Moving images have the power to engage vast audiences, influence global cultures, and frame the way that entire populations perceive an increasingly complex world. The major in Film and New Media offers students the opportunity to study the arts and histories of international screen cultures with an equal emphasis on practical creative work and critical scholarly inquiry. In this multiplatform discipline, the major engages students with classic cinema, popular drama and comedy, animation, documentary, and mobile and interactive media. We offer theoretical and practical study of the key disciplines — including screenwriting, directing, cinematography, sound design, producing, editing, and distribution — employed in the collaborative process of visual storytelling. Employing a wide range of creative, technical, and intellectual skills, students create original content and study key aspects of a wide variety of film, television, and digital media. Projects range from traditional screen narratives in familiar genres to intensely experimental works.
Abu Dhabi is destined to become a global center of film, television, and digital media production. This development provides our students with a unique opportunity to explore the latest innovations, methods, and technologies that will shape the future of our media. The Film and New Media major promotes independent artistic and intellectual vision and celebrates the cross-pollination of academic disciplines and the arts. Students are encouraged to aspire to the status of the ancient storytellers, who made themselves indispensable to the tribe by performing the essential tasks of enriching lives, overcoming fears, and explaining the inexplicable. Over the centuries the tools and techniques may have changed, but the storyteller remains the guardian of the culture.
Film and New Media Courses
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AHC-AD 100 Varieties of Memory
Everyone talks about memory, yet nobody knows quite what it is. The basic question, what is memory, is unresolved: is memory located in the brain, or is it a complex of activities characteristic of the mind or psyche? We speak of personal memories, repressed memories, communal memories—the list goes on. This course can only introduce the rich variety of ideas, activities, and artifacts all said to be about memory. Among them are memory and place, memory and time, how societies remember, the art of memory, remembering the future, memory and creativity, and metaphors of memory.
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 113 Before Globalization: Understanding Premodern World History
Humans have created a stunning variety of cultures, yet different civilizations have often developed in comparable ways. This course explores similarities and differences in the long run: are there patterns in world history, and why did civilizations develop the way they did? How did humanity come to grow together by forging connections over ever greater distances? We address these questions by taking a global view of humanity, from hunter-gatherers up to the beginnings of modern globalization 500 years ago. We examine the biological evolution of humans; the creation of art and religion; the origins of agriculture; the invention of hierarchy, gender inequality, and slavery; and the rise of cities, states, and empires.
Students in the NYUNY Classics Dept: This course counts for Classics Greek and Roman History and Culture elective credit
This course appears in...
- Concentrations > Multidisciplinary Concentrations > The Ancient World
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 114 Translation as Multimedia Practice and Metaphor
This course concerns the aesthetics and politics of translation, both as a historically and culturally situated practice and as a rich metaphor for cultural production, cross-cultural encounter, and other types of creation, appropriation, and change. The course emphasizes transformations that occur in cross-media translations, such as when poems are set to music and books are turned into films. In addition to writing a number of short, critical essays on translations broadly conceived, studies create literary and/or cross-media translations of their own. Students perform their translations at the end of the semester.
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 115 A World Transformed?: The Global "Sixties"
This course explores the artistic and intellectual avant-gardes, counter-cultures, and protest movements of the 1960s and 1970s from a global perspective, assessing their impact on individual identities, social and gender hierarchies, domestic politics, and international relations during the Cold War. It traces the history of the various protest movements and the plethora of national experiences with respect to domestic and transnational networks of dissent as well as global imaginaries. Taking into account the aesthetics and performativity of protest, the course examines the role of cultural practices, action repertoires, the media, visual representations, lifestyle and fashion, the politics of memory, and the impact of dissent on political decision-makers and society at large. Course materials draw on the most recent historiography, as well as literature, film, art, music, and oral history.
Students in the NYUNY History Dept: This course counts for History special topics lecture credit
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 120 Art/Science Collisions: Communicating with Data
The aim of this course is to explore and draw inspiration from the scientific process, its representations, and data. The goal is to cultivate purposeful science communication and to encourage critical responses to scientific and technological practice in modern culture. Students will focus on a particular area of science and become familiar with its process, language, and data. From direct experiences with scientists and science students, students will propose their own art/science collisions and develop one idea as a media/interactive presentation for the final project.
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 123 Postcolonial Memory: Representing Cultures of Displacement
With the growing numbers of immigrants and refugees from the Middle East/North Africa in cities such as London, Paris, Berlin, Barcelona, New York, Los Angeles, Montreal, Mexico City, Buenos Aires, and Sao Paulo, the construction of “us” versus “them” can no longer correspond to one geography, simplistically imagined as “over there.” This seminar studies questions of displacement as represented, mediated, and narrated in a wide variety of texts. It focuses especially on memoirs, whether in written or audiovisual form, which confront exclusionary and essentialist discourses with a rich cultural production that foregrounds a complex understanding of such issues as “home,” “homeland,” “exile,” “hybridity,” and “minorities.”
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 124 Site-Specific: Augmentation, Affinities, and Frames
Site suggests contexts that are spatial, temporal, narrative, and populated. Site-specific works require a frame for participants, a set of stories, and a point of entry. More than art within “the framework” of an art institution, site-specific, interactive, and community-based works require rigorous levels of observation, interrogation, and participation. Whether in the physical or the virtual public, frame and context are primary considerations in the work produced. This class is part studio and part reflection, using contemporary art examples and writings that engage and critique the local and the global, invert locale and involve the everyday as well as traditional urban studies of observation.
This course appears in...
- Concentrations > Multidisciplinary Concentrations > Interactive Media and Technology
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 125 Humanism: Literature, Visual Arts, and Architecture
Humanism – which in some parts coincides with Renaissance – was a cultural movement initiated in Italy in the 14th century, spreading all over Europe until it reached its end in the 17th century. Its programmatic energy derived from the desire to remember something that seemed to have been obliterated and forgotten in the course of the Middle Ages, i.e. pagan antiquity. Basing their European – national and transnational identities – on something much older than Christianity, scholars (poets, painters, architects, composers and philosophers) revived and developed scientifically the Greek and Roman legacy and laid the founding stones for Enlightenment and Modernity.
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 126 Age of Warhol
At the global art market's most recent peak in 2007, American Pop artist Andy Warhol (1928-1987) edged out Pablo Picasso to become the world's highest earning painter at auction. Although he has recently ceded that position to Chinese artists Zhang Daqian (1899-1983) and Qi Baishi (1864-1957), Warhol remains one of the most influential forces in contemporary art worldwide, with an enormous retrospective on tour in five Asian cities over the next few years. From his famous Campbell's soup cans to his enduring aphorism that "In the future, everyone will be world-famous for fifteen minutes," Warhol's art and thinking saturate contemporary culture. This seminar uses his diaries and other writing as a base-line against which we will examine his 25-year career as a painter, filmmaker, publisher and music producer, TV personality, and artistic mentor and collaborator, as well as his legacy in what has been described as our "Warhol economy." What can Warhol's output and reception tell us about class, gender and sexuality, religion, and media over the last half century? And how should we understand his role in the making of global culture today?
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Spring 2013;
14 Weeks
Bryan Waterman - MW, 2:35-3:50 PM
Taught in Abu Dhabi
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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Spring 2013;
14 Weeks
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AHC-AD 127 Global Text: Moby-Dick
Is there such a thing as global cultural heritage? This course resituates Herman Melville's Moby-Dick -- often described as "The Great American Novel" -- as a global text that is "worldly" in its outlook and its legacy. The course examines the novel's relation to Christian, Muslim, and Zoroastrian religious traditions; to Greco-Roman tragedy and epic; to Shakespeare; to Western and Eastern philosophical traditions; and to a variety of European, British, and American Romantic traditions. It also examines the novel's engagement with the visual arts. The course poses three sets of questions: 1) In what ways was Moby-Dick a “global” text in its own day, adopting a “worldly” approach that transcends its particular local milieu? 2) How has the history of the publication, criticism, and teaching of the novel transformed it into a global cultural work? 3) What is the cultural legacy of the book today throughout a variety of global media forms, including plays, films, novels, operas, and works of visual art?
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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AHC-AD 128J Children and Childhood: Medical, Historical and Cultural Perspectives
Every society cares deeply about its children, but every society cares for its children differently. This global examination of children will discuss common themes and cultural variations. We will consider child labor, children in cities, children and war, and the changing historical nature of the family in America, Europe, and China. We will discuss education and health in global perspective, looking at children in the urban world of the 21st century, with field trips to the Shanghai Children’s Palace, the Shanghai Children’s Hospital, a school, an orphanage. Each student will report to the class on some particular theme of childhood in comparative cultural perspective.
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January 2013
Larry Wolff, Perri Klass - T, BD
Taught in Shanghai, China
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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January 2013
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AHC-AD 129J Memory and the City: Berlin in 20th Century History and Literature
One may well call European and especially German history in the 20th century eventful. As the German capital, Berlin saw the transition of the German Empire to a functioning if turbulent democratic state in 1918. The rise of the Nazis to power and their defeat in WW II led to the notorious division of the city which then belonged to two states. When the Berlin Wall came down in 1989, German reunification was imminent. The course will engage with Berlin as a city of memory as represented in places and reflected in literature. Visits include: Checkpoint Charlie; the Berlin Wall; the Reichstag; the Olympic stadium and village; the Bauhaus Archive and Museum; and the Gemäldegalerie.
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January 2013
Wolfgang Neuber - T, BD
Taught in Berlin, Germany
This course appears in...
- Concentrations > Multidisciplinary Concentrations > Urbanization
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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January 2013
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AHC-AD 130J Miracle of Florence
In the 15th and 16th centuries, the city of Florence was a center of immense creativity in every area of human understanding and endeavor. It was the center of that extraordinary moment we call "the Renaissance"—the revolution in art, architecture, politics, philosophy and science that has shaped our view of the world, and the place of human beings in it. In this seminar, we read representative writings from several of the great Florentine thinkers of the period—Alberti, Machiavelli, Pico, and Galileo. Our goal is twofold: to discover what was original in each, and to grasp how all were connected by a shared set of ideals and beliefs. Our readings and discussions are supplemented by visits to the main cultural monuments of Florence, where we see (among other wonders) the palaces and churches that Alberti designed, the telescope through which Galileo spied the moons of Jupiter, and the tomb where Machiavelli lies.
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January 2013
Anthony Kronman - T, BD
Taught in Florence, Italy
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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January 2013
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AHC-AD 131J Enlightenment and Its Institutions
With astonishing speed—mere decades in the middle of the eighteenth century—Enlightenment not only transformed how we think about ourselves, through new concepts of individuality and community, liberty and verifiable truth, it also remade Britain’s cities and institutions. Imagine London without the British Museum (1759) or the Royal Academy (1768). Imagine our curriculum without Johnson’s Dictionary (1755) or the Encyclopedia Britannica (1768). 250 years later, we will use the resources of the Global Network University to recover how this revolution in methods, tools, and institutions recast inquiry and enterprise in the West and to consider what we might do with our Enlightenment inheritance now. Behind-the-scenes adventures into London’s museums, galleries, and civic societies allow us to add our own tracks to the intellectual map we will be drawing in class.
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January 2013
Clifford Siskin - T, BD
Taught in London, England
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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January 2013
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ARTS-AD 400 Arts Capstone / Capstone
Description pending.
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Fall 2013;
14 Weeks
Debra Levine - T, 5:45-8:15
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media
- Majors > Music
- Majors > Theater
- Majors > Visual Arts
Prerequisites
There are no prerequisites for this course.
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Fall 2013;
14 Weeks
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CORES-AD 08 Athens and Jerusalem
In this seminar, we will explore one of the great intellectual encounters that has shaped the history of Western thought. On the one side are the pagan Greeks, with their ideas of wisdom and excellence, and their belief in the eternal order of the world. On the other are the children of Abraham &emdash; those who affirm the existence of a transcendent creator God; who deny the eternality of the world; and who insist on the supremacy of will over reason. Since Tertullian in the second century CE, the clash between these two systems of ideas has been known as the conflict between Athens and Jerusalem.
This course appears in...
- Core Curriculum > Structures of Thought and Society
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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FILMM 231 World Through the Documentary Lens
This course is designed for students with an interest in exploring a specific subject through the documentary genre. By focusing on a single issue, the course aims to cover many points of view and to provide a foundation of knowledge, vocabulary, and insight about both the subject matter raised by the films and the techniques and skills of good documentary filmmaking. Through frequent screenings and discussions, and a required reading list, the students study specific subjects in depth. Both classical and contemporary films are shown. specific examples of fields of study include: civil rights, human rights, the environment, biographies, and societes at war.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 101 Sound, Image, and Story / Required
An intensive and practical production workshop introducing the fundamental principles of storytelling through sound, image, and visual sequencing. Using digital single-lens reflex cameras, that shoot both stills and video, students learn the essentials of cinematic language from composition to editing. Sound can include music, sound FX, and/or voiceover. Character, place, and memoir are explored in the context of the projects assigned. Students work individually as well as in collaboration. A major goal of the course is to develop the ability to work with others, and to understand professional protocol. Projects will be edited on Final Cut Pro. Four lab sessions outside of class are mandatory.
Students in the NYUNY Tisch Film and Television Dept: This course counts for Film and Television core production course
Note: For the Fall 2013 offering, there will be screenings on various Wednesdays from 8:30-10:30pm. Please refer to Albert for more details.
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Spring 2013;
14 Weeks
Joanne Savio - MW, 2:35-5:15 PM
Taught in Abu Dhabi -
Fall 2013;
14 Weeks
Joanne Savio - MW, 1:10-3:50
Taught in Abu Dhabi
This course appears in...
- Concentrations > Disciplinary Concentrations > Documentary Film
- Majors > Film and New Media
Prerequisites
There are no prerequisites for this course.
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Spring 2013;
14 Weeks
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FILMM-AD 103 Concepts in Film and New Media / Required
An introduction to the basic methods and concepts of screen studies. The course provides an overview of the historical development of cinema as an international artistic and social force. Topics include the role of new media as a challenge to traditional modes of media production and distribution. Students are also introduced to aesthetic questions, the language of production, and the lines of critical enquiry that have been developed for cinematic media.
(formerly titled Language of the Moving Image)
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Fall 2012;
14 Weeks
Seung-Hoon Jeong - MW, 1:10-2:25
Seung-Hoon Jeong - M, 9:00-11:00pm
Taught in Abu Dhabi -
Fall 2013;
14 Weeks
Seung-Hoon Jeong - MW, 11:20-12:35; W 8:30-10:30pm
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media
Prerequisites
There are no prerequisites for this course.
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Fall 2012;
14 Weeks
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FILMM-AD 110 Writing the Short Screenplay
A workshop designed to develop short screenplays from concept to structure to final draft. Topics include theme, character, research, story, conflict, dialogue, and script editing. The course aims to make a connection between the ancient traditions of the oral storyteller and the professional practice of the contemporary screenwriter when pitching to producers. Screenings and discussions focus on classical and contemporary examples of the short film from a variety of genres, traditions, and cultures. All students complete two short screenplays.
Students in the NYUNY Tisch Film and Television Dept: This course is equivalent to FMTV-UT 1020 Writing the Short Screen Play
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Fall 2013;
14 Weeks
Mo Ogrodnik - U, 2:35-5:15
Mo Ogrodnik - T, 4:00-5:15
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media
- Majors > Literature and Creative Writing
Prerequisites
There are no prerequisites for this course.
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Fall 2013;
14 Weeks
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FILMM-AD 116 Single Shot Cinema
In this hands-on course, we explore the vocabulary of camera movement and the dramatic impact of the long, single take. Single Shot Cinema is a film method that re-interprets film language based on the technical developments and possibilities of filmmaking in the digital age. What was once only possible with cranes and Steadicams is now accessible to the low-budget filmmaker. Students discover how to block actions and characters in a scene and how to choreograph one single shot, using smooth and flexible camera movements that expresses the drama, emotion, and vision of the director.
Students in the NYUNY Tisch Film and Television Dept: This course counts for Film and Television as a 3-credit craft course
This course appears in...
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 117 Directing the Camera 1
This course focuses on designing and executing the visual elements of a film. Through the universal language of lenses and lighting we learn how these play a central role when working with a set. Students develop the skills to use a motion picture camera in order to tell a good story. The class structure reflects a working film set with emphasis on production. Learning to create a mood advances the ultimate goal of a filmmaker. The heart of visual storytelling is composition: camera placement, camera angles, camera movement, and lens choice. Together with the lighting style a film finds its own unique life. In each class we look at selected scenes from popular films and recreate them. We shoot exercises in the classroom or on location.
Note: For the Fall 2013 offering, Monday classes will be held in DTC for the first half of the semester and in Studio twofour54 for the second half. Wednesday classes will be held in Studio twofour54 for the entire semester. Please allow 30 minutes travel time to and from class for any days held at Studio twofour54.
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Fall 2012;
14 Weeks
Sandra Sissel - M, 9:55-11:10
Sandra Sissel - W, 8:15-10:55
Taught in Abu Dhabi -
Fall 2013;
14 Weeks
Sandra Sissel - M, 4:00-5:15 (2:15-4:30 in Fall 2)
Sandra Sissel - W, 1:10-3:50
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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Fall 2012;
14 Weeks
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FILMM-AD 150 Frames of World Cinema: 1960 to present
World cinema typically has been studied as a collection of national traditions. What happens when the history of cinema is reframed within a set of regional, transnational, and global traditions? Students use film theory and close analysis to rethink the history of world cinema with particular emphasis on post-1960 Hollywood and New Wave films.
Students in the NYUNY Tisch Film and Television Dept: This course is equivalent to FMTV-UT 322 International Cinema
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 151 French New Wave Cinema
This course offers an historical/critical overview of one of the most influential film movements in the history of the cinema -- the French New Wave. After examining the philosophical underpinnings of the New Wave in philosophical existentialism (Jean-Paul Sartre, Simone de Beauvoir) and the movement’s theoretical underpinnings in the film criticism of Cahiers du Cinema, we will examine a chronological series of films by key directors. We will analyze films by members of the three core groups that together formed the New Wave, notably 1) the Cahiers directors (Truffaut, Godard, Chabrol, Rohmer), the Left Bank directors (Resnais, Duras, Varda, Marker), and Cinema Verite (Rouch, Morin).
While focusing on the films themselves, we will also take a cultural studies approach by seeing the films as part of a broader artistic and mediatic spectrum. Some of the themes of the course will include: first-person “auteur” cinema; artistic modernism and film; the revolution in film language; the filmic adaptation of novels; feminism and the New Wave; the impact of May 68; and the legacy of the French New Wave in World Cinema. There will be one quiz and a final term paper, and students will be expected to view some of the feature films outside of class and to write a brief personal reaction to the film.
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Spring 2013;
14 Weeks
Robert Stam - U, 1:00-3:30PM; W 11:35-12:50 PM
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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Spring 2013;
14 Weeks
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FILMM-AD 155 Stages of American Cinema: 1960 to Present
This course explores several temporal stages of post-classical American cinema from the 1960s American New Wave to the new millennium global Hollywood. It also maps historically significant films on three broadly thematic stages: mind, society, and culture. Students will thus acquire psychological, sociopolitical, and cultural perspectives for deep and diverse film analysis, while learning about historical shifts, major genres and auteurs, and key issues on industry and technology. Besides, formal approaches to narrative, editing, cinematography, sound, etc., will inspire students both theoretically and practically. Through this process the course will shed new and synthetic light on the modern history of the world’s most powerful cinema.
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Spring 2013;
14 Weeks
Seung-Hoon Jeong - M, 8:30-10:30 PM (Lab); MW 4:00-5:15 PM
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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Spring 2013;
14 Weeks
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FILMM-AD 209 Documentary Production
A practical introduction to creating compelling stories in which real people are the characters and real life is the plot. The academic study of classic documentaries is combined with craft training, practical exercises, and production work. Working collaboratively in small production teams, each student completes three projects. The course introduces the fundamentals of lighting, camera and sound recording, and emphasizes the creative role for the editor. Students are introduced to the fundamentals of lighting, camera and sound recording, working with HD or SD video. Students learn to understand how pacing, transitions, cuts, and continuity can enhance a film. Digital editing tools including Final Cut Pro are utilized.
This course appears in...
- Concentrations > Disciplinary Concentrations > Documentary Film
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 210 Introduction to Animation
A practical introduction to the basic techniques of animation. Topics include flipbook, clay, collage, and drawing from the model. Cameraless animation, optical toys and 2-D digital animation are also explored. Principles of motion are stressed such as anticipation, follow-through, staging, overlapping action, and exaggeration, among others. All work is tested on video. At the end of the course each student will have an edited two-minute reel.
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Spring 2 2013;
7 Weeks
UTR, 9:55- 12:35 PM
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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Spring 2 2013;
7 Weeks
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FILMM-AD 211 Person-to-Person: The Interview
Exploring the interview in film, radio, television, print, and new media, this class considers a range of theoretical and practical approaches to the shaping of questions, the interviewer/interviewee relationship, character, and constructing an argument. Readings include Plato, Deleuze, and Studs Terkel and the class examines the approaches of Errol Morris, Michael Moore, Sadie Benning, David Frost, James Agee, Oprah Winfrey, and others. Class projects investigate these techniques from both a practical and theoretical perspective.
This course appears in...
- Majors > Film and New Media
- Majors > Film and New Media > Production and Craft
- Pre-Professional Tracks > Journalism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 212 Short Film Production
In this practical introduction to short filmmaking each student writes and directs three short fiction films, wokring in groups of four and rotating crew positions. Student work is screened and critiqued in class. Students are introduced to the fundamentals of screenwriting, acting, directing, lighting, and sound recording, and working with HD or SD video. Digital editing tools including Final Cut Pro are utilized. Digital output, compression, and online distribution is also covered.
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Spring 2013;
14 Weeks
Scandar Copti - M, 9:55-11:10 AM; W 9:55-12:35 PM
Taught in Abu Dhabi
This course appears in...
- Concentrations > Disciplinary Concentrations > Documentary Film
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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Spring 2013;
14 Weeks
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FILMM-AD 213 Social Software
Traditional broadcast media (television and radio) are in a time of transition, pushed in new directions by the increasing ease of producing compelling material, and by the interactive and social nature of the Internet. Blogs and other Internet-based social networks have given rise to an audience that is eager to engage with and participate in the creation of media. The goal of this course is to introduce students to new technologies and methods for creating participatory media and making it available to the public. Students develop new ideas for helping this transition along both on the Internet and in the traditional broadcast space.
This course appears in...
- Concentrations > Multidisciplinary Concentrations > Interactive Media and Technology
- Majors > Film and New Media
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 214 Developing the Feature
A workshop devoted to the development of a feature-length screenplay. Topics include the germinal idea, research, the step outline, and the first draft. Students are encouraged to develop original ideas, create memorable characters, construct effective stories and structures, and write distinctive dialogues. Students workshop their story ideas and screenplay pages in class.
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Spring 2013;
14 Weeks
Lamar Sanders - TR, 9:55-11:10 AM
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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Spring 2013;
14 Weeks
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FILMM-AD 215 Film Techniques: Story and Style
The course is designed to give student filmmakers more muscle in applying techniques to telling a story visually. Emphasis is given to building greater authority in translating a script into a coherent style. The training will occur through weekly exercises (outside of class, with digital camera) and the close reading of clips from over 42 different films (from the early 1900’s to the present) made in over 25 different countries. The class is structured according to the basic techniques of moviemaking: casting, location, use of color, production design, camera, lighting, sound design and editing.
*Note: Prequisites for this course include Film and New Media major or permission of the instructor.
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Fall 2013;
14 Weeks
Gail Segal - TR, 8:15-11:00
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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Fall 2013;
14 Weeks
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FILMM-AD 216 Directing the Non-Actor: Singular Drama
Description pending.
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Fall 2013;
14 Weeks
Scandar Copti - M, 9:35-10:35 AM
Scandar Copti - W, 6:30-9:30PM
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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Fall 2013;
14 Weeks
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FILMM-AD 217 Directing the Camera 2
This course extends the reach of students who have taken Directing the Camera I or its equivalent. It is designed especially for capstone students who are creating 10-12-minute films and will coordinate with the courses Directing the Non-Actor and Writing the Short Screenplay to encourage students to develop multiple skills in their crafting of their capstone project.
Prerequisites: For non-capstone students, Directing the Camera 1 (FILMM-AD 117). No prerequisites for capstone students.
Note: For the Fall 2013 offering, classes will be held in Studio Twofour54 for the entire semester. Please allow 30 minutes travel time.
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Fall 2013;
14 Weeks
Sandra Sissel - W, 9:00-12:00 PM
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media
Prerequisites
- Directing the Camera 1
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Fall 2013;
14 Weeks
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FILMM-AD 221 The Box: TV to Webisode
This course examines the background, context, and history of television and its migration to the World Wide Web. Topics include: politics and economics of media institutions, audience and reception, cultural and broadcast policy, aesthetic modes, and movements.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 222 Comparative (Post)Colonialism: Media and Representation
This seminar is devoted to the interrelated issues of colonialism, postcolonialism, comparative race, and multiculturalism as apprehended through diverse disciplines, media, and colonial histories. Throughout our focus is comparative, transnational and trans- disciplinary, mingling the theories and methods of media studies, literary studies, philosophy, and social studies. The goal is to reflect in a polycentric way on a multicultural world still shaped by the legacies of (post) colonialism, as reflected, refracted, translated, and resisted by the media.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 223 Documentary Techniques
The course provides a review of current documentaries and a comparison with those made in earlier decades. We examine influential works such as Robert Flaherty’s Nanook of the North, propaganda films, cinéma vérité, social and educational documentaries, the personal documentary, re-enactment and dramatization, experimental works, and the unique voices of artists such as Errol Morris. The course explores the different genres of documentary filmmaking and identifies the specific elements employed in the context of their time, their objective, and their audience. The final project: a 5-7-minute documentary portrait of “a character work.” This course also includes a final exam.
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Fall 2012;
14 Weeks
Gail Segal - M, 4:00-6:00
Gail Segal - W, 4:00-5:15
Taught in Abu Dhabi
This course appears in...
- Concentrations > Disciplinary Concentrations > Documentary Film
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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Fall 2012;
14 Weeks
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FILMM-AD 224 History of Editing
Beginning with the famous contrast between the styles of Lumiere and Melies; between respect for the real and its fabrication, this course explores the theory and practice of editing. Topics to be explored include: the theory and practice of montage in the works of Griffith, Gance, and the Russian School (Kuleshov, Pudovkin, Eisenstein); the emergence of classical Hollywood style; the impact of sound upon editing; the theory and practice of the long take (from Welles to Sukarov); the impact of wide-screen format; the influence of video editing and digital media upon new forms of montage in the cinemas of Hollywood, Bollywood, and beyond.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 225 Imagined Networks, Global Connections
This course examines emergent “imagine networks” (anti-globalization activists, youtubers, second lifers) fostered by new media technologies and applications. What is the changing relationship between the local and global and how do “global” phenomena affect national and personal identities? Readings are historical, political, and literary.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 226 Indian Cinema
While its total revenue stream is only the size of a medium-size Hollywood studio, the global audience for Bollywood film is larger than that of Hollywood, and both are 100 years old. The course explores the character and development of its unique aesthetics and idioms as they responded to the radical social changes wrought by the liberation of India from colonialism and the development of technological modernity. Topics include the early cinema of Phalke, the coming of sound, the golden age of the 1950s, the development of the new wave, Bengali Cinema, the figure of Ambitab Bachchan and the Indian star system, and the emergence of modern Bollywood as a domain of media synergy and globalization.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 227 Interactive Screens and Cinematic Objects
What does it mean to create interactive cinema? What are its limits and possibilities? Are we talking about cinema that is narrative, formal, symbolic, or vestigial? How does interactivity impact narrative perception, rhythm, and arc? Is the interface user- driven or machine-driven? Multilinear or singular? Screen or object based? Do we want to work for our stories? Is it possible to make profound or emotional narrative work in a multilinear or interactive environ- ment? The creation and evaluation of work in this class pivots on the notion of narrative perception: a viewer’s desire to actively make story out of represented moments, from Chaplin’s silent movies to U.S. Army recruitment ads to De Kooning’s paintings of women.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 228 New Media Ecologies
If one vector of globalization is accelerated homogenization—McDonaldization, Hollywoodization, Googlization—another vector is expanded diversity of media: amateur, ambient, activist, commercial, documentary, experimental, indigenous, locative, and tactical media. This course examines new media ecologies of digital technologies and distributed networks deployed in production, distribution, and exhibition in Africa, Asia, Latin America, indigenous nations, the Middle East, North America, and transnational collaborations.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 229 Technology, Art, and Political Change
What is the relationship between art and politics in the age of digital distribution? This production seminar examines historical examples of radical media art from Dada to Hacktivism, developing a critique of these practices based on readings including Hakim, Bertolt Brecht, and Critical Art Ensemble. Students respond to the material by creating media projects.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 230 Video for New Media
How do technology and new media change the way we create, consume, and distribute video? The goal of this class is to provide an overview of video and its relevance to present-day new media. Topics covered include aesthetics and concepts, camera use, basic editing in Final Cut Pro, DVD Studio Pro, and an introduction to interactive video software such as Jitter. Through a series of weekly experiments and assignments, students gain experience with video blogging, short format documentary style, and interactive video installations. Previous video experience is not required and experimentation is highly encouraged.
This course appears in...
- Concentrations > Multidisciplinary Concentrations > Interactive Media and Technology
- Majors > Film and New Media
- Majors > Film and New Media > History, Theory, Criticism
- Majors > Visual Arts
- Majors > Visual Arts > Arts Practice
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 232 Film and Media Theory
This course surveys film and media studies from various theoretical perspectives: aesthetic, psychological, sociocultural, and technological. It explores major concepts and issues on visual representation and spectatorship in old and new cinematic media. Theories will be applied to and tested by a diverse, transnational set of films to be screened. Students will learn to critically use and creatively develop intellectual approaches to the image.
This course appears in...
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 400 Senior Capstone Research Project (2 semesters) / Capstone
The capstone experience provides seniors with the opportunity to work closely with a faculty mentor and to produce a senior thesis project. Projects may range in form from a creative art project to a theoretical or historical research project. The program consists of a capstone seminar, taken in the first semester of the senior year, and a year-long individualized thesis tutorial. During the capstone seminar, students define the parameters of their projects and begin exploratory work and research. The capstone experience culminates in the public presentation of the project. Students may also elect to participate in a College Capstone Project with students majoring in other disciplines in the humanities, the natural and the social sciences. Collaborating students work with a faculty member to define the overall goals of the group Capstone Project, as well as the particular goals of each participant.
*NOTE As of Fall 2013 Capstone under ARTS-AD 400
This course appears in...
- Majors > Film and New Media
Prerequisites
There are no prerequisites for this course.
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FILMM-AD 401 Senior Capstone Research Project (2 Semesters) / Required
The capstone experience provides seniors with the opportunity to work closely with a faculty mentor and to produce a Capstone Project. Projects may range in form from a creative art project to a theoretical or historical research project. The program consists of a capstone seminar, taken in the first semester of the senior year, and a year-long individualized thesis tutorial. During the capstone seminar, students define the parameters of their projects and begin exploratory work and research. The capstone experience culminates in the public presentation of the Capstone Project. Students may also elect to participate in a Capstone Project with students majoring in other disciplines in the humanities, the natural and social sciences. Collaborating students work with a faculty member to define the overall goals of the group Capstone Project, as well as the particular goals of each participant.
This course appears in...
- Majors > Film and New Media
Prerequisites
There are no prerequisites for this course.
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MDMED-AD 110 Applications of Media
This class strives to create media literacy by asking students to study the history, theory, and practice of creating, distributing, and consuming media. What is media’s role in creating culture, influencing political events, forming communities, and archiving? What is ubiquitous computing, embedded computing, physical computing? How is cyberspace merging with physical space and how does participatory media change the face of cultural institutions, historical narratives, and mapping? Students are asked to consider the role of media in their own lives and consider where it both fails and succeeds.
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Spring 2013;
14 Weeks
Mo Ogrodnik - T, 1:10-2:25 PM ; R 1:10-3:50 PM
Taught in Abu Dhabi
This course appears in...
- Concentrations > Multidisciplinary Concentrations > Interactive Media and Technology
- Majors > Film and New Media
- Majors > Film and New Media > History, Theory, Criticism
Prerequisites
There are no prerequisites for this course.
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Spring 2013;
14 Weeks
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MDMED-AD 111 Mobile Media
Mobile devices (phones) are used for both the production and consumption of rich media, augmenting their original purpose as one-to-one communication devices. This course explores the technology that enables the consumption and production of media on these devices with an eye toward how that media can be used in conjunction with the devices’ original social and communicative purposes. Students create projects that utilize the available technology to explore new forms of social media creation and consumption.
Students in the NYUNY ITP Dept: This course is equivalent to ITPG-GT 2690 Mobile Media
This course appears in...
- Concentrations > Multidisciplinary Concentrations > Interactive Media and Technology
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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MDMED-AD 302 New Media Lab
An introductory course designed to provide students with hands-on experience using various technolo- gies such as online communities, digital imaging, audio, video, animation, authoring environments, and the World Wide Web. The forms and uses of new communications technologies are explored in a laboratory context of experimentation and discussion. Principles of interpersonal communications, media theory, and human factors are introduced.
This course appears in...
- Concentrations > Multidisciplinary Concentrations > Interactive Media and Technology
- Majors > Film and New Media > Production and Craft
Prerequisites
There are no prerequisites for this course.
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MDURB-AD 115 New York and Modernity
Modernism was a broad movement in literature, arts, music, and architecture that flourished first in Europe and then the United States between from the turn into the twentieth century until just after the Second World War. This course examines the ways in which New Yorkers reshaped European modernism and created a distinctive legacy that marks the city to this day. Exploring the reciprocal relationship between modernism and the city, the course investigates how modernism was shaped by urban experience and how, in turn, modernism helped to mold our conception of the modern city.
This course appears in...
- Concentrations > Multidisciplinary Concentrations > Urbanization
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
Prerequisites
There are no prerequisites for this course.
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MUSST-AD 213 International Issues in Cultural Policy
This course looks at government policies and private sector practices that have helped to shape how the arts and culture are understood and valued around the world. Students examine and compare major issues and concepts impacting the production, distribution, and consumption of the arts and culture within and across borders, such as national sovereignty, heritage and cultural patrimony, historic preservation, cultural diplomacy, arts funding systems, and the role of the arts in the design, development, and revitalization of world cities from Bilbao, Spain to Los Angeles to the Arabian Gulf. The course also explores the for-profit sector looking at such issues as artists’ rights, art markets, the creative industries, international trade law, and copyright in the digital age. Cultural site visits and field trips will be a regular part of the course.
This course appears in...
- Majors > Arts and Humanities Colloquia
- Majors > Film and New Media > Arts and Humanities Colloquia
- Majors > History > Arts and Humanities Colloquia
- Majors > Literature and Creative Writing > Arts and Humanities Colloquia
- Majors > Music > Arts and Humanities Colloquia
- Majors > Philosophy > Arts and Humanities Colloquia
- Majors > Theater > Arts and Humanities Colloquia
- Majors > Visual Arts > Arts and Humanities Colloquia
- Pre-Professional Tracks > Museum and Cultural Heritage Studies
Prerequisites
There are no prerequisites for this course.
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THEAT-AD 115 Directing the Actor
A course for theater directors, filmmakers, actors, and visual artists. Students build a directorial vocabulary for translating impulse and imagination into compelling narrative and non-narrative staged moments. Using techniques from Brecht, Brook, Grotowski, and Bogart, students learn to articulate ideas to actors in compelling and inspiring ways. Students explore physical exercises to increase their range as directors; tools with which to fuel actors physically and emotionally; and theories of collaboration and ensemble. The core of the class is the exploration of directing as a physical collaboration with actors within a landscape of thought, emotion, openness, and truth.
Students in the NYUNY Tisch Drama Dept: This course counts for the Theater Studies Track B; it is equivalent to THEA-UT 676 Directing Practicum (Non-Western)
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Spring 2013;
14 Weeks
Rubén Polendo - TR, 10:10-12:40 PM
Taught in Abu Dhabi
This course appears in...
- Majors > Film and New Media
- Majors > Theater > Arts Practice
Prerequisites
There are no prerequisites for this course.
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Spring 2013;
14 Weeks