
While these areas would be explored as part of the lecture/seminar, the course will be centered on the creation of student work. This will involve:
(1) the identification of an aesthetic, intellectual, creative-technical, cultural or political problem to be investigated;
(2) the development of a moving image work or production process that explores this issue;
(3) the realisation and editing of the work, primarily outside of class;
(4) the screening of edited versions of the work and their discussion/ critique by the group, and the revision of the work in response
(5) the evaluation of each vide's effectiveness in investigating the issue proposed (or other issues that have emerged during production).
Potential topics include: contrasting methodologies and philosophies of production; investigations of the medium; investigation of self and the politics and aesthetics of self-portrayal; documentary and fictional approaches within experimental media; the relationships between video art and other forms of alternative media practice such as experimental cinema and the art film; the relationship betweenn moving image experimentation and movements in the art world; video and media appropriation; video and gender/ feminism/ sexuality; video and landscape; video for installation; other areas.
While these areas would be explored as part of the lecture/seminar, the course will be centered on the creation of student work. This will involve:
(1) the identification of an aesthetic, intellectual, creative-technical, cultural or political problem to be investigated;
(2) the development of a moving image work or production process that explores this issue;
(3) the realisation and editing of the work, primarily outside of class;
(4) the screening of edited versions of the work and their discussion/ critique by the group, and the revision of the work in response
(5) the evaluation of each vide's effectiveness in investigating the issue proposed (or other issues that have emerged during production).
Module Skills
| Skills Type | Skills details |
|---|---|
| Application of Number | |
| Communication | The students will develop their written skills in the writing of the proposals and analyses. The lecture-seminars will involve the discussion of screened work and related topics, along with the critique of students' own proposals and video works. Students will be encouraged to discuss with increasing precision and sophistication. |
| Improving own Learning and Performance | The course will require the review and critique of all areas of the work from initial conception to finished project. The students will discuss both their own work and the work of others. The students will be encouraged to adjust their work in response to this assessment. A particular focus of discussion will be whether the realised work truly embodies or interrogates the problem or issue raised in the proposal. The written piece will evaluate the video piece. |
| Information Technology | Initial proposals would no doubt be word-processed. Digital video footage would be edited on a computer using Avid Media Composer or Final Cut Pro. Other applications/ computer technologies may well be involved, depending on the student's particular self-directed research problem. |
| Personal Development and Career planning | The realities of a career as an artist will be touched upon during the discussion. These discussions will suggest exhibition opportunities for experimental video work (festivals, the gallery system) and the place of this work in the art market. The course will involve the production of a portfolio of work. |
| Problem solving | Each piece of video work will be an investigation of a particular aesthetic, intellectual, political or cultural problem. In producing the work, the students will gain experience of solving the particular logistical, budgetary and technical problems involved in production. |
| Research skills | Conceiving the video works will require research into a wide range of artistic production, critical-theoretical works, historical, social and cultural materials. This research will lay the basis for, and thereafter respond to the research problem noted in (1) above. The creation of the media work will of course constitute a research program in itself (through practice). Filming and editing the works will involve research into the technical systems used in their creation. |
| Subject Specific Skills | Pre-production skills will be developed through the conception and planning of multiple productions. Directing skills will be developed during production. Camera skills will be developed in the use of a video camera. Editing skills will be developed through the editing of the piece. |
| Team work | The course involves group critique and discussion. There is also the potential for collaboration in production of work. |
Reading List
Recommended TextCurtis, David (2006) A History of Artists' Film and Video in Britain BFI Primo search Elwes, Catherine (2006) Video Art: A Guided Tour I.B. Tauris Primo search Grau, Oliver (2008) MediaArtHistories MIT Press Primo search Hall, Doug and Sally Jo Fifer (2002) Illuminating Video Aperture/BAVC Primo search Hamlyn, Nicky (2003) Film Art Phenomena BFI Primo search Leighton, Tanya (ed) (2008) Art and the Moving Image: A Critical Reader Tate Publishing Primo search Mellencamp, Patricia (1990) Indiscretions: Avant-Garde Film, Video and Feminism Indiana University Press Primo search Meredieu, Florence de (2005) Digital and Video Art Chambers Primo search Orr, John and Olga Taxidou (2001) Post-War Cinema and Modernity: A Film Reader New Yprk University Press Primo search Paul, Christine (2008) Digital Art (revised edition) Thames & Hudson Primo search Rees, A.L. (2005) A History of Experimental Film and Video BFI Primo search Rieser, Martin and Andrea Zapp (2002) New Screen Media: Cinema/ Art/ Narrative BFI Primo search Rush, Michael (2005) New Media in Art Thames & Hudson Primo search Rush, Michael (2007) Video Art 2nd edn. Thames & Hudson Primo search Shaw, Jeffrey and Peter Wiebel (eds) (2003) Future Cinema MIT Press Primo search Sitney, P. Adams (2002) Visionary Film 3rd edition Oxford University Press Primo search Wands, Bruce (2006) Art of the Digital Age Thames & Hudson Primo search Willis, Holly (2008) New Digital Cinema Wallflower Press Primo search
Notes
This module is at CQFW Level 6