This course explores the 16mm Bolex camera's wide-ranging image-making possibilities. Using techniques that date back to the birth of cinema and the trick films of Georges Melies, students learn to create in-camera effects and "ready-made" projects that go straight from the camera to the screen. Assignments alternate between the technical and the thematic. Shooting techniques (such as double exposure, matte shots, optical distortion, single frame and time exposure, and hand developing) are explored in class; outside of class, students create short projects based on themes (such as cine-portrait, "camera roll," and image-sound interaction). Historical background is provided through screenings of films by Georges Melies, Hans Richter, Marie Menken, Stan Brakhage, Rose Lowder, Bruce Bailey, Jim Hubbard, and Rosalind Schneider. Necessary camera and editing equipment is provided. Students will incur personal costs for film stock, developing, and supplies but can expect to spend less than in regular filmmaking courses. Each student is expected to complete three projects, one of which will be selected for a final screening. No previous film experience is required.

This course explores the 16mm Bolex camera's wide-ranging image-making possibilities. Using techniques that date back to the birth of cinema and the trick films of Georges Melies, students learn to create in-camera effects and "ready-made" projects that go straight from the camera to the screen. Assignments alternate between the technical and the thematic. Shooting techniques (such as double exposure, matte shots, optical distortion, single frame and time exposure, and hand developing) are explored in class; outside of class, students create short projects based on themes (such as cine-portrait, "camera roll," and image-sound interaction). Historical background is provided through screenings of films by Georges Melies, Hans Richter, Marie Menken, Stan Brakhage, Rose Lowder, Bruce Bailey, Jim Hubbard, and Rosalind Schneider. Necessary camera and editing equipment is provided. Students will incur personal costs for film stock, developing, and supplies but can expect to spend less than in regular filmmaking courses. Each student is expected to complete three projects, one of which will be selected for a final screening. No previous film experience is required.

This course explores the 16mm Bolex camera's wide-ranging image-making possibilities. Using techniques that date back to the birth of cinema and the trick films of Georges Melies, students learn to create in-camera effects and "ready-made" projects that go straight from the camera to the screen. Assignments alternate between the technical and the thematic. Shooting techniques (such as double exposure, matte shots, optical distortion, single frame and time exposure, and hand developing) are explored in class; outside of class, students create short projects based on themes (such as cine-portrait, "camera roll," and image-sound interaction). Historical background is provided through screenings of films by Georges Melies, Hans Richter, Marie Menken, Stan Brakhage, Rose Lowder, Bruce Bailey, Jim Hubbard, and Rosalind Schneider. Necessary camera and editing equipment is provided. Students will incur personal costs for film stock, developing, and supplies but can expect to spend less than in regular filmmaking courses. Each student is expected to complete three projects, one of which will be selected for a final screening. No previous film experience is required.

This course explores the 16mm Bolex camera's wide-ranging image-making possibilities. Using techniques that date back to the birth of cinema and the trick films of Georges Melies, students learn to create in-camera effects and "ready-made" projects that go straight from the camera to the screen. Assignments alternate between the technical and the thematic. Shooting techniques (such as double exposure, matte shots, optical distortion, single frame and time exposure, and hand developing) are explored in class; outside of class, students create short projects based on themes (such as cine-portrait, "camera roll," and image-sound interaction). Historical background is provided through screenings of films by Georges Melies, Hans Richter, Marie Menken, Stan Brakhage, Rose Lowder, Bruce Bailey, Jim Hubbard, and Rosalind Schneider. Necessary camera and editing equipment is provided. Students will incur personal costs for film stock, developing, and supplies but can expect to spend less than in regular filmmaking courses. Each student is expected to complete three projects, one of which will be selected for a final screening. No previous film experience is required.