Snow Day Make-up Assignment for Tuesday CIN111 Students

Snow Day Makeup Screenings Assignment

  • Choose one of these events, attend the screening

  • Write a three-page paper in response

  • Analyze the film in terms of how content is introduced and handled, camerawork, editing, and sound.

Snow-day-makeup – download and printout this guide for film titles, venues, & addresses

1.
Films by Nigerian director Moustapha Alassane at MoMA
The Museum of Modern Art
11 W. 53rd Street (between 5th & 6th Aves.) + Google Map

Le retour d'un aventurier 2

showing:

Le Retour d’un aventurier (The Return of an Adventurer). 1966. Directed by Moustapha Alassane
Bon Voyage Sim. 1966. Niger. In French, Hausa; English subtitles. 5 min.
Le Retour d’un aventurier (The Return of an Adventurer). 1966. Niger.. In French, Hausa; English subtitles. 34 min.
Friday, May 12, 6:45 p.m.
Sunday, May 14, 1:00 p.m.
https://www.moma.org/calendar/events/2986?locale=en

and:

F.V.V.A. 1972. Directed by Moustapha Alassane
Accompanied by Shaki. 1973. Niger.
Saturday, May 13, 1:30 p.m.
Monday, May 15, 4:00 p.m.
https://www.moma.org/calendar/events/2987?locale=en


2.
Documentaries in Brooklyn
Union Docs
322 UNION AVE
BROOKLYN, NY 11211 United States + Google Map

showing:

Emergency Turned Upside Down
Discussion following the screening with Oliver Ressler, Yates Mckee and Olga Kopenkina
Thursday, May 4, 7:30-10PM
$10.
https://uniondocs.org/event/2017-05-04-emergency-turned-upside-down-ressler/

and:

ephraim-200x200

Points Near and Far: Recent Work by Ephraim Asili
With Ephraim Asili
Sunday, May 7 at 7:30 pm
https://uniondocs.org/event/2017-05-07-points-near-far-recent-work-ephraim-asili/


3.
Documentaries at Film Forum, Manhattan
Film Forum
209 West Houston St. west of 6th Ave., Map and Directions

showing:

download

I AM NOT YOUR NEGRO
directed by Raoul Peck, based on the writings of James Baldwin
showtimes: 12:30 2:30 4:40 7:00 9:10

and:

download-1
GAS FOOD LODGING with director Allison Anders in person
Monday, May 15, 7:00pm


4. Film at International Film Center, Manhattan
IFC Center
323 6th avenue, New York, NY 10014 +Google Maps

showing:

Risk by Laura Poitras

Fri May 5:  Q&A with director Laura Poitras Fri May 5 at 7:25pm & 9:35pm showsPlaying daily now through May 11http://www.ifccenter.com/films/risk/


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Revisions to the syllabus Apr 20 – May 22

1397751816-create-moving-imageHere’s the revised schedule for class between now and the send of the semester:

SPRING RECESS APRIL 10 – 18

MONDAY CLASS IS NEXT MEETING ON THURSDAY APR 20

TUESDAY CLASS IS NEXT MEETING ON TUESDAY APR 25

Week 10 Thursday Apr 20
Lighting – back to the basics
Live Action Quiz: Lighting and lighting safety 

Week 11 Monday Apr 24
Lab: Digital editing – keyframing, special effects, and creating text and titles
Written project descriptions of your final projects due: Send to me via email by class time today. One page (500 words), double-spaced.

Week 11 Tuesday Apr 25
Lighting – back to the basics
Live Action Quiz: Lighting and lighting safety 

Week 12 Monday May 1
Lab: Final re-cap for digital editing. Effective exporting. Bring your production and post-production problems to class and we will figure them out.

Week 12 Tuesday May 2
Lab: Digital editing – keyframing, special effects, and creating text and titles
Written project descriptions of your final projects due: Send to me via email by class time today. One page (500 words), double-spaced.

Week 13 Monday May 8
Live Action Quiz: Digital editing basics.

Week 13 Tuesday May 9
Lab: Final re-cap for digital editing. Effective exporting. Bring your production and post-production problems to class and we will figure them out.

Week 14 Monday May 15
Workshop rough edits of final projects. This means bring your rough edit to class for feedback.

Week 14 Tuesday May 16
Workshop rough edits of final projects. This means bring your rough edit to class for feedback.

Week 15 Monday May 22
Final projects due. Upload a file of your final video to the classroom desktop for final screening.

Week 15 Tuesday May 23
Final projects due. Upload a file of your final video to the classroom desktop for final screening


Monday Class Visit to MoMA March 20

Our next Video 1 class meeting will convene at the Museum of Modern Art (MoMA).

The address is:

MoMA
11 W. 53rd Street
New York, NY 10019
betw 5th & 6th Aves

Here’s map:
https://www.google.com/maps/place/11+W+53rd+St,+New+York,+NY+10019/@40.761417,-73.9793143,17z/data=!3m1!4b1!4m5!3m4!1s0x89c258fbd6896db9:0xcdeee990894f562f!8m2!3d40.761417!4d-73.9771203

We will meet at the Information Desk on the ground floor at 10:45AM.
Bring your CUNY ID for free admission.

img_6315

Information Desk. Meet here and have your CUNY ID ready.

How to get there:
X10 bus – schedule

SI Ferry:
Park at the Ferry Bldg. and take the R, W, or 1 train to the Museum. See specifics below.

Subway:
B, D, F, M trains to 47-50 Rockefeller Center. Exit at 49th & 6th Ave. Walk north to 53rd St. Turn right (East) onto 53rd and walk 1/2 block to the Museum.

N, R, W trains to 49th St. Walk north to 53rd St. Turn right and walk 2 blocks to the Museum.

1 train to 50th St. Walk north to 53rd St. Turn right and walk 2-1/2 blocks to the Museum.

E, M trains to 5th Ave./53rd St. Go West on 53rd St., 1/2 block to the Museum.

6 train to 51st & Lexington. Walk north to 53rd St. Turn left (West) and walk 3-1/2 blocks to the Museum.

Subway map


The Exhibit
2nd Floor Gallery

Screen-Shot-2016-06-02-at-5.07.33-PM

Lovers,  by Teiji Furuhashi

Lovers is an immersive, room-sized multimedia installation by Japanese artist Teiji Furuhashi (1960–1995).

Life-sized images of the artist and other fellow members of the Kyoto-based artist collective Dumb Type are projected onto the walls of a darkened room from a tower of computer-controlled video and slide projectors at its center. The figures move like specters around the perimeter of the space, in a looped choreographic sequence made variable by a visitor-activated motion sensor, which intervenes to restart one of the projections when triggered.

Confined to their autonomous projections, these eponymous “lovers” overlap at moments within the sequence, whether running past each other or pausing in a gesture of embrace, yet their bodies never make contact. Made just one year before Furuhashi’s death from AIDS-related illness, Lovers speaks to what the artist has described as “the theme of contemporary love in an ultra-romantic way.”

Presented for the first time since its inaugural exhibition at MoMA in 1995, the installation showcases the results of an extensive conservation effort recently completed by the Museum’s media conservators.


 

Haiku: from classical Japanese poetry to 21st Century video re-invention

Haiku is a three-line poem. The first and third lines contain five syllables, and the second line contains seven syllables. The 5-7-5 structure of haiku eliminates, by virtue of its form, all words that are extraneous to the message of the poem.

Along with form, haiku is concerned with content as well. There is often an action – something very ordinary that might usually be taken for granted or overlooked. The action identifies the subject of the haiku. And the setting, or scene, often identifies the season. The third line provides a gentle twist on what the first two lines mean, and the reader’s assumptions are slightly up-ended.

In film and video, the basic ideas of haiku can be presented visually in 3 parts, rather than as three lines of text.

Use your imagination. Any topic is okay, although nature, the seasons, simple actions, and love are often themes in haiku. For example, the first couple clips could establish the season, or something observed, or a simple thought. The second part, or next few clips may represent another element in the scene – something that provides a possible storyline. The third an final part should in some way change the viewer’s assumptions about the relationship of the first & second parts.

Alternately, you could simply put together a narrative or a logical sequence in three parts. Use as many shots as you need/want for each of the three parts, but don’t use any extra shots – keep it simple, clean, and say as much as you can say with as little video as possible.

Read the poems below to see how the third line adds just one last bit of information that creates a more complete picture and sometimes changes the tone or expectation.

From the 17th-centruy poet Basho:

An old silent pond…
A frog jumps into the pond,
splash! Silence again.

Autumn moonlight—
a worm digs silently
into the chestnut.

Lightning flash—
what I thought were faces
are plumes of pampas grass.

From 19th Century poet Kobayashi Issa:

Everything I touch
with tenderness, alas,
pricks like a bramble.

And from the 19th-century poet and novelist Natsume Soseki:

The crow has flown away:
swaying in the evening sun,
a leafless tree.

Contemporary Haiku:

Whitecaps on the bay:
A broken signboard banging
In the April wind. – Richard Wright

A cricket disturbed
the sleeping child; on the porch
a man smoked and smiled.

November nightfall
the shadow of the headstone
longer than the grave  – Nick Avis

his side of it.
her side of it.
winter silence   – Lee Gurga

The idea is complexity within simplicity, philosophy or a sense of the spiritual within the ordinary. And it’s also about saying only as much as is necessary to convey that idea. Nothing extra.


CIN 111 CSI CUNY

CIN111 – VIDEO I
Prof. Cecilia Dougherty
contact: cecilia.dougherty@gmail.com


Course syllabuses

Monday 10:10AM – 2:15PM – cin111-syll-mon-sp17

Tuesday 6:30 – 9:45PM – cin111-syll-tues-sp17


This site contains course information for Video I at CSI for both the Monday morning and the Tuesday evening CIN111 classes. This includes the current course syllabus and updates, technical information, how-to videos, course handouts, and whatever else comes our way this term. These items will be uploaded as the semester progresses.

Students can use this site to access updated course information and technical instruction outside of class time.

All text files are downloadable as PDF files. Everything posted to this site stays up all semester. Professor Dougherty is the site admin.


Course-relevant files to download or view online

Media_Lab_Manual – The Cage: equipment lists, rules, and phone / email contact info
DigitalDesignMedia_Manual – Digital Design Lab information
Equipment Certification CSI – Equipment Certification checklist – what you’ll be expected to know to get certified
CanonXA10_Manual  complete official manual containing detailed information about this excellent HD camcorder.
1CanonXA10_QuickStartGuide – simplified steps to start recording with the Canon XA10


EQUIPMENT (& CERTIFICATION…) – here’s what we’re using for this class:

1. Canon XA 10 and Tripod Instruction videos:


2. Taking a closer look at the Sachtler Ace Tripod:


Filmmaking technique – shots and framing

Here’s a downloadable PDF illustrating the types of shots that have been used, in various combinations, in traditional film and video. I encourage you to experiment with these shots – they are definitely the standard of media language – but also experiment with creating your own types of shots, ones that best suit your own style of filmmaking.

Download PDFs:

shots_framing

shottypes-cd

Below are a couple of videos that might make it easier to imagine how framing and types of shots are used to construct a readable film/video.

Basic Shot Types

Basic Shots for Filmmaking