[Tracks M, S] Films have typically been discussed and understood in terms of the image, or whatever appears onscreen. Less common, but no less critical to making sense of the film experience, is the physical dimension of the film apparatus: the projector, the screen, and the filmstrip. This course offers a historical and theoretical overview of film’s material dimension, leading into the present era of digital filmmaking. In the historical vein, it covers techniques developed in and through the physical handling of film materials such as methods employed in shooting and projection, the film laboratory, editing procedures, and archival practices. In the theoretical vein, it examines writings by prominent theorists such as André Bazin, Siegfried Kracauer, Rosalind Krauss, Jonathan Walley, and Kim Knowles, as well as film artistic practices that emphasize the material aspects of film, from structural and materialist work of the 1960s and 1970s to contemporary filmmakers employing hand-processing and other DIY production methods. Finally, the course will examine how digital filmmaking reshapes and creates its own forms of materiality. The course will include workshops at local film archives and artist-run film laboratories so that students can gain hands-on experience working with film. [Tracks M, S]