| FAIC170 | Animation History I | Course is for BFA1s and BFA2 transfer students,
but other students can add it with Permission of
Instructor on Course Advising Day. This is the
first semester of a yearlong international
historical survey of animated media, covering the
period from t... |
| FAIC171 | Animation History II | Course is for BFA1s and BFA2 transfer students,
but other students can add it with Permission of
Instructor on Course Advising Day. This is the
second semester of a yearlong international
historical survey of animated media, covering the
period from... |
| FAIC300W | Student Initiative: Film/Video Curating | "Film Video Curating" is a class designed to
encourage student initiative, based on a
successful practice associated with the spring
session of "Film Today" that has been in
place- albeit informally- since 2012. Students
will work with the instructor... |
| FAIC370 | Survey of CG Art & Animation | Historical survey of CG (computer graphic) art
and animation from the early introduction of
digital technology to current developments. The
course will engage in frequent discussions about
the theory and practice of CG art and animation.
Class sessio... |
| FAIC372 | Women of Animation History | From the beginning, women and underrepresented
groups have held a strong presence within
animation, yet when examining history, minimal
emphasis is placed on their contributions. The
truth is, throughout most of the 20th century,
leading women artist... |
| FAIC373 | Animation, Design and Cultural Identity | This is a class where theory meets practice.
Animators have to design and create their
characters from scratch, and whatever designs they
come up with convey social and cultural meaning,
whether consciously or not.
This class aims to raise awareness... |
| FAIC374 | Commentary Through Cartoons | Political cartooning is a vital element of a free
press in a democracy and contributes to the
critique of the modern political landscape.
Through an examination of the history of political
cartooning in the United States, as well as
specific cartooni... |
| FAIC385 | Seminar in Black Experimental Film/Video | Seminar in Black Experimental Film/Video
This seminar is designed to facilitate a creative
and rigorous conversation around Blackness and the
audiovisual, particularly in experimental
film/animation, documentary/non-fiction, and video
art. Particular... |
| FAIC390 | Screenwriting for Animators | Course receives Critical Studies credit in the Arts in Context
(AIC) category. A writing class for animators that
avoids traditional gag-oriented animation writing.
Screenwriting basics such as format, structure,
action, conflict, story and character... |
| FAIC392 | The Writers' Room | This course teaches students the fundamentals of
how to collaboratively write screenplays for
animated network television. "The Writers' Room"
will be modeled from a real-life network
television writers' room scenario. The teacher
will provide instru... |
| FAIC394 | History of Character Anim | This course covers the history of character
animaation, mainly focusing on the American
studio system. It focuses on studio and
individual styles, as well as the influences of
technological development, other arts, and
historical events (including po... |
| FAIC395 | Character Animation in Disney Features | Course receives Critical Studies credit in the
Arts in Context(AIC) category.
In this course, students will learn about Disney
2D animated features from the studio's
beginnings through the 1960s. Readings, lectures,
and screenings will be prepare st... |
| FAIC400 | Film Today | A beloved CalArts tradition "Film Today," offered
by the Program of Film and Video, is open to the
entire Institute, to graduate and undergraduate
students in all programs, for Critical Studies
credits. Opening a window into the world as well
as into... |
| FAIC405 | History of Experimental Film | A survey of experimental a.k.a. avant garde film
from the 1920's to the 1970's. Dominant
traditions to be examined include: Dadaist and
Surrealist cinema of the 1920's, Trance films and
Psychodramas of the 1940's and 50's, the
Mythopoetic cinema of t... |
| FAIC410 | History of Documentary Film I | An historical survey of documentary (or
non-fiction) tradition in motion pictures and it
major genre: the exploration film, the
ethnographic film, the travel film, historical
reconstruction and essay film. Offered by the
Program in Film and Video.
Ma... |
| FAIC411 | History of Documentary Film II | An historical survey of documentary (or
non-fiction) tradition in motion pictures, with
special emphasis on the development of the
origins and development of cinema
verite, direct cinema and counter trends in
response to the theoretical claims of the... |
| FAIC412 | Documentary Inquiries | This course will investigate a broad range of
media art and documentary projects, with
attention to the performative act of witnessing,
the creative address of media archives by
artists, and the aspiration to negotiate new
social relations with colla... |
| FAIC413 | Documenting Conflict: Palestine, Israel | This is a course in documentary theory / studies through the lens of films made in or about Palestine and Israel. We may also include works from other zones of conflict chosen by the students. Issues of politics and form, ethics and aesthetics are ce... |
| FAIC415 | Questions of Third Cinema | The concept of 'Third Cinema', coined in Latin
America by filmmakers Fernando Solanas and
Octavio Getino, implies a critical reappraisal of
the national or cultural specificity,
post-colonial identity, the dialectical
connection between domination/su... |
| FAIC416 | Cinema and Media: East Central Europe | Course open to BFA3 and BFA4 students across the
institute. This course will also have spaces
available to enroll at Course Advising Day.
This course will examine narrative films from
Czechoslovakia [now Czech Republic and Slovakia]
and Hungary from... |
| FAIC420 | A History of Film I - 1895-1950 | A History of Film is a two semester survey of cinema from its origins in the late 19th century to the present day. The course emphasizes the development of cinema aesthetics through the study of works by major filmmakers and national cinemas. The Fal... |
| FAIC421 | A History of Film II - 1950-PRESENT | A History of Film is a two semester survey of cinema from its origins in the late 19th century to the present day. The course emphasizes the development of cinema aesthetics through the study of works by major filmmakers and national cinemas. The Fal... |
| FAIC422 | History of Film: Women Directors | Women have been routinely excluded from filmic
participation and from the cinematic canon on
multiple levels. BFI's famous "50 best films of
all time" list
(https://www.bfi.org.uk/news/50-greatest-films-all
-time) includes only one female director. T... |
| FAIC424 | Sexuality, Gender, Destruction in Cinema | This course will provide a forum to view and
discuss films and readings which problematize
traditional constructions of gender and sexuality
on multiple levels. The selected works also have
a special emphasis on trajectories of violence
and destructi... |
| FAIC425 | History of Sound in Animation | Animation sound uses a combination of dialogue,
effects, and music to complement moving images. A
fair amount has been written about the use of
music in animation, but very little has been
written about the overall role of sound in
animation. Or, h... |
| FAIC426 | Cinema of Exile | Cinema of Exile: Perspectives on Palestine and
Israel
The course addresses the experience of exile and
displacement understood both as a physical and
psychic condition, as expressed in films and
texts from Palestine and Israel. Through
screening a v... |
| FAIC428 | Prostitution in Film | Course available by permission of instructor
only.
The course will view films and read texts that
center on the prostitution, 'the world's oldest
profession'. Prostitution has been a subject of
singular fascination since biblical times. We
will
consi... |
| FAIC430 | History of Video Art | This course will survey video art and alternative
media practice following the introduction of
portable video recording equipment in the late
1960s. This term the course will also
specifically integrate video art from various
Latin American and Carib... |
| FAIC432 | Women in Cinema: Femininity /Performance | More spots are available at Course Advising Day.
Using feminist film criticism, film and cultural
theory, psychoanalytic and post-colonial texts, we
will explore how the advent of cinema has changed
the symbolic and visual representation of sexual
di... |
| FAIC435 | The Room: a Critical Seminar | This seminar is an attempt to reflect critically
on our past/recent/or current experience of the
Covid 19 pandemic, and acquire critical tools to
think about life, filmmaking, writing and art
making in a situation of confinement or
quarantine. Even t... |
| FAIC439 | Fourteen Questions to Jean-Luc Godard | Fourteen Questions to Jean-Luc Godard. There will
be additional spaces available at Course Advising
Day.
Since 1960 till his death in 2022, Jean-Luc Godard
directed more than 100 features, shorts, series,
essay films, television programs, etc. It... |
| FAIC442 | Cinema Against the Grain | Now that the cinematic present is dominated by
previews for video games and theme park rides,
and the cinematic past threatens to congeal into
AFI's greatest hits lists, it is particularly
important to examine under-appreciated, even
disreputable fil... |
| FAIC444 | EA Alumni Network: Building Connections | This course focuses on building connections with alumni from the Experimental Animation program. We start by examining the histories and qualities that makes CalArts Experimental Animation the unique place that it is. After they graduate, many studen... |
| FAIC445 | Jean-Luc/Cinema/Godard | Course available by permission of instructor
only.
Jean-Luc Godard once said, "as long as I'm alive,
[the cinema] shall live." No other film director
has identified himself so intimately and
passionately with the cinema and its history. And
no other... |
| FAIC450 | Special Topics: Realist Style | An investigation into the formal means that narrative filmmakers (from the Italian neo-realists to the LA Rebellion, Renoir to Cassavetes) have used to achieve a heightened sense of "reality" in their work. Topics include the incorporation of documen... |
| FAIC451 | Spec Topic: Curious Art of Autobiography | This is a critical examination of first-person
films drawn from personal experience, literature
and history, as well as a practicum for studentsÈ
own autobiographical work. We will be concerned
with a wide variety of autobiographical sources
includin... |
| FAIC452 | Special Topics: Rock & Roll & Movies | Rock & Roll & Movies is a history of Popular
Music from 1955 to the present, as seen through
its representation in cinema. We will see key
works in the history of Rock & Roll movies and
read a number of the important critical texts on
the music. Issu... |
| FAIC453 | Special Topics: The Western | Course available by Permission of Instructor
only.
A survey of the richest, most inexhaustible genre
in the American cinema. We will approach the
Western as genre, as history and as mythology.
Particular attention will be paid to questions of
authors... |
| FAIC454 | Special Topics:Utopia & Its Shadowlands | Course available by Permission of Instructor
only. The current age of Trump, Brexit, and
climate disaster have brought discourses of the
apocalypse into the U.S. and global mainstream.
To some, we have entered a dystopic shadowland of
alternative fac... |
| FAIC455 | Politics, Paranoia & Porn 'staches: '70 | POLITICS, PARANOIA AND PORN 'STACHES: '70s
GENRE REVISIONISM
Course available by permission of instructor
only.
The "New Hollywood" of 1967-1975 was an endlessly
rich and eccentric period of American filmmaking.
A generation of young filmmakers... |
| FAIC465 | Chantal Akerman: An Intimate Passion | This course is available for online registration.
It will also be open by Permission of Instructor
at Advising Day for additional enrollment.
When Chantal Akerman (1950-2015) committed
suicide, she left behind a prolific and singular
oeuvre. A truly... |
| FAIC475 | History of Experimental Animation | This course is by Permission of Instructor Only.
This thematically organized trip through the
history of experimental animation will look at
work from pre-cinema to the present day, with an
eye towards connecting disparate time periods,
traditions, a... |
| FAIC570 | Seminar in Animation History | Seminar in Animation History is a course for
graduate students focusing on animation history
and related research. The course includes related
readings and seminar discussions on a range of
topics, in-depth research on a topic of the
student's choosi... |
| FAIC572 | Women of Animation History | From the beginning, women and underrepresented
groups have held a strong presence within
animation, yet when examining history, minimal
emphasis is placed on their contributions. The
truth is, throughout most of the 20th century,
leading women artist... |
| FAIC573 | Animation, Design and Cultural Identity | This is a class where theory meets practice.
Animators have to design and create their
characters from scratch, and whatever designs they
come up with convey social and cultural meaning,
whether consciously or not.
This class aims to raise awareness... |
| FAIC574 | Commentary Through Cartoons | Political cartooning is a vital element of a free
press in a democracy and contributes to the
critique of the modern political landscape.
Through an examination of the history of political
cartooning in the United States, as well as
specific cartooni... |
| FAIC580 | Survey of CG Art & Animation | Historical survey of CG (computer graphic) art
and animation from the early introduction of
digital technology to current developments. The
course will engage in frequent discussions about
the theory and practice of CG art and animation.
Class sessio... |
| FAIC585 | Seminar in Black Experimental Film/Video | Seminar in Black Experimental Film/Video
This seminar is designed to facilitate a creative
and rigorous conversation around Blackness and the
audiovisual, particularly in experimental
film/animation, documentary/non-fiction, and video
art. Particular... |
| FAIC590 | Screenwriting for Animators | Open to MFA students on a limited basis by
permission of instructor only.
A writing class for animators that avoids
traditional gag-oriented animation writing.
Screenwriting basics such as format, structure,
action, conflict, story and character wil... |
| FAIC592 | The Writers' Room | This course teaches students the fundamentals of
how to collaboratively write screenplays for
animated network television. "The Writers' Room"
will be modeled from a real-life network
television writers' room scenario. The teacher
will provide instru... |
| FAIC594 | History of Character Anim | This course covers the history of character
animaation, mainly focusing on the American
studio system. It focuses on studio and
individual styles, as well as the influences of
technological development, other arts, and
historical events (including po... |
| FAIC595 | Character Animation in Disney Features | Course available by permission of instructor only
(enroll online; a few spots will be available on
Course Advising Day as well).
Course receives Critical Studies credit in the
Arts in Context(AIC) category.
In this course, students will learn about... |
| FAIC600 | Film Today | A beloved CalArts tradition "Film Today," offered
by the Program of Film and Video, is open to the
entire Institute, to graduate student and
undergraduate students in all programs, for
Critical Studies credits. Opening a window into
the world as well... |
| FAIC605 | History of Experimental Film | A survey of experimental a.k.a. avant garde film
from the 1920's to the 1970's. Dominant
traditions to be examined include: Dadaist and
Surrealist cinema of the 1920's, Trance films and
Psychodramas of the 1940's and 50's, the
Mythopoetic cinema of t... |
| FAIC610 | History of Documentary Film I | An historical survey of documentary (or
non-fiction) tradition in motion pictures and it
major genre: the exploration film, the
ethnographic film, the travel film, historical
reconstruction and essay film. Offered by the
Program in Film and Video.
Ma... |
| FAIC611 | History of Documentary Film II | An historical survey of documentary (or
non-fiction) tradition in motion pictures, with
special emphasis on the development of the
origins and development of cinema
verite, direct cinema and counter trends in
response to the theoretical claims of the... |
| FAIC612 | Documentary Inquiries | This course will investigate a broad range of
media art and documentary projects, with
attention to the performative act of witnessing,
the creative address of media archives by
artists, and the aspiration to negotiate new
social relations with colla... |
| FAIC613 | Documenting Conflict: Palestine, Israel | This is a course in documentary theory / studies through the lens of films made in or about Palestine and Israel. We may also include works from other zones of conflict chosen by the students. Issues of politics and form, ethics and aesthetics are ce... |
| FAIC615 | Questions of Third Cinema | The concept of 'Third Cinema', coined in Latin
America by filmmakers Fernando Solanas and
Octavio Getino, implies a critical reappraisal of
the national or cultural specificity,
post-colonial identity, the dialectical
connection between domination/su... |
| FAIC616 | Cinema and Media: East Central Europe | This course will also have spaces available to
enroll at Course Advising Day.
This course will examine narrative films from
Czechoslovakia [now Czech Republic and Slovakia]
and Hungary from post-WWII to the present,
including the remarkably inventive... |
| FAIC620 | A History of Film I - 1895-1950 | A History of Film is a two semester survey of cinema from its origins in the late 19th century to the present day. The course emphasizes the development of cinema aesthetics through the study of works by major filmmakers and national cinemas. The Fal... |
| FAIC621 | A History of Film II - 1950-PRESENT | A History of Film is a two semester survey of cinema from its origins in the late 19th century to the present day. The course emphasizes the development of cinema aesthetics through the study of works by major filmmakers and national cinemas. The Fal... |
| FAIC622 | History of Film: Women Directors | Women have been routinely excluded from filmic
participation and from the cinematic canon on
multiple levels. BFI's famous "50 best films of
all time" list
(https://www.bfi.org.uk/news/50-greatest-films-all
-time) includes only one female director. T... |
| FAIC624 | Sexuality, Gender, Destruction in Cinema | This course will provide a forum to view and
discuss films and readings which problematize
traditional constructions of gender and sexuality
on multiple levels. The selected works also have
a special emphasis on trajectories of violence
and destructi... |
| FAIC625 | History of Sound in Animation | Animation sound uses a combination of dialogue,
effects, and music to complement moving images. A
fair amount has been written about the use of
music in animation, but very little has been
written about the overall role of sound in
animation. Or, h... |
| FAIC626 | Cinema of Exile | Cinema of Exile: Perspectives on Palestine and
Israel
The course addresses the experience of exile and
displacement understood both as a physical and
psychic condition, as expressed in films and
texts from Palestine and Israel. Through
screening a v... |
| FAIC628 | Prostitution in Film | Course available by permission of instructor
only.
The course will view films and read texts that
center on the prostitution, 'the world's oldest
profession'. Prostitution has been a subject of
singular fascination since biblical times. We
will
consi... |
| FAIC630 | History of Video Art | This course will survey video art and alternative
media practice following the introduction of
portable video recording equipment in the late
1960s. This term the course will also
specifically integrate video art from various
Latin American and Carib... |
| FAIC632 | Women in Cinema: Femininity/Performance | More spots are available at Course Advising Day.
Using feminist film criticism, film and cultural
theory, psychoanalytic and post-colonial texts, we
will explore how the advent of cinema has changed
the symbolic and visual representation of sexual
di... |
| FAIC635 | The Room: a Critical Seminar | This seminar is an attempt to reflect critically
on our past/recent/or current experience of the
Covid 19 pandemic, and acquire critical tools to
think about life, filmmaking, writing and art
making in a situation of confinement or
quarantine. Even t... |
| FAIC639 | Fourteen Questions to Jean-Luc Godard | Fourteen Questions to Jean-Luc Godard. There will
be additional spaces available at Course Advising
Day.
Since 1960 till his death in 2022, Jean-Luc Godard
directed more than 100 features, shorts, series,
essay films, television programs, etc. It... |
| FAIC642 | Cinema Against the Grain | Now that the cinematic present is dominated by
previews for video games and theme park rides,
and the cinematic past threatens to congeal into
AFI's greatest hits lists, it is particularly
important to examine under-appreciated, even
disreputable fil... |
| FAIC644 | EA Alumni Network: Building Connections | This course focuses on building connections with
alumni from the Experimental Animation program. We
start by examining the histories and qualities
that makes CalArts Experimental Animation the
unique place that it is. After they graduate, many
studen... |
| FAIC650 | Special Topics: Realist Style | An investigation into the formal means that narrative filmmakers (from the Italian neo-realists to the LA Rebellion, Renoir to Cassavetes) have used to achieve a heightened sense of "reality" in their work. Topics include the incorporation of documen... |
| FAIC651 | Spc Topics: Curious Art of Autobiography | This is a critical examination of first-person
films drawn from personal experience, literature
and history, as well as a practicum for students
own autobiographical work. We will be concerned
with a wide variety of autobiographical sources
including... |
| FAIC652 | Special Topics: Rock & Roll & Movies | Rock & Roll & Movies is a history of Popular Music from 1955 to the present, as seen through
its representation in cinema. We will see key works in the history of Rock & Roll movies and read a number of the important critical texts on the music.
Iss... |
| FAIC653 | Special Topics: The Western | Course available by Permission of Instructor
only.
A survey of the richest, most inexhaustible genre
in the American cinema. We will approach the
Western as genre, as history and as mythology.
Particular attention will be paid to questions of
authors... |
| FAIC654 | Special Topics:Utopia & Its Shadowlands | Course available by Permission of Instructor
only. The current age of Trump, Brexit, and
climate disaster have brought discourses of the
apocalypse into the U.S. and global mainstream.
To some, we have entered a dystopic shadowland of
alternative fac... |
| FAIC655 | Politics, Paranoia & Porn 'staches: '70s | POLITICS, PARANOIA AND PORN 'STACHES: '70s
GENRE REVISIONISM
Course available by permission of instructor
only.
The "New Hollywood" of 1967-1975 was an endlessly
rich and eccentric period of American filmmaking.
A generation of young filmmakers... |
| FAIC665 | Chantal Akerman: An Intimate Passion | This course is available for online registration.
It will also be open by Permission of Instructor
at Advising Day for additional enrollment.
When Chantal Akerman (1950-2015) committed
suicide, she left behind a prolific and singular
oeuvre. A truly... |
| FAIC675 | History of Experimental Animation | This thematically organized trip through the
history of experimental animation will look at
work from pre-cinema to the present day, with an
eye towards connecting disparate time periods,
traditions, and techniques by finding and
exploring some commo... |
| FCOM364 | Adobe Animate (Flash) | Course receives Critical Studies credit in the
Computing and Research
Skills category. Fundamentals of Adobe Animate
(Flash), for digital art and
animation, as well as the study of digital
art-making online. Adapted for
students of varying experience... |
| FCOM564 | Adobe Animate (Flash) | Course receives Critical Studies credit in the
Computing and Research
Skills category. Fundamentals of Adobe Animate
(Flash), for digital art and
animation, as well as the study of digital
art-making online. Adapted for
students of varying experience... |
| FFDP345 | FDP Narrative Methodologies | A course taught in rotation by core faculty and
visiting artists that focuses on specific
methodologies and practices of Narrative in Film
and time based making. |
| FFDP404 | Acting Workshop 1 | Acting Workshop:
The focus is on the craft of acting and the examination of multiple methodologies. Work will focus on how to develop a character through text analysis, research methodologies, and the exploration of human behavior through dynamic ac... |
| FFDP405 | Advanced Acting Workshop | Course available by permission of instructor
only.
An in-depth investigation of the acting process
through exercises using improvisation, prepared
scene work. This class takes an in-depth approach
to the creation of a true and credible
performance. W... |
| FFDP406 | Cinematheque | Course available by Permission of instructor only
A student curated screening course; a student
teacher is selected each year from proposals
submitted by students and selected by the FDP
faculty. Precise topics and concentrations vary
by year.
Re... |
| FFDP407 | Rehearsal Crews & Performance | Course available by Permission of Instructor
only. Students will rehearse and otherwise
prepare and present, in other classes or labs,
scenes for Stage and Screen. Required of FDP
MFA1s and MFA2s. |
| FFDP412 | Scene Study | The collaborative work between an actor and
director is critical to dramatic narrative
storytelling. Many essential fundamentals are
shared between the two disciplines including, but
not limited to, basic story/text analysis,
research skills, the art... |
| FFDP413 | Advanced Scene Study | Advanced Scene Study:
Available by permission of instructor only
This course advances principles addressed in
Scene Study 1: text analysis, working with
actors, staging and dramatic construction.
Exercises apply a variety of methodologies to
the... |
| FFDP415 | 16MM Production for Directors | Course available by Permission of Instructor only.
Students will learn the basics of 16mm film
production and gain access to Bolex and Arriflex
film cameras and learn the basics of 16mm
cinematography., film stocks and characteristics.
The class will... |
| FFDP422 | Looking At The Sky | This course is available by Permission of
Instructor only on Advising Day.
The entire sky is a grand narrative filled with
stories enacted by protagonists and antagonists
portraying legendary tropes and mythologies. This
course explores story struct... |
| FFDP423 | FDP Screenwriting Workshop: Long Form | Course available by Permission of Instructor only. Prerequisite: Screenwriting Workshop Short Forms FFDP-425. Advanced work in screenwriting, focusing on the creation of long form narrative scripts. Operates as both a lecture on narrative and dramati... |
| FFDP424 | Cinematic Storytelling | This is a writing course for MFA-level filmmakers. It's a generative, process-driven class in which students explore a variety of approaches to writing for the screen and will have a small portfolio of short works by the end of the semester. It's not... |
| FFDP425 | FDP Screenwriting Workshop: Short Form | Course available by Permission of Instructor only. Operates as both a discussion on dramatic narrative form and a workshop to create and critique short form narrative work. Screenwriting tools such as story beats, scene cards and treatments support w... |
| FFDP430 | Cinematography for Directors | This is a course aimed to deepen filmmakers'
knowledge on the concepts and uses of the various
elements of cinematography; both technical and
conceptual. The class will focus on directorial
decisions regarding framing, camera movement,
depth of field... |
| FFDP432 | Advanced Staging | Course available by permission of instructor
only.
This workshop explores the aesthetics and
methodologies of complex and non-traditional
approaches to narrative staging. The class
consists of in-class shoots that should expand
the student's recent d... |
| FFDP435 | Visual Design | This directing workshop draws on ideas and
investigations about filmmaking that were
introduced in first year, asking you to
consider how concept relates to image and
meaning. Our main task will be a hands-on
investigation of visual strategies for na... |
| FFDP440 | Guest Artist Workshop | This course brings students into conversation with
visiting filmmakers and artists from a variety of
disciplines including film, performance,
installation, music, photography, etc. in order to
access and engage with a variety of professional
and aest... |
| FFDP445 | Editing Aesthetics | Editing Aesthetics looks at the post-production
process as an aesthetic practice. We examine
different examples of picture and sound editing
strategies and discuss their potential to produce
meaning in film. Through analyzing different films
and read... |
| FFDP454 | Aesthetic Moral and Political Dimensions | What's So Funny?
Film Comedy: Aesthetic, Moral, and Political
Dimensions.
Since the early days of cinema, comedy has been a
constant shaping presence of the art form.
Harnessing the prowess of jokes, and always in
search of humorous outcomes, filmm... |
| FFDP455 | Heroes and Villains | Heroics and Villainy: The Majesty of Good vs.
Evil
This is a course that explores heroics & villainy
in storytelling as filtered through cinematic
tropes. It is a journey into the origins and
creation of mythic archetypes that have populated
narrat... |
| FFDP457 | Special Topics: Love Stories | This class will focus on stories of love as told on film; love is a word that means everything and
nothing at all. Love is politic, desire, obsession, belief; it is a paradox, one that
continually contradicts its expectations. The class will examine... |
| FFDP458 | Special Topics: Coming of Age Stories | Course available by permission of instructor
only.
This course proposes a broad reading of the
coming of age story, framing it not just as a
specific moment of adolescent development, but as
a narrative of personal transformation most often
concerned... |
| FFDP472 | Fictions of Completion | This class focuses on a non-traditional process to explore alternative, non-linear methods of cinema production; through filming, writing, editing, rehearsals and staging, each filmmaker will give themselves space to experiment and expand their proj... |
| FFDP473 | Directorizing! | This is a hybrid studio/discussion class focusing
on experimental improvisation and non-traditional
directing methods to create persona based
performance. Some questions we will be asking:
How does a performer create a persona out of their
personal... |
| FFDP475 | Thesis Workshop | This seminar is a creative and practical
environment designed to facilitate the completion
of the student's thesis project. While much of the
work will center around group critiques and
discussions of the editing of each student's
individual film, th... |
| FFDP477 | Narrative Editing | A practical workshop in film editing, emphasizing structure, rhythm, cutting for performance and post-production strategies. Students must be in post-production on a substantial project in order to take the course. The class is built around critique;... |
| FFDP482 | Project Development | Course available by Permission of Instructor
only.
An advanced theoretical and practical workshop to
generate advanced projects, and foster a critical
and creative community amongst second and third
year students. This will be a development class,
t... |
| FFDP490 | Film School to Film World: Pitching Wksp | This 2-semester course aims to provide students
with a deep understanding of the Film & TV
industry, both in terms of career and creative
opportunities. It is strongly suggested that
students take both semesters of the sequence;
additional students w... |
| FFDP504 | Acting Workshop I | Acting Workshop:
The focus is on the craft of acting and the examination of multiple methodologies. Work will focus on how to develop a character through text analysis, research methodologies, and the exploration of human behavior through dynamic ac... |
| FFDP506 | Cinematheque | Course available by Permission of instructor only
A student curated screening course; a student
teacher is selected each year from proposals
submitted by students and selected by the FDP
faculty. Precise topics and concentrations vary
by year. Rec... |
| FFDP507 | Rehearsal Crews & Performance | Course available by Permission of Instructor
only. Students will rehearse and otherwise
prepare and present, in other classes or labs,
scenes for Stage and Screen. Required of FDP
MFA1s and MFA2s. |
| FFDP512 | Scene Study | The collaborative work between an actor and
director is critical to dramatic narrative
storytelling. Many essential fundamentals are
shared between the two disciplines including, but
not limited to, basic story/text analysis,
research skills, the art... |
| FFDP513 | Advanced Scene Study | Advanced Scene Study:
Pre-Requisite: FDP Scene Study 1 or comparable
course.
Available by permission of instructor only.
This course advances principles addressed in
Scene Study 1: text analysis, working with
actors, staging and dramatic construct... |
| FFDP515 | 16MM Production for Directors | Course available by Permission of Instructor only.
Students will learn the basics of 16mm film
production and gain access to Bolex and Arriflex
film cameras and learn the basics of 16mm
cinematography., film stocks and characteristics.
The class will... |
| FFDP520 | Narrative Fundamentals | Open to MFA-1 Film Directing students only. This course is taught by core FDP faculty as a hands-on, exploratory introduction to narrative filmmaking. Over the semester, students move through several modular block sessions, each several weeks long. I... |
| FFDP521 | Narrative Structure and Form | This course is an examination of narrative film
structure and form. The course examines the
construction of narrative works ranging from
dramatic narrative to epic, episodic and
anecdotal forms. These lectures will draw on the
practical ideas introdu... |
| FFDP522 | Looking At The Sky | This course is available by Permission of
Instructor only on Advising Day.
The entire sky is a grand narrative filled with
stories enacted by protagonists and antagonists
portraying legendary tropes and mythologies. This
course explores story struct... |
| FFDP523 | FDP Screenwriting Workshop: Long Form | Course available by Permission of Instructor only. Prerequisite: Screenwriting Workshop Short Forms FFDP-625. Advanced work in screenwriting, focusing on the creation of long form narrative scripts. Operates as both a lecture on narrative and dramati... |
| FFDP524 | Cinematic Storytelling | This is a writing course for MFA-level filmmakers. It's a generative, process-driven class in which students explore a variety of approaches to writing for the screen and will have a small portfolio of short works by the end of the semester. It's not... |
| FFDP529 | Post-Production Cinema Workshop | A filmmaker's foundation with technical theory and practice for post-production, required for all FFDP MFA 1. This is a practical course designed to take the student through the post-production process toward the completion of a finished work. This c... |
| FFDP530 | Cinematography for Directors | This is a course aimed to deepen filmmakers'
knowledge on the concepts and uses of the various
elements of cinematography; both technical and
conceptual. The class will focus on directorial
decisions regarding framing, camera movement,
depth of field... |
| FFDP534 | Digital Editing & Workflows | Course available by Permission of Instructor
only.
This course will provide a foundation for working
in a digital environment applied to filmmaking.
The fundamentals of non-linear editing will be
practiced, and editing theory will be discussed.
Stud... |
| FFDP535 | Visual Design | This directing workshop draws on ideas and
investigations about filmmaking that were
introduced in first year, asking you to
consider how concept relates to image and
meaning. Our main task will be a hands-on
investigation of visual strategies for na... |
| FFDP540 | Guest Artist Workshop | This course brings students into conversation with
visiting filmmakers and artists from a variety of
disciplines including film, performance,
installation, music, photography, etc. in order to
access and engage with a variety of professional
and aest... |
| FFDP545 | FDP Narrative Methodologies | A course taught in rotation by core faculty and
visiting artists that focuses on specific
methodologies and practices of Narrative in Film
and time based making. |
| FFDP578 | Cinema Production Workshop | An introduction to cinema production techniques. This course integrates with Narrative Fundamentals; both are required of MFA 1 FDP students and are an essential part of their entering curriculum. Cinema Production Workshop focuses on the fundamental... |
| FFDP580 | Production Sound | This filmmaking course explores the art and practice of recording sound for motion pictures.
With an emphasis on professional processes and standards, students learn to record sound on set, in studio, and in the field. The coursework is collaborativ... |
| FFDP600 | Symposium: Film Directing Program | Symposium is designed for all levels of the FDP
program; it is a common place for the entire
student and faculty community to discuss the
shifting landscape of making and thinking about
narrative practice in film. It contemplates the
breadth of metho... |
| FFDP601 | A Taste of Film: or Filmmaker's Table | In this special topics course, students will have the opportunity to present, cook, and share their personal recipes with their peers in class. Although, this is not a traditional cooking class or a seminar focused on food in film. Rather, this explo... |
| FFDP604 | Advanced Acting Workshop | Course available by permission of instructor
only.
An in-depth investigation of the acting process
through exercises using improvisation, prepared
scene work. This class takes an in-depth approach
to the creation of a true and credible
performance. W... |
| FFDP625 | FDP Screenwriting Workshop: Short Form | Course available by Permission of Instructor only. Operates as both a discussion on dramatic narrative form and a workshop to create and critique short form narrative work. Screenwriting tools such as story beats, scene cards and treatments support w... |
| FFDP627 | Screenwriting: NarrativeRumble | Screenwriting: NarrativeRumble-Eclectic
Approaches to Storytelling
This course is a series of eclectic, short term
(maximum 2 to 3 weeks) writing workshops taught
by a rotation of different artists. The
instructors use a variety of themes and prompt... |
| FFDP632 | Advanced Staging | Course available by permission of instructor
only.
This workshop explores the aesthetics and
methodologies of complex and non-traditional
approaches to narrative staging. The class
consists of in-class shoots that should expand
the student's recent d... |
| FFDP645 | Editing Aesthetics | Editing Aesthetics looks at the post-production
process as an aesthetic practice. We examine
different examples of picture and sound editing
strategies and discuss their potential to produce
meaning in film. Through analyzing different films
and read... |
| FFDP654 | Aesthetic Moral and Political Dimensions | What's So Funny?
Film Comedy: Aesthetic, Moral, and Political
Dimensions.
Since the early days of cinema, comedy has been a
constant shaping presence of the art form.
Harnessing the prowess of jokes, and always in
search of humorous outcomes, filmm... |
| FFDP655 | Heroes and Villains | Heroics and Villainy: The Majesty of Good vs.
Evil
This is a course that explores heroics & villainy
in storytelling as filtered through cinematic
tropes. It is a journey into the origins and
creation of mythic archetypes that have populated
narrat... |
| FFDP657 | Special Topics: Love Stories | This class will focus on stories of love as told
on film; love is a word that means everything and
nothing at all. Love is politic, desire,
obsession, belief; it is a paradox, one that
continually contradicts its expectations. The
class will examine... |
| FFDP658 | Special Topics: Coming of Age Stories | This course proposes a broad reading of the
coming of age story, framing it not just as a
specific moment of adolescent development, but as
a narrative of personal transformation most often
concerned with transgression and epiphany.
Through an exami... |
| FFDP672 | Fictions of Completion | This class focuses on a non-traditional process to explore alternative, non-linear methods of cinema production; through filming, writing, editing, rehearsals and staging, each filmmaker will give themselves space to experiment and expand their proj... |
| FFDP673 | Directorizing! | This is a hybrid studio/discussion class focusing
on experimental improvisation and non-traditional
directing methods to create persona based
performance. Some questions we will be asking:
How does a performer create a persona out of their
personal... |
| FFDP675 | Thesis Workshop | This seminar is a creative and practical
environment designed to facilitate the completion
of the student's thesis project. While much of the
work will center around group critiques and
discussions of the editing of each student's
individual film, th... |
| FFDP677 | Narrative Editing | A practical workshop in film editing, emphasizing structure, rhythm, cutting for performance and post-production strategies. Students must be in post-production on a substantial project in order to take the course. The class is built around critique;... |
| FFDP680 | Post Production Sound | This course foregrounds recorded sound as the primary creative and narrative tool in moving image post production. It builds on Production Sound, introducing the fundamental sound design, editing, and mixing standards for motion pictures. Working pri... |
| FFDP682 | Project Development | Course available by Permission of Instructor
only.
An advanced theoretical and practical workshop to
generate advanced projects, and foster a critical
and creative community amongst second and third
year students. This will be a development class,
t... |
| FFDP690 | Film School to Film World: Pitching Wksp | This 2-semester course aims to provide students
with a deep understanding of the Film & TV
industry, both in terms of career and creative
opportunities. It is strongly suggested that
students take both semesters of the sequence;
additional students w... |
| FPFV101 | Filmmaking Fundamentals I | Course open to Film/Video Program only, by
Permission of Instructor only.
An investigation of the aesthetics
and language of film and video Students will be
encouraged to make personal works. Class will
include analysis and the beginning of a critica... |
| FPFV102 | Filmmaking Fundamentals II | Course open to Film/Video Program only, by
Permission of Instructor only. An
examination of contemporary visual culture and
production techniques. Participants are expected
to finish several short projects. Required of all
PFV BFA1s and incoming tra... |
| FPFV134 | Digital Editing | A comprehensive introduction to digital editing strategies, aesthetics and techniques using post-production workflows in Davinci software. Adobe CC and related software will be overviewed also . Topics will include media management, transcoding, pict... |
| FPFV153 | Cinematic Voices: Film & Video In-Person | Course available by permission of instructor
only.
A screening and analysis class in which members
of the Film/Video faculty and visiting artists
show and discuss their work. The class is
intended to acquaint students with the faculty as
well as diff... |
| FPFV203 | Creative Cinematography | This course is designed for students to explore
cinematic language and the artistic possibilities
of the moving image. Students will be evaluated on
their mastery of core concepts of camera functions
and image construction - including lighting,
compo... |
| FPFV204 | Film Production Workshop I | Students will learn the basics of 16mm
film production and will gain access to Bolex and
Arriflex film cameras as well They will also
learn the basics of light readings, exposure, and
will be introduced to some of the hand-made
potentials of emulsion... |
| FPFV206 | Finishing on 16MM Film | In this course, you will learn the 16mm editorial
process from cutting on a flatbed viewer to
finishing an answer print. You will shoot a two
minute film or expand on your one-minute film
from the fall semester. The course will be taken
concurrent... |
| FPFV210 | Together At Last | TOGETHER AT LAST is designed for students who took
FPFV203/503 Cinematography, FPFV134/534 Digital
Editing and FPFV285/585 Production Sound remotely
during the pandemic. The course will go over
essential hands-on skills and introduce students
to cam... |
| FPFV220 | Color Correction and Grading | This is a practice based workshop class designed
to introduce students to the manipulation of
color in digital video. We will approach color
correction and grading in through hands on
experience with the understanding that the
concepts behind the th... |
| FPFV234 | Intermediate Digital Editing | This course is Permission of Instructor only.
This is an intermediate editing course
that will expand on topics covered in FPFV
134/534: Digital Editing. Through lecture,
demonstration, and work on individual projects,
students will learn intermedia... |
| FPFV246 | Composing in Space | This cinematography class is focused on
solidifying the knowledge of students who have a
foundation in cinematography by looking at and
working with specific aspect ratios, textures and
camera movements. The students will analyze and
practice differ... |
| FPFV285 | Production Sound | This filmmaking course explores the art and practice of recording sound for motion pictures.
With an emphasis on professional processes and standards, students learn to record sound on set, in studio, and in the field. The coursework is collaborativ... |
| FPFV286 | Post Production Sound | This course foregrounds recorded sound as the primary creative and narrative tool in moving image post production. It builds on Production Sound, introducing the fundamental sound design, editing, and mixing standards for motion pictures. Working pri... |
| FPFV302 | Cinematic Lighting | A workshop that will look at essential working
elements of lighting for motion pictures. Starting
by analyzing different lighting styles in film
history, this course will then cover a range of
lighting practices in original locations and in
studio, l... |
| FPFV303 | Looking at the Sky | Urbanization and its overabundance of artificial light has left us blind to the wonders of the night sky, something our ancestors both took for granted and were profoundly influenced by. This course aims at regaining that awareness.
The entire sky... |
| FPFV306 | Bad Sound: Non-Traditional Ways | Bad Sound: Non-Traditional Ways to Create Sounds
for Images
Erasing notions of hi-fidelity sound, this class
acknowledges that the right sound for a film might
be the result of an aleatory accident,
ill-conceived experiment or unpolished
performance... |
| FPFV307 | Adv Creative Cinematography | In this workshop class we expand your knowledge
from the fundamentals of cinematography, toward
harnessing the technical tools of the craft for
creating impactful images in advanced productions,
while strengthening your unique voice as an
artist. You... |
| FPFV311 | Screen Action: Curation in Practice | In this course, students will work in small groups
to curate and produce screening programs to be
presented during Winter Session. They will develop
a curatorial direction and select work,
communicate with distributors and filmmakers,
secure screenin... |
| FPFV320 | Opening the Film & Video Vault | This is an intensive film and video viewing course
focusing on major works from the history of
avant-garde, or experimental, film. The majority
of titles will be selected from CalArts' film and
video archive, including special film prints that
have n... |
| FPFV330 | Moving Image and Creative Curating | This is a course on curating film, video,
performance and installation; how creative
programming can integrate and amplify individual
works within larger contexts and help build
communities for the experience and appreciation of
this kind of art.
T... |
| FPFV340 | Undergraduate Critique | A forum for undergraduates to produce and present work. Students working on projects outside of class will show their work in various stages of pre- and post-production for group discussion and critique. Two semesters are required of PFV students dur... |
| FPFV401 | Intermediate Digital Production/Post | Course available by Permission of Instructor
only.
Students will be exposed to video production and
post-production methodologies necessary for
becoming self-sufficient video makers within the
CalArts environment. Various methods of digital
producti... |
| FPFV402 | Light and Lighting | Course available by permission of instructor
only.
A practical and aesthetic introduction to light
in all its forms, from natural radiations to
darkness and the many worlds of artificial light,
including its use in moving image works, still
works and... |
| FPFV405 | Writing About Film | Course available by Permission of Instructor
only.
The class will teach students how to write about
film (as well as video and other media using the
moving image) in a variety of forms, genres, and
contexts: writing about one's work, about the
work o... |
| FPFV409 | Optical Printing | This class offers an introduction to the method,
magic and madness of optical printing: the
wonderful possibilities of re-filming film.
Students will learn how to perform time
manipulations, multiple exposures, format
transfers, and matte and title m... |
| FPFV410 | Documentary Production | Course available by Permission of Instructor
only.
This course explores the documentary form through
theory and practice. Students will look
at different documentary approaches and methods.
Viewing and analysis of various films will
be a vital part... |
| FPFV410A | Documentary Prod: The Virtual Field | This project-based class will investigate a wide range of themes and possibilities suggested by the particularities of our hyper-connected world in relation to documentary production, including, but not limited to identity, virtuality, privacy, secur... |
| FPFV411 | Memories, Dreamscapes, and the Archive | This course will explore the intimate use of memories and dreamscapes within the art of moving images to employradical re-examinations of identity, culture, and history. We will analyze experimental methods used to decolonizethe archive within film a... |
| FPFV412 | Shadowlands | Shadowlands:
Capturing the Uncanny in 16mm
Film has a remarkable ability to capture invisible, indeed mysterious energies and emotions of time and place within its emulsion. One might interpret this as spectral or mystical, sorcerous or sublime. Thi... |
| FPFV413 | Devices of Illusion | Course available by Permission of Instructor
only.
This is a hands-on course in which students
adapt, modify, reconfigure and boulderise optical
and mechanical devices, creating mysterious
machines for recording the ephemeral. Projects
include but ar... |
| FPFV414 | Editing With Avid Intermediate Editing:avid Media Composer | In this course, students will learn editing
techniques and methodology using Avid Media
Composer through lectures and hands on exercises.
Topics will include: media organization,
ingesting, transcoding, three point editing,
trimming, sound editing, w... |
| FPFV415 | Production Crews | Hands-on experience for students serving on
production crews of projects initiated by
fellow students. Credit can be received for
substantial contributions in areas such as:
cinematography, sound recroding and production
design. Must be supervised... |
| FPFV416 | Post Production Crews | Hands-on experience for students serving on
production crews of projects initiated by fellow
students. Credit can be received for substantial
contributions in areas such as: editing, sound
editing and sound design. Must be supervised by
appropriate... |
| FPFV417 | Videographics | Course available by permission of instructor
only.
Electronic image acquisition, generation and
manipulation are the focus of this class aimed at
experimentation. Combining the image processing
and production power of the video studio and the
videog... |
| FPFV418 | Film and Family Archives | Family portraits, letters, home-videos, notes, diaries, and small objects and accessories are often key to tracing hidden secrets and desires within one’s own family. Beyond this, by examining family archives we can gain a deeper understanding of reg... |
| FPFV419 | Experimental Visions: Women & Others | This course examines influential women and non-binary filmmakers who advocate for experimental forms in their moving image work and writing. We will focus primarily on a non-narrative avant-garde and on artists that argue for the importance of form,... |
| FPFV420 | Teaching, Research & ... | Course available by Permission of Instructor
only.
This course is to provide Graduate Students with
an opportunity to gain valuable teaching
experience. Each student will prepare a two-hour
teaching presentation and each week a different
student wil... |
| FPFV421 | Babelisms: Multilingual Film Aesthetics | This class will explore the aesthetic and
political openings provided by incorporating
multiple languages in film and moving image media.
While the use of different spoken languages and
dialects will be the starting point, the class
will also encompa... |
| FPFV422 | The You-Tube Class | Films will be taken from YouTube and reworked
using a digital editing system. |
| FPFV423 | Composing in Space | This class is an in-depth study of movement and composition through both sound and image. The potential for movement is one of the main distinguishing features of time-based practices, perhaps most of all in filmmaking. Toexplore this we will conside... |
| FPFV424 | Aesthetics of Sound and Image | An exploration of the aesthetic concerns when combining sound with the image. This class will explore the aural dimension and its profoundly psychological role in cinematic work. Sound is a vital component in filmmaking and this class will examine ae... |
| FPFV425 | Graduate Critique | Course available by Permission of Instructor
only.
A practical theory course providing a working
environment for Program in Film and Video
Graduate students to develop, discuss, theorize,
and complete their work. Students will be
required to spend at... |
| FPFV427 | 'i'-Sight: First-Persona Cinema | The 'I' is the moment of failure in every
narrative effort to give an account of oneself. -
Judith Butler
We now see subjectivities and truths as plural not
only among subjects, but within a given subject,
the self that is divided, and even in part... |
| FPFV429 | Installation Design for Film and Art | A course on site specific film and art
installation design. Students will be encouraged
to design site specific installations without
financial limitations, that is, from CalArts room
D301 to the Guggenheim. These designs will
include architectural... |
| FPFV430 | Multi-Ch. & Video Installation | The objectives of this course are to learn how to
work with the moving image and sound in the form
of video installation. We will focus on creating
understanding through intentional relations
between content, space and scale. We will
contemplate the... |
| FPFV431 | "Autrice" Studies: Women Film Directors | Of course, the politique des auteurs is the
application to the cinema of a notion that is
widely accepted in the individual arts. -André
Bazin, 1957
Coined as an expression in English by critic
Andrew Sarris in the 1960s, "Auteur Theory" and
auteur... |
| FPFV436 | Experimental Film Techniques I | Advanced explorations into various aspects
of the 16mm filmmaking process. Topics will
include thorough examinations of different film
stocks and image manipulation techniques.
Students will learn and gain access to 16mm
intervalometer and high-speed... |
| FPFV438 | Color Grading & Advanced Workflows | This course offers filmmakers an introduction to
color correction and grading for digital footage,
using Davinci Resolve as the primary tool.
Students will learn foundational concepts in color
science and theory, engaging in activities such as
image... |
| FPFV440 | Finding Money | Let's face it: finding money for your project is one of the toughest--and most important--parts of being an independent filmmaker today. With traditional funding models shifting and sustainability more urgent than ever, this course gives you practica... |
| FPFV441 | Pre-Production/Visualization | Pre-Production/Pre-Visualization explores concept
development through story analysis, and the
conceptual and visceral intent of your vision, as
it is affected by camera choice, film grammar
techniques, environmental considerations such as
the control... |
| FPFV442 | Radicalizing Sound & Image | Course available by permission of instructor
only.
This class will present a survey of recent and
historical avant-garde films that stretch the
limits of cinematic expression. Equal time will
be dedicated to innovative works of sound, music
and the... |
| FPFV446 | The Essay Film | Permission of Instructor required.
"We spend a long time thinking about how to
create an image where the image refuses the
expectations or refuses the pleasures of what an
image is. And I think that's partly the
essayistic. To me, the essayistic i... |
| FPFV447 | Under 15 Min. Workshop | The class will provide a structure and a workshop
for students who wish to create a short work
(under fifteen minutes) of their choosing. We
will work on each stage of the production
process, including script/concept, production
planning, casting, sh... |
| FPFV448 | Advanced Production | Experimental, Narrative and Documentary work, this
is the place to do it.
You will direct your own chosen genre script the
time and location of your production.
Class meets on Friday, production weekends.
*Pre-requisite: by permission of instructor. |
| FPFV449 | On the Edge of Narrative | This is a production workshop for students creating film/video projects of any length or format with an experimental approach to narrative. We will focus on creative interpretations of the traditional facets of narrative filmmaking (character develop... |
| FPFV450 | Visiting Filmmaker Workshop | Course available by Permission of Instructor
only.
Intensive small workshops with visiting
filmmakers. There will be individual sign-ups per
Visiting Artist. |
| FPFV451 | The Feminist Moving Image | The Feminist Moving Image Across Discipline is a screening-based and discussion-led seminar that will consider work across disciplines of several women and feminist, queer, trans+, and political filmmakers and moving-image practitioners,
covering a w... |
| FPFV452 | Cinema of Transformation | The course will view films that are, in very
different ways, centrally concerned with inner
life, faith/lack of faith, and various forms of
transformation. Although film is a visual medium,
and these films are without exception beautiful
and powerful... |
| FPFV454 | Radicalizing Vision Workshop | This class is a workshop extension of
FPFV-442-01/642-01, Radicalizing Sound and Image.
In a smaller workshop setting and with the aim of
making a radically innovative final film project,
students will explore and research experimental
work made in m... |
| FPFV456 | Listening/Seeing | Each week a different location (either urban,
rural, or wilderness) will be visited for the
purposes of listening and seeing. At the end of
the visit the class will meet within the location
to discuss what each has individually
experienced. Attention... |
| FPFV457 | Adaptations | Adaptation is the process of change by which an
organism becomes better suited to its environment.
It is coincidentally, the term used to describe
the process by which one art form - traditionally
the written word - is modified and transformed
into a... |
| FPFV458 | A Practical Theory of Art Making | A discussion course that will end with a manifesto
on art making written by the class. Topics will
include finding and developing ideas, structuring
work, choosing the right medium, the personal
becoming universal, integrity, and political and
social... |
| FPFV459 | Participatory Filmmaking | This course will explore filmmaking practices
which rely upon and are motivated by long-term
community involvement and activism. Students will
watch films and engage with contemporary fiction
and non-fiction filmmakers in conversations around
social... |
| FPFV460 | Shooting Landscapes | Students will visit and film six different
landscapes in Southern California. Emphasis will
be given on capturing the unique essence of
place. The class will meet for a full day each
week. Each student is required to complete one
landscape film. |
| FPFV461 | Metacinema From 1960S to the Present | Metacinematic gestures have been present since the
earliest years of film. Like metafiction in
literature, metacinema refers to films that make
the audience aware of the filmmaking or viewing
processes. Such films interrogate the medium and
its hist... |
| FPFV462 | Advanced Narrative Production | Advanced Narrative Production and directing the
Camera Workshop
Advanced Narrative Production (producing the 4
minute film, one day shoot) students will be
placed into 2 teams of 6 and rotate production
roles: director, assistant director,
cinematog... |
| FPFV463 | Where Does Grief Go? | WHERE DOES GRIEF GO?
A brief glimpse of beauty, / A daydream of wayward
lives and / extraordinary experiments / A taste of
memory in the flesh.
The voice of Andre 3000 will be our guide as he
sings a mournful dirge for his parents and we
consider th... |
| FPFV464 | Aliens on Screen | Aliens On Screen: Cosmopolitics and
Extraterrestrials in Sci-Fi Cinema.
Aliens loom large on the horizon of our
imagination. In culture, aliens manifest in
multimedial forms: TV shows, video games, comic
books, literature, and of course films. Altho... |
| FPFV465 | Media Sketchbook: Light, Space and Time | "Media are our infrastructures of being, the habitats and materials through which we act and are."..."At some level, expression and existence merge.: (John Durham Peters, The Marvelous Clouds).
In this course students will plumb the reaches of their... |
| FPFV468 | Constructing Alternative Realities | Constructing Alternative Realities is a class that
will begin by studying composition and
characteristics of the film frame. How do time,
space, rhythm, movement and sound contribute as
key constituents? In this regard, the class will
be a study in... |
| FPFV470 | Screenwriting | FPFV- The starting point of this discipline is the
intention to create a working screenwriting
practice dictated by the needs of each story being
told and that rejects the "one size fits all"
formulaic school of screenwriting. There is no
magic bull... |
| FPFV472 | Alternative Screenwriting | Alternative Screenwriting
What's in a script? This workshop will explore the relationship between form and subject as a springboard to examine and experiment with the possibilities of the screenplay format. In the first part of the course, we will... |
| FPFV473 | Acting Bad | A course to de-construct acting and narration.
The main goal will be to define performance in
new, non-traditional ways. Students will develop
dialogues and/or narrations taken from real life
(court transcripts, overheard conversations) to
fictiona... |
| FPFV474 | Benning on Benning | This intensive course is a screening series of a selection of 12 films, both analog and digital, from a 50 year career. Students will produce art works (films, paintings, drawing, etc.) inspired by the discussions and screenings in class. The final s... |
| FPFV476 | New Directions for Feminist Film History | This seminar takes a transnational approach to
exploring the history of cinema, video,
documentary, and experimental film by examining
the contributions of women, queer, and trans*
filmmakers, directors, actors, and film
collectives in a global conte... |
| FPFV477 | Prepro: Creative Approaches to Pre-Prod. | PrePro: Creative Approaches to Pre-Production
Pre-production is an essential step in the
creation of a film. Whether it is a fictional
narrative with crew and actors, a non fiction
project, or a more poetic or structural
experimental film, video or... |
| FPFV478 | Cinema of Resistance | Cinema of Resistance: Political Filmmaking,
Revolutionary Movements, Art, and Social Change
"(W)hat we call the political is society itself,
it is the form of history itself. film and
revolution, or film and arts, or politics and
arts, are inseparab... |
| FPFV479 | Site Specific | Site Specific: Moving Images in the Cinema, the
White Cube, and Online
The present moment for exhibiting moving images
is a fluid one. Artists who may have
traditionally exhibited in a gallery are finding
their way into cinemas, while filmmakers are... |
| FPFV480 | Archives and The Archive | Archives and the Archive
The word "archive/s" holds a strange power these days. It is at once the title of organizations that preserve, arrange and provide access to historical materials, those collections of materials themselves, a synonym for memo... |
| FPFV484 | Cinema and Representation: Latin America | This class centers on the ways in which the idea
of Latin America has been constructed through
cinema, from the first productions that took place
in the region (ca. 1930s) to our days. Looking at
a wide range of cinematic practices from both
"Latin A... |
| FPFV485 | Dangerous Filmmaking: A Production Wksh | A production workshop. The course is called
"dangerous" because we will be delving deep
within ourselves to look at our maybe
not-so-comfortable family relationships and
ourselves from a deeply interior perspective.
Each student will produce a work o... |
| FPFV486 | Surveying the Black Futurist Movement | Surveying the Black Futurist Movement is
positioned at the intersection of various
African American traditions including music,
performance, poetry, and filmmaking. The course
will
vacillate between sound and cinema as we
investigate the language and... |
| FPFV488 | Post-Production | A practical course designed to take the student
through the post-production process toward the
completion of a finished work. This class is
designed for students in the process of finishing
their thesis or senior projects and will include
group as we... |
| FPFV497 | Alchemical Cinema | Course available by permission of instructor
only.
This course offers an introduction to the
mysteries of photographic film-its properties,
processes, and potentials. Technique is
introduced as an organic component of the
expressive arsenal. Everyth... |
| FPFV501 | Filmmaking Fundamentals | Course available by Permission of Instructor
only.
An investigation of the aesthetics inherent to
low cost production equipment. Students will be
encouraged to make personal, experimental works
from the point of view of the individual. Class
analys... |
| FPFV502 | Cinematic Lighting | A workshop that will look at essential working
elements of lighting for motion pictures. Starting
by analyzing different lighting styles in film
history, this course will then cover a range of
lighting practices in original locations and in
studio, l... |
| FPFV503 | Cinematography | This course is designed for students to explore
cinematic language and the artistic possibilities
of the moving image. Students will be evaluated on
their mastery of core concepts of camera functions
and image construction - including lighting,
compo... |
| FPFV504 | Film Production Workshop | Students will learn the basics of 16mm
film production and will gain access to Bolex and
Arriflex film cameras. They will also learn the
basics of light readings, exposure, and will be
introduced to some of the hand-made potentials of
emulsion based... |
| FPFV506 | Finishing on 16MM Film | In this course, you will learn the 16mm editorial
process from cutting on a flatbed viewer to
finishing an answer print. You will shoot a two
minute film or expand on your one-minute film
from the fall semester. The course will be taken
concurrent... |
| FPFV510 | Together At Last | TOGETHER AT LAST is designed for students who took
FPFV203/503 Cinematography, FPFV134/534 Digital
Editing and FPFV285/585 Production Sound remotely
during the pandemic. The course will go over
essential hands-on skills and introduce students
to cam... |
| FPFV511 | Screen Action: Curation in Practice | In this course, students will work in small groups
to curate and produce screening programs to be
presented during Winter Session. They will develop
a curatorial direction and select work,
communicate with distributors and filmmakers,
secure screenin... |
| FPFV514 | Editing With Avid | In this course, students will learn editing
techniques and methodology using Avid Media
Composer through lectures and hands on exercises.
Topics will include: media organization,
ingesting, transcoding, three point editing,
trimming, sound editing, w... |
| FPFV520 | Opening the Film & Video Vault | This is an intensive film and video viewing course
focusing on major works from the history of
avant-garde, or experimental, film. The majority
of titles will be selected from CalArts' film and
video archive, including special film prints that
have n... |
| FPFV521 | Color Correction and Grading | This is a practice based workshop class designed
to introduce students to the manipulation of
color in digital video. We will approach color
correction and grading in through hands on
experience with the understanding that the
concepts behind the th... |
| FPFV530 | Moving Image and Creative Curating | This is a course on curating film, video,
performance and installation; how creative
programming can integrate and amplify individual
works within larger contexts and help build
communities for the experience and appreciation of
this kind of art.
T... |
| FPFV534 | Digital Editing | A comprehensive introduction to digital editing
strategies, aesthetics and techniques using
post-production workflows in Davinci software.
Adobe CC and related software will be overviewed
also . Topics will include media management,
transcoding, pict... |
| FPFV546 | Composing in Space | This cinematography class is focused on
solidifying the knowledge of students who have a
foundation in cinematography by looking at and
working with specific aspect ratios, textures and
camera movements. The students will analyze and
practice differ... |
| FPFV553 | Cinematic Voices: Film & Video In-Person | A screening and analysis class in which members
of the Film/Video faculty and visiting artists
show and discuss their work. The class is
intended to acquaint students with the faculty as
well as different kinds of independent film and
video. Students... |
| FPFV585 | Production Sound | This filmmaking course explores the art and practice of recording sound for motion pictures.
With an emphasis on professional processes and standards, students learn to record sound on set, in studio, and in the field. The coursework is collaborativ... |
| FPFV586 | Post Production Sound | This course foregrounds recorded sound as the primary creative and narrative tool in moving image post production. It builds on Production Sound, introducing the fundamental sound design, editing, and mixing standards for motion pictures. Working pri... |
| FPFV601 | Intermediate Digital Production/Post | Course available by Permission of Instructor
only.
Students will be exposed to video production and
post-production methodologies necessary for
becoming self-sufficient video makers within the
CalArts environment. Various methods of digital
producti... |
| FPFV602 | Light and Lighting | Course available by permission of instructor
only.
A practical and aesthetic introduction to light
in all its forms, from natural radiations to
darkness and the many worlds of artificial light,
including its use in moving image works, still
works and... |
| FPFV605 | Writing About Film | Course available by Permission of Instructor
only.
The class will teach students how to write about
film (as well as video and other media using the
moving image) in a variety of forms, genres, and
contexts: writing about one's work, about the
work o... |
| FPFV606 | Bad Sound: Non-Traditional Ways | Bad Sound: Non-Traditional Ways to Create Sounds
for Images
Erasing notions of hi-fidelity sound, this class
acknowledges that the right sound for a film might
be the result of an aleatory accident,
ill-conceived experiment or unpolished
performance... |
| FPFV607 | Adv Creative Cinematography | In this workshop class we expand your knowledge
from the fundamentals of cinematography, toward
harnessing the technical tools of the craft for
creating impactful images in advanced productions,
while strengthening your unique voice as an
artist. You... |
| FPFV609 | Optical Printing | This class offers an introduction to the method,
magic and madness of optical printing: the
wonderful possibilities of re-filming film.
Students will learn how to perform time
manipulations, multiple exposures, format
transfers, and matte and title m... |
| FPFV610 | Documentary Production | Course available by Permission of Instructor
only.
This course explores the documentary form through
theory and practice. Students will look
at different documentary approaches and methods.
Viewing and analysis of various films will
be a vital part... |
| FPFV610A | Documentary Prod: The Virtual Field | This project-based class will investigate a wide range of themes and possibilities suggested by the particularities of our hyper-connected world in relation to documentary production, including, but not limited to identity, virtuality, privacy, secur... |
| FPFV611 | Memories, Dreamscapes, and the Archive | This course will explore the intimate use of memories and dreamscapes within the art of moving images to employradical re-examinations of identity, culture, and history. We will analyze experimental methods used to decolonizethe archive within film a... |
| FPFV612 | Shadowlands | Shadowlands:
Capturing the Uncanny in 16mm
Film has a remarkable ability to capture invisible, indeed mysterious energies and emotions of time and place within its emulsion. One might interpret this as spectral or mystical, sorcerous or sublime. Thi... |
| FPFV613 | Devices of Illusion | Course available by Permission of Instructor
only.
This is a hands-on course in which students
adapt, modify, reconfigure and boulderise optical
and mechanical devices, creating mysterious
machines for recording the ephemeral. Projects
include but ar... |
| FPFV615 | Production Crews | Hands-on experience for students serving on
production crews of projects initiated by
fellow students. Credit can be received for
substantial contributions in areas such as:
cinematography, sound recroding and production
design. Must be supervised... |
| FPFV616 | Post Production Crews | Hands-on experience for students serving on
production crews of projects initiated by fellow
students. Credit can be received for substantial
contributions in areas such as: editing, sound
editing and sound design. Must be supervised by
appropriate... |
| FPFV617 | Videographics | Course available by permission of instructor
only.
Electronic image acquisition, generation and
manipulation are the focus of this class aimed at
experimentation. Combining the image processing
and production power of the video studio and the
videog... |
| FPFV618 | Film and Family Archives | Family portraits, letters, home-videos, notes,
diaries, and small objects and accessories are
often key to tracing hidden secrets and desires
within one's own family. Beyond this, by examining
family archives we can gain a deeper understanding
of reg... |
| FPFV619 | Experimental Visions: Women & Others | This course examines influential women and non-binary filmmakers who advocate for experimental forms in their moving image work and writing. We will focus primarily on a non-narrative avant-garde and on artists that argue for the importance of form,... |
| FPFV620 | Teaching, Research & ... | Course available by Permission of Instructor
only.
This course is to provide Graduate Students with
an opportunity to gain valuable teaching
experience. Each student will prepare a two-hour
teaching presentation and each week a different
student wil... |
| FPFV621 | Babelisms: Multilingual Film Aesthetics | This class will explore the aesthetic and
political openings provided by incorporating
multiple languages in film and moving image media.
While the use of different spoken languages and
dialects will be the starting point, the class
will also encompa... |
| FPFV622 | The You-Tube Class | Films will be taken from YouTube and reworked
using a digital editing system. |
| FPFV623 | Composing in Space | This class is an in-depth study of movement and composition through both sound and image. The potential for movement is one of the main distinguishing features of time-based practices, perhaps most of all in filmmaking. To
explore this we will consid... |
| FPFV624 | Aesthetics of Sound and Image | An exploration of the aesthetic concerns when combining sound with the image. This class will explore the aural dimension and its profoundly psychological role in cinematic work. Sound is a vital component in filmmaking and this class will examine ae... |
| FPFV625 | Graduate Critique | Course available by Permission of Instructor
only.
A practical theory course providing a working
environment for Program in Film and Video
Graduate students to develop, discuss, theorize,
and complete their work. Students will be
required to spend at... |
| FPFV627 | 'i'-Sight: First-Persona Cinema | The 'I' is the moment of failure in every
narrative effort to give an account of oneself. -
Judith Butler
We now see subjectivities and truths as plural not
only among subjects, but within a given subject,
the self that is divided, and even in part... |
| FPFV629 | Installation Design for Film and Art | A course on site specific film and art
installation design. Students will be encouraged
to design site specific installations without
financial limitations, that is, from CalArts room
D301 to the Guggenheim. These designs will
include architectural... |
| FPFV630 | Multi-Ch. & Video Installation | The objectives of this course are to learn how to
work with the moving image and sound in the form
of video installation. We will focus on creating
understanding through intentional relations
between content, space and scale. We will
contemplate the... |
| FPFV631 | "Autrice" Studies: Women Film Directors | Of course, the politique des auteurs is the
application to the cinema of a notion that is
widely accepted in the individual arts. -André
Bazin, 1957
Coined as an expression in English by critic
Andrew Sarris in the 1960s, "Auteur Theory" and
auteur... |
| FPFV634 | Intermediate Digital Editing | This course is Permission of Instructor only.
This is an intermediate editing course
that will expand on topics covered in FPFV
134/534: Digital Editing. Through lecture,
demonstration, and work on individual projects,
students will learn intermediat... |
| FPFV636 | Experimental Film Techniques I | Advanced explorations into various aspects
of the 16mm filmmaking process. Topics will
include thorough examinations of different film
stocks and image manipulation techniques.
Students will learn and gain access to 16mm
intervalometer and high-speed... |
| FPFV638 | Color Grading & Advanced Workflows | This course offers filmmakers an introduction to color correction and grading for digital footage, using DaVinci Resolve as the primary tool. Students will learn foundational concepts in color science and theory, engaging in activities such as image... |
| FPFV640 | Finding Money | Let's face it: finding money for your project is one of the toughest--and most important--parts of being an independent filmmaker today. With traditional funding models shifting and sustainability more urgent than ever, this course gives you practica... |
| FPFV641 | Pre-Production/Visualization | Pre-Production/Pre-Visualization explores concept
development through story analysis, and the
conceptual and visceral intent of your vision, as
it is affected by camera choice, film grammar
techniques, environmental considerations such as
the control... |
| FPFV642 | Radicalizing Sound & Image | Course available by permission of instructor
only.
This class will present a survey of recent and
historical avant-garde films that stretch the
limits of cinematic expression. Equal time will
be dedicated to innovative works of sound, music
and the... |
| FPFV646 | The Essay Film | Permission of Instructor required. This
production class will explore the essay-film.
Film critic Alexandre Astruc created the term
camera-stylo in 1948 to suggest a new means of
writing through cinema, in which the camera would
serve as a pen, crea... |
| FPFV647 | Under 15 Minutes: A Short Film Workshop | The class will provide a structure and a workshop
for students who wish to create a short work
(under fifteen minutes) of their choosing. We
will work on each stage of the production
process, including script/concept, production
planning, casting, sh... |
| FPFV648 | Advanced Production | Experimental, Narrative and Documentary work, this
is the place to do it.
You will direct your own chosen genre script the
time and location of your production.
Class meets on Friday, production weekends.
*Pre-requisite: by permission of instructor. |
| FPFV649 | On the Edge of Narrative | This is a production workshop for students creating film/video projects of any length or format with an experimental approach to narrative. We will focus on creative interpretations of the traditional facets of narrative filmmaking (character develop... |
| FPFV650 | Visiting Filmmaker Workshop | Course available by Permission of Instructor
only.
Intensive small workshops with visiting
filmmakers. There will be individual sign-ups per
Visiting Artist. |
| FPFV651 | The Feminist Moving Image | The Feminist Moving Image Across Discipline is a screening-based and discussion-led seminar that will consider work across disciplines of several women and feminist, queer, trans+, and political filmmakers and moving-image practitioners, covering a w... |
| FPFV652 | Cinema of Transformation | The course will view films that are, in very
different ways, centrally concerned with inner
life, faith/lack of faith, and various forms of
transformation. Although film is a visual medium,
and these films are without exception beautiful
and powerful... |
| FPFV654 | Radicalizing Vision Workshop | This class is a workshop extension of
FPFV-442-01/642-01, Radicalizing Sound and Image.
In a smaller workshop setting and with the aim of
making a radically innovative final film project,
students will explore and research experimental
work made in m... |
| FPFV656 | Listening/Seeing | Each week a different location (either urban,
rural, or wilderness) will be visited for the
purposes of listening and seeing. At the end of
the visit the class will meet within the location
to discuss what each has individually
experienced. Attention... |
| FPFV657 | Adaptations | Adaptation is the process of change by which an
organism becomes better suited to its environment.
It is coincidentally, the term used to describe
the process by which one art form - traditionally
the written word - is modified and transformed
into a... |
| FPFV658 | A Practical Theory of Art Making | A discussion course that will end with a manifesto
on art making written by the class. Topics will
include finding and developing ideas, structuring
work, choosing the right medium, the personal
becoming universal, integrity, and political and
social... |
| FPFV659 | Participatory Filmmaking | This course will explore filmmaking practices
which rely upon and are motivated by long-term
community involvement and activism. Students will
watch films and engage with contemporary fiction
and non-fiction filmmakers in conversations around
social... |
| FPFV660 | Shooting Landscapes | Students will visit and film six different
landscapes in Southern California. Emphasis will
be given on capturing the unique essence of
place. The class will meet for a full day each
week. Each student is required to complete one
landscape film. |
| FPFV661 | Metacinema From 1960S to the Present | Metacinematic gestures have been present since the
earliest years of film. Like metafiction in
literature, metacinema refers to films that make
the audience aware of the filmmaking or viewing
processes. Such films interrogate the medium and
its hist... |
| FPFV662 | Advanced Narrative Production | Advanced Narrative Production and directing the
Camera Workshop
Advanced Narrative Production (producing the 4
minute film, one day shoot) students will be
placed into 2 teams of 6 and rotate production
roles: director, assistant director,
cinematog... |
| FPFV663 | Where Does Grief Go? | WHERE DOES GRIEF GO?
A brief glimpse of beauty, / A daydream of wayward
lives and / extraordinary experiments / A taste of
memory in the flesh.
The voice of Andre 3000 will be our guide as he
sings a mournful dirge for his parents and we
consider th... |
| FPFV664 | Aliens on Screen | Aliens On Screen: Cosmopolitics and
Extraterrestrials in Sci-Fi Cinema.
Aliens loom large on the horizon of our
imagination. In culture, aliens manifest in
multimedial forms: TV shows, video games, comic
books, literature, and of course films. Altho... |
| FPFV665 | Media Sketchbook: Light, Space and Time | "Media are our infrastructures of being, the habitats and materials through which we act and are."..."At some level, expression and existence merge.: (John Durham Peters, The Marvelous Clouds).
In this course students will plumb the reaches of their... |
| FPFV668 | Constructing Alternative Realities | Constructing Alternative Realities is a class that
will begin by studying composition and
characteristics of the film frame. How do time,
space, rhythm, movement and sound contribute as
key constituents? In this regard, the class will
be a study in... |
| FPFV670 | Screenwriting | FPFV- The starting point of this discipline is the
intention to create a working screenwriting
practice dictated by the needs of each story being
told and that rejects the "one size fits all"
formulaic school of screenwriting. There is no
magic bull... |
| FPFV672 | Alternative Screenwriting | Alternative Screenwriting
What's in a script? This workshop will explore the relationship between form and subject as a springboard to examine and experiment with the possibilities of the screenplay format. In the first part of the course, we will... |
| FPFV673 | Acting Bad | A course to de-construct acting and narration.
The main goal will be to define performance in
new, non-traditional ways. Students will develop
dialogues and/or narrations taken from real life
(court transcripts, overheard conversations) to
fictiona... |
| FPFV674 | Benning on Benning | This intensive course is a screening series of a selection of 12 films, both analog and digital, from a 50 year career. Students will produce art works (films, paintings, drawing, etc.) inspired by the discussions and screenings in class. The final s... |
| FPFV676 | New Directions for Feminist Film History | This seminar takes a transnational approach to
exploring the history of cinema, video,
documentary, and experimental film by examining
the contributions of women, queer, and trans*
filmmakers, directors, actors, and film
collectives in a global conte... |
| FPFV677 | Prepro: Creative Approaches to Pre-Prod. | PrePro: Creative Approaches to Pre-Production
Pre-production is an essential step in the
creation of a film. Whether it is a fictional
narrative with crew and actors, a non fiction
project, or a more poetic or structural
experimental film, video or... |
| FPFV678 | Cinema of Resistance | Cinema of Resistance: Political Filmmaking,
Revolutionary Movements, Art, and Social Change
"(W)hat we call the political is society itself,
it is the form of history itself. film and
revolution, or film and arts, or politics and
arts, are inseparab... |
| FPFV679 | Site Specific | Site Specific: Moving Images in the Cinema, the
White Cube, and Online
The present moment for exhibiting moving images
is a fluid one. Artists who may have
traditionally exhibited in a gallery are finding
their way into cinemas, while filmmakers are... |
| FPFV680 | Archives and The Archive | Archives and the Archive
The word "archive/s" holds a strange power these days. It is at once the title of organizations that preserve, arrange and provide access to historical materials, those collections of materials themselves, a synonym for memo... |
| FPFV682 | Project Development | Course available by Permission of Instructor
only.
An advanced theoretical and practical workshop to
generate advanced projects, and foster a critical
and creative community amongst second and third
year students. This will be a development class,
t... |
| FPFV684 | Cinema and Representation: Latin America | This class centers on the ways in which the idea
of Latin America has been constructed through
cinema, from the first productions that took place
in the region (ca. 1930s) to our days. Looking at
a wide range of cinematic practices from both
"Latin A... |
| FPFV685 | Dangerous Filmmaking: a Production Wkshp | A production workshop. The course is called
"dangerous" because we will be delving deep
within ourselves to look at our maybe
not-so-comfortable family relationships and
ourselves from a deeply interior perspective.
Each student will produce a work o... |
| FPFV686 | Surveying the Black Futurist Movement | Surveying the Black Futurist Movement is
positioned at the intersection of various
African American traditions including music,
performance, poetry, and filmmaking. The course
will
vacillate between sound and cinema as we
investigate the language and... |
| FPFV688 | Post-Production | A practical course designed to take the student
through the post-production process toward the
completion of a finished work. This class is
designed for students in the process of finishing
their thesis or senior projects and will include
group as we... |
| FPFV697 | Alchemical Cinema | Course available by permission of instructor
only.
This course offers an introduction to the
mysteries of photographic film-its properties,
processes, and potentials. Technique is
introduced as an organic component of the
expressive arsenal. Everyth... |
| FPFV703 | Looking at the Sky | Urbanization and its overabundance of artificial light has left us blind to the wonders of the night sky, something our ancestors both took for granted and were profoundly influenced by. This course aims at regaining that awareness.
The entire sky... |
| FSFV112 | Institute Life Drawing | This course will introduce students from across
the Institute to the basic principles of
observational life drawing. We will focus on
drawing many forms of animate and inanimate
subject matter, including human models. There are
no prerequisites, and... |
| FSFV315 | This Is Not a Sound Class | Close your eyes. Listen. Imagine a dark room, great acoustics and the best world wide sound art sounding around you. Let's feel how sound floods the room and guide us into an unexpected journey.
In this setup, how do you feel? What images come to yo... |
| FSFV321 | Writing Through Filmmaking Practice | NOTE additional seats will be available for this
course at course advising day.
Where do film ideas come from? How can we write
and make short films that are not simply didactic,
explanatory, or formulaic and instead start these
projects from sens... |
| FSFV391 | Introduction to Maya | Introduction to Maya: Maya for All
This course focuses on introducing students to the CG program Maya, and becoming familiar with its workflow and possibilities. No prior experience with Maya is necessary. |
| FSFV420B | World Building | The term "world building" has often been used to
describe the art direction decisions of video
game designers or large studio film productions
in the science-fiction/fantasy genres, but more
recently this term is being used by individual
artists maki... |
| FSFV420J | Color Correction and Grading | This is a practice based workshop class designed
to introduce students to the manipulation of
color in digital video. We will approach color
correction and grading in through hands on
experience with the understanding that the
concepts behind the th... |
| FSFV421C | Decolonial Impressions | The word 'decolonization' has found various
definitions and meanings in the film world
today-but what does the word really entail, and
can cinema truly be decolonized? Can we
successfully break away from the systems and
structures that govern the mov... |
| FSFV421D | Hold the Line : Straight Ahead Animation | Hold the Line is a workshop designed to explore
the practice of straight-ahead animation as a
powerful conceptual tool. This class encourages
students to engage in prolonged improvisation,
embrace spontaneity, intuition, and a sense of
flow. Students... |
| FSFV421E | Experimental Game Design | Experimental Game Design is an introductory course aimed at assisting students in exploring their unique artistic language in game-making, gaming concepts, psychology, aesthetics, and beyond. The definition of "games" is broad and inclusive, encompas... |
| FSFV421F | Collaboration and Control | This class will focus on maintaining individuality while working without absolute creative control. The class is designed to reflect a director-client relationship and other collaborative partnerships with uneven power dynamics. Students will learn t... |
| FSFV421G | Animacy in the Moving Image | What does it mean to consider the gaze of the non-human, or to prioritize an anti-human gaze? This workshop and screening course will unpack the ways the camera has been mobilized by the human at the exclusion of the "more-than-human" (a term that tu... |
| FSFV433 | Production Student Technician Course | The Production Technician Course - formerly Video
Studio TA Class - is taught in conjunction with
the Post Production Student Technician Course and
Sound Student Technician Course. An
objective of these courses is to expand the
knowledge-base of the... |
| FSFV434 | Post Prod Student Technician Course | The Post Production Student Technician Course is
taught in conjunction with the Production Student
Technician Course and the Sound Student Technician
Course. An objective of these courses is to expand
the knowledge-base of the student body in the mor... |
| FSFV435 | Sound Student Technician Course | The Sound Student Technician Course - formerly
Sound TA Course - is taught in conjunction with
the Production Student Technician Course and Post
Production Student Technician Course. An objective
of these courses is to expand the knowledge-base
of th... |
| FSFV435A | Sound Student Technician Course | This is a 7 week two-sequence course (remote in
the Fall; in person in the Spring)
The Sound Student Technician Course - formerly
Sound TA Course - is taught in conjunction with
the Production Student Technician Course and Post
Production Student Te... |
| FSFV435B | Sound Student Technician Course | This is a 7 week two-sequence course (remote in
the Fall; in person in the Spring)
The Sound Student Technician Course - formerly
Sound TA Course - is taught in conjunction with
the Production Student Technician Course and Post
Production Student Te... |
| FSFV440 | Cinedance | Only students from the School of Dance and the
School of Film/Video are eligible to enroll.
CineDance is a production-oriented course that
motivates the creative collaboration between
choreographers and filmmakers. Dance and
Film/Video students will... |
| FSFV444 | Hot Sad White Guys: Race, Sexuality,Film | Sad Hot White Guys is a screening/discussion course exploring gender, race, and sexuality through archetypal media representations of white men. From military propaganda to the politics of pretty, Beau Travail to the white guy of the month on Tiktok;... |
| FSFV445 | Making Music Videos | Students in this class will complete a number of
collaborative music video production projects in
groups that include students from the schools of
music, dance, film/video and experimental
animation.
Music videos can be a wonderful tool for
filmmake... |
| FSFV475 | Bad Sound: Non-Traditional Ways | Bad Sound: Non-Traditional Ways to Create Sounds for Images Erasing notions of hi-delity sound, this class acknowledges that the right sound for a lm might be the result of an aleatory accident, ill-conceived experiment or unpolished performance. As... |
| FSFV479 | Sound Design Lab for Project Development | Are you graduating and finishing a project? Do you want to do the sound design of your film / installation but it's been too long since you used Pro Tools the last time? Do you have a significant project that is awaiting you to finally do the sound d... |
| FSFV481 | Sound Editing & Mixing | Course available by Permission of Instructor
only.
This course covers practical and aesthetic
surround sound design and technical issues.
Students will be able to see how their edits
translate to a mixing facility. Covers
intermediate sound design an... |
| FSFV483 | This Machine Kills Fascists | In this class students will build an analog
voltage controlled sound synthesizer from scratch
using a do-it-yourself kit. Over the course of
the semester, we will collaboratively construct
the 9 modules that constitute this system
employing standard... |
| FSFV512 | Institute Life Drawing | This course will introduce students from across
the Institute to the basic principles of
observational life drawing. We will focus on
drawing many forms of animate and inanimate
subject matter, including human models. There are
no prerequisites, and... |
| FSFV515 | This Is Not a Sound Class | Close your eyes. Listen. Imagine a dark room, great acoustics and the best world wide sound art sounding around you. Let's feel how sound floods the room and guide us into an unexpected journey.
In this setup, how do you feel? What images come to yo... |
| FSFV521 | Writing Through Filmmaking Practice | NOTE additional seats will be available for this
course at course advising day.
Where do film ideas come from? How can we write
and make short films that are not simply didactic,
explanatory, or formulaic and instead start these
projects from sens... |
| FSFV522 | Course Design: Teaching As Learning | For graduate students with an interest in
developing their own courses/curricula in an
experimental laboratory context for a possible
career or side-hustle in education. This course
takes an expansive view toward adaptive and
innovative learning envi... |
| FSFV591 | Introduction to Maya | Introduction to Maya: Maya for All
This course focuses on introducing students to the CG program Maya, and becoming familiar with its workflow and possibilities. No prior experience with Maya is necessary. |
| FSFV620B | World Building | The term "world building" has often been used to
describe the art direction decisions of video
game designers or large studio film productions
in the science-fiction/fantasy genres, but more
recently this term is being used by individual
artists maki... |
| FSFV620J | Color Correction and Grading | This is a practice based workshop class designed
to introduce students to the manipulation of
color in digital video. We will approach color
correction and grading in through hands on
experience with the understanding that the
concepts behind the th... |
| FSFV621C | Decolonial Impressions | The word 'decolonization' has found various
definitions and meanings in the film world
today-but what does the word really entail, and
can cinema truly be decolonized? Can we
successfully break away from the systems and
structures that govern the mov... |
| FSFV621D | Hold the Line : Straight Ahead Animation | Hold the Line is a workshop designed to explore
the practice of straight-ahead animation as a
powerful conceptual tool. This class encourages
students to engage in prolonged improvisation,
embrace spontaneity, intuition, and a sense of
flow. Students... |
| FSFV621E | Experimental Game Design | Experimental Game Design is an introductory course aimed at assisting students in exploring their unique artistic language in game-making, gaming concepts, psychology, aesthetics, and beyond. The definition of "games" is broad and inclusive, encompas... |
| FSFV621F | Collaboration and Control | This class will focus on maintaining individuality while working without absolute creative control. The class is designed to reflect a director-client relationship and other collaborative partnerships with uneven power dynamics. Students will learn t... |
| FSFV621G | Animacy in the Moving Image | What does it mean to consider the gaze of the non-human, or to prioritize an anti-human gaze? This workshop and screening course will unpack the ways the camera has been mobilized by the human at the exclusion of the "more-than-human" (a term that tu... |
| FSFV633 | Production Student Technician Course | The Production Technician Course - formerly Video
Studio TA Class - is taught in conjunction with
the Post Production Student Technician Course and
Sound Student Technician Course. An
objective of these courses is to expand the
knowledge-base of the... |
| FSFV634 | Post Prod Student Technician Course | The Post Production Student Technician Course is
taught in conjunction with the Production Student
Technician Course and the Sound Student Technician
Course. An objective of these courses is to expand
the knowledge-base of the student body in the mor... |
| FSFV635 | Sound Student Technician Course | The Sound Student Technician Course - formerly
Sound TA Course - is taught in conjunction with
the Production Student Technician Course and Post
Production Student Technician Course. An objective
of these courses is to expand the knowledge-base
of th... |
| FSFV635A | Sound Student Technician Course | This is a 7 week two-sequence course (remote in
the Fall; in person in the Spring)
The Sound Student Technician Course - formerly
Sound TA Course - is taught in conjunction with
the Production Student Technician Course and Post
Production Student Te... |
| FSFV635B | Sound Student Technician Course | This is a 7 week two-sequence course (remote in
the Fall; in person in the Spring)
The Sound Student Technician Course - formerly
Sound TA Course - is taught in conjunction with
the Production Student Technician Course and Post
Production Student Te... |
| FSFV640 | Cinedance | Only students from the School of Dance and the
School of Film/Video are eligible to enroll.
CineDance is a production-oriented course that
motivates the creative collaboration between
choreographers and filmmakers. Dance and
Film/Video students will... |
| FSFV644 | Hot Sad White Guys: Race, Sexuality,Film | Sad Hot White Guys is a screening/discussion
course exploring gender, race, and sexuality
through archetypal media representations of white
men. From military propaganda to the politics of
pretty, Beau Travail to the white guy of the month
on Tiktok;... |
| FSFV645 | Making Music Videos | Students in this class will complete a number of
collaborative music video production projects in
groups that include students from the schools of
music, dance, film/video and experimental
animation.
Music videos can be a wonderful tool for
filmmake... |
| FSFV675 | Bad Sound: Non-Traditional Ways | Bad Sound: Non-Traditional Ways to Create Sounds for Images Erasing notions of hi-delity sound, this class acknowledges that the right sound for a lm might be the result of an aleatory accident, ill-conceived experiment or unpolished performance. As... |
| FSFV679 | A Sound Lab for Project Development | Are you graduating and finishing a project? Do you want to do the sound design of your film / installation but it's been too long since you used Pro Tools the last time? Do you have a significant project that is awaiting you to finally do the sound d... |
| FSFV681 | Sound Editing & Mixing | Course available by Permission of Instructor
only.
This course covers practical and aesthetic
surround sound design and technical issues.
Students will be able to see how their edits
translate to a mixing facility. Covers
intermediate sound design an... |
| FSFV683 | This Machine Kills Fascists | In this class students will build an analog
voltage controlled sound synthesizer from scratch
using a do-it-yourself kit. Over the course of
the semester, we will collaboratively construct
the 9 modules that constitute this system
employing standard... |
| FVCA100 | 2D Character Animation I | Required course; open to BFA1 Character Animation
students only.
Introduction to hand-drawn Character Animation
techniques. |
| FVCA101 | 2D Character Animation I | Required course; open to BFA1 Character Animation
students only.
Introduction to hand-drawn Character Animation
techniques. |
| FVCA110 | Life Drawing I | Required course; open to BFA1 Character Animation
students only.
Fundamental concepts of figure drawing, with
emphasis on application to character animation.
Analysis of the physical structures of the human
body, focusing on anatomy, mechanics, thre... |
| FVCA111 | Life Drawing I | Required course; open to BFA1 Character Animation
students only.
Fundamental concepts of figure drawing, with
emphasis on application to character animation.
Analysis of the physical structures of the human
body, focusing on anatomy, mechanics, thre... |
| FVCA130 | Character Design I | Open to BFA1 Character Animation students only;
Introduction to character design for animation,
including the study of gesture, shape,
construction, drapery, texture, composition /
staging, rhythm, and design. |
| FVCA132 | Design I | Required course; open to BFA1 Character Animation
students only.
Examination of various design elements that
exemplify core artistic principles applicable in
a variety of artistic endeavors, including shape,
proportion, line, movement and counter-mov... |
| FVCA140 | Perspective I | Required course; open to BFA1 Character Animation
students only.
Basic rendering and perspective drawing. |
| FVCA150 | Story I | Required course; open to BFA1 Character Animation
students only.
Introduction to story development, storyboarding,
visual storytelling and scripting. |
| FVCA151 | Story I | Required course; open to BFA1 Character Animation
students only.
Introduction to story development, storyboarding,
visual storytelling and scripting. |
| FVCA151W | Story I | Required course; open to BFA1 Character Animation
students only.
Continuation of introduction to story development,
storyboarding, visual storytelling and scripting. |
| FVCA160 | Digital Methods I | Required course; open to BFA1 Character Animation
students only.
Introduction to digital methods for painting,
compositing, and editing. |
| FVCA161 | Digital Methods I | Required course; open to BFA1 Character Animation
students only.
Introduction to digital methods for painting,
compositing, and editing. |
| FVCA180 | CG Foundation I | Required course; open to BFA1 Character Animation
students only.
Introduction to CG software, concepts, and tools. |
| FVCA181 | CG Foundation I | Required course; open to BFA1 Character Animation
students only.
Introduction to CG software, concepts, and tools. |
| FVCA200 | 2D Character Animation II | Required course; open to BFA2 Character Animation
students only.
Study of hand-drawn animation techniques, with
assignments involving scenes animated in
continuity, recorded dialogue, and an emphasis on
performance. |
| FVCA201 | 2D Character Animation II | Required course; open to BFA2 Character Animation
students only.
Study of hand-drawn animation techniques, with
assignments involving scenes animated in
continuity, recorded dialogue, and an emphasis on
performance. |
| FVCA210 | Life Drawing II | Required course; open to BFA2 Character Animation
students only. Life drawing with
an emphasis on gesture, observation, fluidity,
rhythm, tempo, and emotion. In-depth study of
drawing concepts, anatomy, costume, character and
lighting. |
| FVCA211 | Life Drawing II | Required course; open to BFA2 Character Animation
students only.
Life drawing with an emphasis on gesture,
observation, fluidity, rhythm, tempo, and
emotion. In-depth study of drawing concepts,
anatomy, costume, character and lighting. |
| FVCA212 | Introduction to Sculpture | This course will introduce students to figurative
sculpture, as well as imaginative sculpture. We
will work in a variety of materials. Students are
required to produce 2-3 finished camera-ready
finished pieces. Enrollment limited to BFA1 and
BFA2 stu... |
| FVCA220 | Film Workshop II | Required course; open to BFA2 Character Animation
students only.
Instruction and guidance in the process of
developing an individually conceived and executed
animated short film. |
| FVCA221 | Film Workshop II | Required course; open to BFA2 Character Animation
students only.
Instruction and guidance in the process of
developing an individually conceived and executed
animated short film. |
| FVCA221W | Film Workshop II | Required course; open to BFA2 Character Animation
students only. Continuation of
instruction and guidance in the process of
developing an individually conceived andd executed
animated short film. |
| FVCA225 | Color As Storytelling | Color as Storytelling explores how to use color as
a story telling element in filmmaking. Through
in-class assignments, students will gain a solid
understanding of color problem solving, as well as
how to enhance the storytelling of their
individual... |
| FVCA230 | Character Design II | Intermediate study of drawing and character
design, focused on innovative approaches to
gesture, construction, lines, composition and
staging. |
| FVCA240 | Animation Layout | Required course; open to BFA2 Character Animation
students only.
Basic composition and design of layout animation
techniques. |
| FVCA252 | Story II: Storyboarding | Required course; open to BFA2 Character Animation
students only.
Study of the theory and structure behind
storytelling and its application towards the
short form animated film. |
| FVCA253 | Story II: Storyboarding | Study of the theory and structure behind
storytelling and its application towards the
short form animated film. |
| FVCA260 | Digital Methods II: Sound | Required course; open to BFA2 Character Animation
students only.
Introduction to digital methods for sound design
in animated films, including recording, gathering
audio, editing, mixing, and audio design
principles. |
| FVCA280 | CG Foundation II | Required course; open to BFA2 Character Animation
students only.
CG modeling, focusing on concepts and techniques
for designing blended surface humans, animals, or
other expressive characters for animation. |
| FVCA290 | Acting for Animators | Beginning acting class for animators, offering a
detailed understanding of behavior and emotion as
applied to storytelling. Character Animation
students are required to take this course once
during their BFA degree. |
| FVCA300 | 2D Character Animation III | Required course; open to BFA3 Character Animation
students only.
Intermediate character animation techniques, with
emphasis on performance, story construction,
character development and dramatic structure. |
| FVCA301 | 2D Character Animation III | Required course; open to BFA3 Character Animation
students only.
Intermediate character animation techniques, with
emphasis on performance, story construction,
character development and dramatic structure. |
| FVCA311 | Advanced Painting | Painting techniques with acrylic, gauche,
watercolor, glazing, texture, and mixed media.
Study of models, landscape, and still life. Color
theory, color relationships, examination of warm
and cool, dark and light. |
| FVCA312 | Advanced Life Drawing: Sculpture | Armature, realistic and fantasy sculpting, mold
making. |
| FVCA313 | Advanced Life Drawing: Illlustration | Single image storytelling methods for graphic
novels, book covers, children's books, posters,
comics, and movie design presentations. Costume
models will be used for reference in most classes. |
| FVCA314 | Advanced Life Drawing: Form, Structure | Three-dimensional analysis of form, design, and
the structure of the human figure as it translates
from careful observation to the language of
drawing. Investigation of human anatomical
structures, movement, distortions, composition,
natural rhythm a... |
| FVCA315 | Life Drawing for Animation | Life drawing techniques for animation, focusing
on gesture and story. |
| FVCA316 | Advanced Portrait Drawing and Painting | Students will learn to accurately paint a portrait
from life, with an emphasis on interpreting tonal
values and shapes to accurately create an image
with fidelity to the model. |
| FVCA320 | Film Workshop III | Required course; open to BFA3 Character Animation
students only.
Instruction and guidance in the process of
developing an individually conceived and executed
animated short film. |
| FVCA321 | Film Workshop III | Required course; open to BFA3 Character Animation
students only.
Instruction and guidance in the process of
developing an individually conceived and executed
animated short film. |
| FVCA321W | Film Workshop III | Required course; open to BFA3 Character Animation
students only.
Continued instruction and guidance in the process
of developing an individually conceived and
executed animated short film. |
| FVCA323 | CG Film Workshop | Instruction and guidance in the process of
developing an individually conceived and executed
animated short film that contains CG. |
| FVCA334 | Professional Preparation III | Required course; open to BFA3 Character Animation
students only.
Designing a professional portfolio suitable for
presentation to various audiences, including
potential employers, clients and gallery owners. |
| FVCA335 | Professional Prep: Industry Skills | The goal of this course is to help Character
Animation students prepare for a career in
animation, with a focus on events like CalArts
Animation Portfolio Day, and other similar
industry-focused career fairs. We'll discuss best
practices for portfoli... |
| FVCA340 | Visual Development | Instruction in the use of visual communication to
tell and support story, breaking down line value,
color and composition along with subject. |
| FVCA342 | Cinematography | This course will address composition with an
emphasis on visual storytelling. Together,
cinematography and composition deliver vital
subtext to every shot and scene. Placement, scale,
shape, movement, tonal value and contrast are some
of the factors... |
| FVCA346 | Illustration for Animators | In this class, we will take everything you already
know (and are currently learning) about animation
and apply it to the creation of children's books.
Knowledge of story, character, composition, acting
and design are all necessary to make a children'... |
| FVCA350 | Advanced Story | Intermediate / advanced story development,
storyboard preparation, scripting and story
essentials. |
| FVCA370 | CG Character Animation | Introduction to CG animation techniques, with a
focus on performance in animation. |
| FVCA383 | CG Look Development | This course focuses on developing individual
workflows to take character and/or environment
designs from concept to completion using CG
rendering. Looks may focus on the photoreal to
the highly stylized, as per the student's
individual goals. Using e... |
| FVCA384 | Introduction to ZBrush | This course teaches ZBrush software and CG
modeling concepts. The class will be a direct
resource for producing material that the studios
are looking for, such as video game characters,
prop design, and styles that cannot be created by
traditional ma... |
| FVCA388 | Integrating CG & Live Action | This course focuses on incorporating CG and
live-action filming to achieve special effects and
animations. From scripts to storyboards, students
will practice pre-production techniques to
properly plan for and direct digital/live action
workflows in... |
| FVCA393 | CG Mini-Course: Toon Shading | This 7-week mini-course focuses on a few CG
techniques tot output scenes that look like
and/or integrate with traditional animation. From
outline rendering to flat shaded output to
applying hand drawn textures on CG assets,
students will practice CG... |
| FVCA394 | CG Mini-Course: Mapping BGs | CG Mini-Course: Mapping Techniques for
Backgrounds
This 7-week mini-course focuses on a few CG
techniques to create backgrounds and environments
for CG or traditional animations. Students will
be presented with, and heavily practice
techniques to ef... |
| FVCA395 | CG Mini-Course: Camera Projections | This 7-week mini-course focuses on a few CG
techniques to allow animators to previsualize
their traditional films for layout and camera
movement. Students will create traditional artwork
to be projected onto simple geometry in CG scenes
to allow for... |
| FVCA397 | Entrepreneurial Studies | Understanding copyright laws, contracts,
principles of law and practice for distributing
your animation work to the public. Additional
topics include developing a career in animation,
and/or running your film, video, television or
new media business. |
| FVCA400 | Character Animation IV | Required course; open to BFA4 Character Animation
students only.
Advanced character animation techniques, with
emphasis on performance, story construction,
character development and dramatic structure. |
| FVCA401 | Character Animation IV | Required course; open to BFA4 Character Animation
students only.
Advanced character animation techniques, with
emphasis on performance, story construction,
character development and dramatic structure. |
| FVCA420 | Film Workshop IV | Required course; open to BFA4 Character Animation
students only.
Instruction and guidance in the process of
developing an individually conceived and executed
animated short film. |
| FVCA421 | Film Workshop IV | Required course; open to BFA4 Character Animation
students only.
Instruction and guidance in the process of
developing an individually conceived and executed
animated short film. |
| FVCA421W | Film Workshop IV | Required course; open to BFA4 Character Animation
students only.
Continued instruction and guidance in the process
of developing an individually conceived and
executed animated short film. |
| FVCA430 | Advanced Character Design | Intermediate / advanced character design;
techniques for producing top-notch character
designs. |
| FVCA436 | CG Character Modeling | This course provides a focused exploration of CG
character modeling in Maya. Production techniques
and aesthetic considerations are examined in
detail. Students learn the finer points of
constructing clean, deformable surfaces, which
can be rigged f... |
| FVCA446 | CG Character Rigging | This course provides a focused
exploration of 3D character rigging and animation
setup techniques in Maya. Building on the previous
CG work in modeling or foundation classes,
students learn how to rig a model as an appealing,
animatable character wit... |
| FVCA486 | CG Special Effects for Animated Films | This course focuses on using advanced digital
tools to create special effects for CG as well as
traditional animation. Special effects include
lightning, rain, snow, smoke, water, fire, etc. |
| FVCA511 | Advanced Painting | Painting techniques with acrylic, gauche,
watercolor, glazing, texture, and mixed media.
Study of models, landscape, and still life. Color
theory, color relationships, examination of warm
and cool, dark and light. |
| FVCA513 | Advanced Life Drawing: Illustration | Single image storytelling methods for graphic
novels, book covers, children's books, posters,
comics, and movie design presentations. Costume
models will be used for reference in most classes. |
| FVCA514 | Advanced Life Drawing: Form, Structure | Three-dimensional analysis of form, design, and
the structure of the human figure as it translates
from careful observation to the language of
drawing. Investigation of human anatomical
structures, movement, distortions, composition,
natural rhythm a... |
| FVCA522 | CG Film Workshop CG Film Workshop | Instruction and guidance in the process of
developing an individually conceived and executed
CG animated short film.
Enrollment limited; instructor approval required. |
| FVCA525 | Color As Storytelling | Color as Storytelling explores how to use color as
a story telling element in filmmaking. Through
in-class assignments, students will gain a solid
understanding of color problem solving, as well as
how to enhance the storytelling of their
individual... |
| FVCA526 | Advanced Portrait Drawing and Painting | Students will learn to accurately paint a portrait
from life, with an emphasis on interpreting tonal
values and shapes to accurately create an image
with fidelity to the model. |
| FVCA541 | Visual Development | Instruction in the use of visual communication to
tell and support story, breaking down line value,
color and composition along with subject. |
| FVCA546 | Illustration for Animators | In this class, we will take everything you already
know (and are currently learning) about animation
and apply it to the creation of children's books.
Knowledge of story, character, composition, acting
and design are all necessary to make a children'... |
| FVCA583 | CG Look Development | This course focuses on developing individual
workflows to take character and/or environment
designs from concept to completion using CG
rendering. Looks may focus on the photoreal to
the highly stylized, as per the student's
individual goals. Using e... |
| FVCA584 | Introduction to ZBrush | Optional course; open to MFA students by
permission of instructor only. This course teaches
ZBrush software and CG modeling concepts. The
class will be a direct resource for producing
material that the studios are looking for, such as
video game char... |
| FVCA588 | Integrating CG & Live Action | This course focuses on incorporating CG and
live-action filming to achieve special effects and
animations. From scripts to storyboards, students
will practice pre-production techniques to
properly plan for and direct digital/live action
workflows in... |
| FVCA593 | CG Mini-Course: Toon Shading | This 7-week mini-course focuses on a few CG
techniques tot output scenes that look like
and/or integrate with traditional animation. From
outline rendering to flat shaded output to
applying hand drawn textures on CG assets,
students will practice CG... |
| FVCA594 | CG Mini-Course: Mapping BGs | CG Mini-Course: Mapping Techniques for
Backgrounds
This 7-week mini-course focuses on a few CG
techniques to create backgrounds and environments
for CG or traditional animations. Students will
be presented with, and heavily practice
techniques to ef... |
| FVCA595 | CG Mini-Course: Camera Proj. | This 7-week mini-course focuses on a few CG
techniques to allow animators to previsualize
their traditional films for layout and camera
movement. Students will create traditional artwork
to be projected onto simple geometry in CG scenes
to allow for... |
| FVCA597 | Entrepreneurial Studies | Understanding copyright laws, contracts,
principles of law and practice for
distributing your animation work to the public.
Additional topics include
developing a career in animation, and/or running
your film, video, television
or new media business. |
| FVCA636 | CG Character Modeling | This course provides a focused exploration of CG
character modeling in Maya. Production techniques
and aesthetic considerations are examined in
detail. Students learn the finer points of
constructing clean, deformable surfaces, which
can be rigged f... |
| FVCA646 | CG Character Rigging | This course provides a focused exploration of 3D
character rigging and animation setup techniques
in Maya. Building on the previous CG work in
modeling or foundation classes, students learn
how to rig a model as an appealing, animatable
character wit... |
| FVCA670 | CG Character Animation | Intermediate CG animation techniques, with a
focus on performance in animation. |
| FVEA107 | BFA Animation Workshop | Course open to BFA1 Experimental Animation students only.
The Program in Experimental Animation embraces the practice of educating students in a broad animation aesthetic. Beginning in the first year, students are encouraged to expand and evolve the... |
| FVEA108 | BFA Animation Production | Open to Experimental Animation students only.
This is a follow-up to the fall semester's BFA
ANIMATION WORKSHOP. Students are required to see
a short project through from concept to
completion, culminating in a screening of the
final piece in the Bi... |
| FVEA145 | Motion and Meaning | Moving beyond basic navigation in After Effects,
students will create a range of projects that
explore video processing, creating animation
references, scene layout, color styling,
live-action footage and 3D graphics integration,
keying, masking, lig... |
| FVEA202 | BFA2 Concept Development | The first semester of a two-semester course
required of BFA2s in Experimental Animation. In
this section, students develop and begin
production of a short project involving
animation. Emphasis is on conceptual development
and increasing mastery of th... |
| FVEA203 | BFA2 Production | The second semester of a two-semester course
required of BFA2s in Experimental Animation. In
this section, students complete production of the
short project involving animation that reflects
the student's personal aesthetic. |
| FVEA207 | Motion Control Animated Camera | Achieving camera moves in stop-motion animated
films requires motion control. In this
class, students will be taught how to use both
Dragonframe and Kuper to program and
shoot animated camera moves on the two rigs
located in Butler Building #4. Advan... |
| FVEA213 | Animal Anima | This course studies the essence of animal movement
and character. Students will present studies of
their own choosing, selecting a myth or short
story to analyze the function, personality, and
appeal of one type of animal/non-human, including
mammals... |
| FVEA225 | Experimental Characters | This course examines avant-garde approaches to character animation, emphasizing experimental forms, unconventional movement, and nonlinear storytelling. Through weekly lectures and discussions, we will broaden our understanding of characters by drawi... |
| FVEA240 | Sound for Experimental Animation I | This filmmaking course is an introduction to sound design and sound recording for animation. Students will develop a working understanding of the elements of sound design for film, including dialogue and voice, sound effects, foley effects, ambiences... |
| FVEA241 | Sound for Experimental Animation II | This course is the second part of a two-semester required sequence. We will use Pro Tools for sound editing, design, and mix preparation. The course is an opportunity to build on and expand recording, sound editing and design techniques learned in th... |
| FVEA255 | Hybrid Imaging | Course open to BFA1 Experimental Animation
students only. This class provides students with
a robust knowledge of contemporary software for
2D animation production, enhancing creative and
technical activity at every stage of creation. |
| FVEA301 | Intro to CG for Experimental Animation | This course introduces foundational principles of
modeling, animating, and rendering with CG.
Through lectures, demonstrations, workshops, and
assignments, students will gain an understanding
of CG tools and explore ways they can be utilized.
Student... |
| FVEA305 | Exp Animation: Direct Techniques | This class is Open to the Institute. Students
will explore a variety of animation techniques in
which media are directly manipulated, such as
paint on glass, sand animation, and direct
filmmaking (drawing or scratching on film, for
example). The cour... |
| FVEA308 | Loop Loop | Loop Loop is a course focused on looping and
repetition in art, film, and animation. Each week,
students will watch, discuss, and create animated
work that is either thematically structured
through repeating actions, words, and objects, or
is the res... |
| FVEA309 | Clay for Animators | This course will explore the processes for
constructing three dimensional sculptures and
objects in clay. We will undertake the standard
methods for building such as slab and coil and
traditional surface treatments including glazing
and firing. Stu... |
| FVEA310 | Production Design for Stop Motion | The Production Design for Stop Motion course will
explore the full production process of stop
motion filmmaking. Through a series of practical
workshops in prop design, fabrication,
storyboarding, location design, lighting and
concept generation stud... |
| FVEA316 | Location Animation | There are an infinite number of objects that can
be brought to life through stop motion. Anywhere
a camera is set up, images can be captured one
frame at a time transforming familiar settings
into something fantastic. By capturing the world
around th... |
| FVEA318 | Animating Virtual Worlds in Real-Time | This 7-week workshop explores real-time computer
graphics in Blender through unconventional
processes of viewport mechanics. Through
experimentation between cinema, animation, and
games, we will learn how to imagine, construct,
manipulate, and animat... |
| FVEA333 | Formlessness | This class is a place to explore the rethinking of boundaries, unforming set notions of the way a body, film, or artistic idea can exist, and pushing one's practice into new territories. The course is an interdisciplinary place for experimental anima... |
| FVEA342 | Advanced CG Workshop | In this six-week workshop, students will further
develop their CG animation skills, learning
advanced techniques in software including Quill, Houdini, Cinema 4D, and/or Z Brush. They'll practice diverse applications of the software while exploring th... |
| FVEA348 | Intermediate Cinema4D | This course expands on the foundational knowledge
developed in FVEA338/538 by providing more
in-depth instruction in the areas of animation,
modeling, and rendering. This includes character
rigging and animation, advanced motion graphics
techniques,... |
| FVEA370 | Imagining Reality | "When you try to show reality in cinema, most of
the time it's totally false. But when you show
what's going on in people's minds that's very
cinematic." (Chantal Akerman) This course will
investigate a broad range of non-fiction
applications within... |
| FVEA404 | Structure Map | This course aims to give concrete form to abstract ideas through the use of image map and structure map (the form of a physical book), facilitating the identification of a project's core and structure.
It can be challenging to assess the strengths an... |
| FVEA407 | Experimental Animation Writing | This course uses writing to generate and refine
ideas for short films. Students will use creative
prompts and challenges that encourage play with
forms of language, sound, and experimental
narrative. Building on ideas and modes explored in
these exer... |
| FVEA409 | Experimental Animation Installation | A project-based course where students experiment on a continuous basis notions of installation practice today and how it relates to the Experimental Animation artist. Lectures and presentations of installation artists are an important component of th... |
| FVEA410 | Interactive Media | Course available by Permission of Instructor
only.
An interactive boot camp, this course provides a
foundation for interactive media installation,
creation of art-games, and performance. Students
will gain experience using Unity3D, a game
engine, fo... |
| FVEA412 | The Animator's Hand: Physical & Virtual | The Animator's Hand: The Physical and the Virtual.
In our hyper-virtualized world, work with physical
materials and mark-making on physical surfaces
provides a welcome complement to digital means of
production. In this course, pulling from the
histo... |
| FVEA414 | Feral Game Building | Games can be fresh, contributing to the political
genre. In this course, we will create politically
oriented digital games without code. Given
freedom from programming, and a well-structured
gaming environment, we can leverage both usual and
atypic... |
| FVEA415 | Drawn Techniques for Exp Animation I | Drawn Techniques is a semester-long workshop
course exploring the practice of drawn animation.
In this course we will survey various hand drawn
techniques through a series of weekly topics and
methods. The course is designed to deconstruct and
expand... |
| FVEA417 | Lighting and Camera for Exp Animation | Course available by Permission of Instructor
only.
This course will cover the equipment available
for lighting and shooting stop motion animation
and animation techniques that use a DSLR Lighting
techniques that will help with your story and
concept... |
| FVEA419 | Motion Capture for Artists | This course will take the form of a series of
lectures, screenings, and demonstrations in
support of a production workshop centered on
using our eight camera PhaseSpace Impulse 3D
motion capture system in concert with Autodesk's
MotionBuilder and May... |
| FVEA420 | Stop Motion Animation Basics | Course available by Permission of Instructor
only.
The Stop Motion Animation Basics course will
explore the art of Stop motion through a series
of workshops exploring choreography, timing,
lighting and photography. Throughout the
semester students w... |
| FVEA426 | Dimensions of Dialogue | DIMENSIONS OF DIALOGUE: POLITICS & PROTEST IN
EXPERIMENTAL ANIMATION
This screening-based course will survey
experimental animation approaches to politics and
protest from a radically diverse array of
traditions, regions, historical periods,
techniqu... |
| FVEA428 | Stop Motion Puppet Design & Fabrication | Course available by Permission of Instructor
only. Unlike live action filmmaking the "puppet"
actors in a stop motion film need to be designed
and constructed by the filmmaker. This class will
introduce students to a variety of fabrication
techniques... |
| FVEA430A | Interactive Projects | This course, open to the institute, is for those
wanting to make media works, including
installations, performative animated video-based
AR, VR, etc. In this course, students will create
proposals for work that will be completed in the
spring. Option... |
| FVEA432 | Augmented Reality and Metamedia | Interruptions happen - augmented realty - &@!#.
Like this. Like that.
We have become a culture of interruption, where
ruptures in the flow of time-based experience
have become the norm. Our social media can
interrupt daily endeavors, while augmented... |
| FVEA433 | Comics Workshop | In the Comics Workshop, students will develop a
narrative piece in comics form, culminating in a
self-published comic at the end of the semester.
This course will be similar in style to a creative
writing workshop, where individual work is shared
wee... |
| FVEA439 | 2.5D Stop Motion | This course will explore the art of limited downshooting animation through a series of workshops focused on character design, fabrication, and post-production techniques. Combining digital processes with hand-made techniques, this class helps student... |
| FVEA444 | Worlding Strategies and Making Work | Worlding has become a rapidly developing concept
and process for assisting us in the creation of
work for arts: including written, performative,
media-based, and other diverse forms. Worlding,
simply stated is what each of us do day to day as
we nego... |
| FVEA449 | Experimental Animation Colloquium | This is a class that will be rotated among
Experimental Animation Faculty and is intended to
be a flexible space where faculty can engage with
students in a diverse range of topics and
activities in a variety of formats. It may take
the form of a sem... |
| FVEA450 | Experimental Animation: Visiting Artists | This course features weekly conversations with animators who will share insights through lectures, screenings, workshops, and critiques. The visiting artists will offer perspectives on unconventional techniques, artistic risk-taking, and navigating c... |
| FVEA451 | AI for Experimental Animation | AI for Animators allows students to develop a
working relationship to AI tools in their
animation practice. This course introduces ways of
thinking about AI that will produce a durable and
critical philosophy of what these tools can be for
artists. T... |
| FVEA452 | Animation Aesthetics in Practice | When creating an animated narrative, how does the
filmmaker tell the story? How can the art design
and language of the scenes push the story forward?
How can the filmmaker let the audience into the
emotion of the animated characters, and allow them
t... |
| FVEA454 | Talking Sketchbook: Silhouetted Image | Course overview:
This course is designed to harness the bold and captivating power of the silhouetted image.
Short areas of playful animatic investigations along with self-generated audio bites, that attempt to loosely document the spontaneous work... |
| FVEA459 | Memory Clash | In this course, students will use some old
photographs from their family as a starting
point. They will proceed to add collages and
hand-colored and build up stories based on their
personal memories. Afterwards, students could try
to get images from... |
| FVEA463 | Previsualization Techniques | The focus of Previsualization Techniques is to help students develop their ideas, style, and communication before beginning production work. We will explore how ideas are shaped and conveyed through different artistic processes and containers. An aim... |
| FVEA465 | Direction & Performance in Stop Motion | This course is by Permission of Instructor Only.
A key component of a stop motion film is the
quality of the animation. The success of a
character's performance is not merely defined by
its smoothness. The movement must communicate the
physical and t... |
| FVEA467 | Permutations | Process is at the heart of animation practice, and
the decisions artists make about tools, methods,
and techniques are often a fundamental, defining
aspect of their individual works or overall style.
This screening-based course will survey the
extens... |
| FVEA468 | Primary Stimulus | Named Primary Stimulus after a film by animator
and historian Robert Russett, this class meets
once a week, focusing on a single experimental
animator or artist working with animation in each
session. In class we will look at several films
and relate... |
| FVEA473 | Puzzling | A puzzle is something puzzling - it expects
deduction and solution, while at the same time
describes a condition of open confusion. The
Puzzling class uses screenings, readings, and
group discussion to examine the idea of film as a
puzzle. The course... |
| FVEA478 | Rules | "Rules" focuses on creative experimentation using constraints, permissions, and structures. The course will explore different ways in which setting, following, and breaking rules can allow for creative possibilities. Drawing inspiration from examples... |
| FVEA479 | Cartoon Logic | Cartoon Logic is a seminar course that presents a
critical and theoretical framework for
experimental animation. Through weekly readings
and discussions, the course will address
foundational questions about what animation is and
what it can do. These... |
| FVEA480 | The Professional World | This intensive workshop will focus on preparing
students for life in the professional working
world. We'll examine various career paths such as
the studio system, freelance, and an independent
artist path. We'll learn about and have bi-weekly
assignm... |
| FVEA482 | Exp Animation Undergrad Critique A | Special Permission from Instructor required
(interested students must email Leighton Pierce,
lpierce@calarts.edu by Sept 4th 2020). This is a
required course open to BFA4 and select BFA3
Experimental Animation students. This course
supports 3rd and... |
| FVEA483 | Exp Animation Undergraduate Critique | Special Permission from Instructor required
(interested students must email Leighton Pierce,
lpierce@calarts.edu by Sept 4th 2020). This is a
required course open to BFA4 and select BFA3
Experimental Animation students. This course
supports 3rd and... |
| FVEA501 | Intro to CG for Experimental Animation | This course introduces foundational principles of
modeling, animating, and rendering with CG.
Through lectures, demonstrations, workshops, and
assignments, students will gain an understanding
of CG tools and explore ways they can be utilized.
Student... |
| FVEA502 | The Digital Path for Animation | Course will prepare students for making work
using digital tools. This class will focus on
the technical aspects of the pre-production,
production and post-production processes.
Covering animation and live action production
workflows. Topics inc... |
| FVEA504 | Digtial Workflow for Animators | Digital Workflow for Animators is a three-week
workshop that introduces students to technical
image and video format concepts, as well as
workflow techniques that will aid animators in
their productions. |
| FVEA507 | Motion Control Animated Camera | Achieving camera moves in stop-motion animated
films requires motion control. In this
class, students will be taught how to use both
Dragonframe and Kuper to program and
shoot animated camera moves on the two rigs
located in Butler Building #4. Advan... |
| FVEA508 | Loop Loop | Loop Loop is a course focused on looping and
repetition in art, film, and animation. Each week,
students will watch, discuss, and create animated
work that is either thematically structured
through repeating actions, words, and objects, or
is the res... |
| FVEA509 | Clay for Animators | This course will explore the processes for
constructing three dimensional sculptures and
objects in clay. We will undertake the standard
methods for building such as slab and coil and
traditional surface treatments including glazing
and firing. Stu... |
| FVEA510 | Production Design for Stop Motion | The Production Design for Stop Motion course will
explore the full production process of stop
motion filmmaking. Through a series of practical
workshops in prop design, fabrication,
storyboarding, location design, lighting and
concept generation stud... |
| FVEA513 | Animal Anima | This course studies the essence of animal movement
and character. Students will present studies of
their own choosing, selecting a myth or short
story to analyze the function, personality, and
appeal of one type of animal/non-human, including
mammals... |
| FVEA515 | Drawn Techniques for Exp Animation I | Drawn Techniques is a semester-long workshop
course exploring the practice of drawn animation.
In this course we will survey various hand drawn
techniques through a series of weekly topics and
methods. The course is designed to deconstruct and
expand... |
| FVEA518 | Animating Virtual Worlds in Real-Time | This 7-week workshop explores real-time computer
graphics in Blender through unconventional
processes of viewport mechanics. Through
experimentation between cinema, animation, and
games, we will learn how to imagine, construct,
manipulate, and animat... |
| FVEA520 | EA Thesis Concept Seminar A | The Thesis Concept Seminar analyzes and supports
the student's thesis project while it goes
through preliminary phases to prepare for the
thesis review. The MFA student spends a fair
amount of time preparing this project with at
least two presentatio... |
| FVEA521 | EA Thesis Concept Seminar B | The Thesis Concept Seminar in the spring semester
is designed to support the MFA 2 student while
beginning the production of the approved theses.
Students design a contract that describes the
goals they are committed to completing by the end
of the s... |
| FVEA522 | Experimental Characters | This course examines avant-garde approaches to character animation, emphasizing experimental forms, unconventional movement, and nonlinear storytelling. Through weekly lectures and discussions, we will broaden our understanding of characters by drawi... |
| FVEA525 | First Year Shorts A | Course available by Permission of Instructor
only.
A two-semester class exploring the process of
developing an idea to completion. The course will
emphasize the process of development and
production, starting with initial ideas,
continuing through pr... |
| FVEA526 | First Year Shorts B | Course available by permission of instructor
only.
A two-semester class exploring the process of
developing an idea to completion. The course will
emphasize the process of development and
production, starting with initial ideas,
continuing through pr... |
| FVEA530 | EA Thesis Production Seminar A | Course open to MFA3 Experimental Animation
students only.
MFA thesis students will present their projects
for discussion and analysis. A course designed to
guide each student through development,
production, and post-production. Students learn
to de... |
| FVEA531 | EA Thesis Production Seminar B | Open to Experimental Animation students only.
MFA thesis students will present their projects
for discussion and analysis. A course designed to
guide each student through development,
production, and post-production. Students learn
to develop critic... |
| FVEA533 | Formlessness | This class is a place to explore the rethinking of boundaries, unforming set notions of the way a body, film, or artistic idea can exist, and pushing one's practice into new territories. The
course is an interdisciplinary place for experimental anima... |
| FVEA540 | Sound for Experimental Animation I | This filmmaking course is an introduction to sound design and sound recording for animation. Students will develop a working understanding of the elements of sound design for film, including dialogue and voice, sound effects, foley effects, ambiences... |
| FVEA541 | Sound for Experimental Animation II | This course is the second part of a two-semester required sequence. We will use Pro Tools for sound editing, design, and mix preparation. The course is an opportunity to build on and expand recording, sound editing and design techniques learned in th... |
| FVEA542 | Advanced CG Workshop | In this six-week workshop, students will further
develop their CG animation skills, learning
advanced techniques in software including Quill, Houdini, Cinema 4D, and/or Z Brush.
They'll practice diverse applications of the
software while exploring th... |
| FVEA544 | Creating Augmented Reality Experiences | Augmented reality (AR) is an interactive
experience in which 2D and/or 3D graphics appear
in the real-world when the user views the world
through a mobile device or headset. In this
course, students will conceptualize and create
augmented reality exp... |
| FVEA548 | Intermediate Cinema4D | This course expands on the foundational knowledge
developed in FVEA338/538 by providing more
in-depth instruction in the areas of animation,
modeling, and rendering. This includes character
rigging and animation, advanced motion graphics
techniques,... |
| FVEA555 | Hybrid Imaging | MFA students know animation is a
blend of creative and technical activities. From
the choice of what pencil lead we use, to
selecting the right "codec" to render with,
technical knowledge is an important factor in
successfully expressing your ideas... |
| FVEA560 | Observation & Play | Observation & Play. Additional enrollment will
take place at Course Advising Day.
How can we engage our exterior surroundings
through our animation practice? How can
observation inform our filmmaking? When does
making become play? This process-driv... |
| FVEA563 | Storyboarding, Layout & Timing | Course available by permission of instructor
only.
A workshop that explores, in detail, storyboard,
layout and timing for Experimental Animators. |
| FVEA570 | Imagining Reality | "When you try to show reality in cinema, most of
the time it's totally false. But when you show
what's going on in people's minds that's very
cinematic." (Chantal Akerman) This course will
investigate a broad range of non-fiction
applications within... |
| FVEA604 | Structure Map | This course aims to give concrete form to abstract ideas through the use of image map and structure map (the form of a physical book), facilitating the identification of a project's core and structure.
It can be challenging to assess the strengths an... |
| FVEA605 | Exp Animation: Direct Techniques | This class is Open to the Institute. Students
will explore a variety of animationtechniques in
which media are directly manipulated, such as
paint on glass, sand animation, and direct
filmmaking (drawing or scratching on film, for
example). The cours... |
| FVEA607 | Experimental Animation Writing | This course uses writing to generate and refine
ideas for short films. Students will use creative
prompts and challenges that encourage play with
forms of language, sound, and experimental
narrative. Building on ideas and modes explored in
these exer... |
| FVEA609 | Experimental Animation Installation | A project-based course where students experiment on a continuous basis notions of installation practice today and how it relates to the Experimental Animation artist. Lectures and presentations of installation artists are an important component of th... |
| FVEA610 | Interactive Media | Course available by Permission of Instructor
only.
An interactive boot camp, this course provides a
foundation for interactive media installation,
creation of art-games, and performance. Students
will gain experience using Unity3D, a game
engine, fo... |
| FVEA612 | The Animator's Hand: Physical & Virtual | The Animator's Hand: The Physical and the Virtual.
In our hyper-virtualized world, work with physical
materials and mark-making on physical surfaces
provides a welcome complement to digital means of
production. In this course, pulling from the
histo... |
| FVEA614 | Feral Game Building | Games can be fresh, contributing to the political
genre. In this course, we will create politically
oriented digital games without code. Given
freedom from programming, and a well-structured
gaming environment, we can leverage both usual and
atypic... |
| FVEA616 | Location Animation | There are an infinite number of objects that can
be brought to life through stop motion. Anywhere
a camera is set up, images can be captured one
frame at a time transforming familiar settings
into something fantastic. By capturing the world
around th... |
| FVEA617 | Lighting & Camera for Exp Animation | Course available by Permission of Instructor
only.
This course will cover the equipment available
for lighting and shooting stop motion animation
and animation techniques that use a DSLR Lighting
techniques that will help with your story and
concept... |
| FVEA618 | Adv Cinematography for Stop Motion | This class will focus on advanced lighting
techniques for stop-motion. In addition there
will be classes dedicated to camera movement
choregraphy, forced perspective sets/puppets, dmx
lighting, and final color correction.
Students should expect to s... |
| FVEA619 | Motion Capture for Artists | This course will take the form of a series of
lectures, screenings, and demonstrations in
support of a production workshop centered on
using our eight camera PhaseSpace Impulse 3D
motion capture system in concert with Autodesk's
MotionBuilder and May... |
| FVEA620 | Stop Motion Animation Basics | Course available by Permission of Instructor
only.
The Stop Motion Animation Basics course will
explore the art of Stop motion through a series
of workshops exploring choreography, timing,
lighting and photography. Throughout the
semester students wi... |
| FVEA626 | Dimensions of Dialogue | DIMENSIONS OF DIALOGUE: POLITICS & PROTEST IN
EXPERIMENTAL ANIMATION
This screening-based course will survey
experimental animation approaches to politics and
protest from a radically diverse array of
traditions, regions, historical periods,
techniqu... |
| FVEA628 | Stop Motion Puppet Desig and Fabrication | Course available by Permission of Instructor
only. Unlike live action filmmaking the "puppet"
actors in a stop motion film need to be designed
and constructed by the filmmaker. This class will
introduce students to a variety of fabrication
techniques... |
| FVEA629 | Symbiotic Puppet Fabrication | In the corporate studio setting puppets are
designed and fabricated from the conscious part of
the brain. Designs are often limited because of
mass production or its ability to stay within the
realms of the approved style guide. But what if
there wer... |
| FVEA630 | Advanced Interactive Production Workshop | This course, open to the institute, is for those
wanting to make cinematic work for the Vortex
Dome, a fifty foot diameter hemispheric dome
located near downtown Los Angeles. In this
course, students will create proposals for work
that will be compl... |
| FVEA630A | Interactive Projects | This course, open to the institute, is for those
wanting to make media works, including
installations, performative animated video-based
AR, VR, etc. In this course, students will create
proposals for work that will be completed in the
spring. Option... |
| FVEA632 | Augmented Reality and Metamedia | Interruptions happen - augmented realty - &@!#.
Like this. Like that.
We have become a culture of interruption, where
ruptures in the flow of time-based experience
have become the norm. Our social media can
interrupt daily endeavors, while augmented... |
| FVEA633 | Comics Workshop | In the Comics Workshop, students will develop a
narrative piece in comics form, culminating in a
self-published comic at the end of the semester.
This course will be similar in style to a creative
writing workshop, where individual work is shared
wee... |
| FVEA639 | 2.5D Stop Motion | This course will explore the art of limited downshooting animation through a series of workshops focused on character design, fabrication, and post-production techniques. Combining digital processes with hand-made techniques, this class helps student... |
| FVEA641 | Animation Improv | A project-oriented animation class designed to be
taught online, this class uses improvisational
techniques as a vehicle to investigate the art and
practice of animation. Working in TVPaint and
After Effects, in this workshop class students
share dra... |
| FVEA642 | Stereoscopy: Wheatstone to VR | "Explorations in Stereoscopic Imaging: from
Wheatstone to VR".
Since 1838 when Charles Wheatstone first
formulated a theory of the role of binocular
vision in stereopsis, numerous techniques for the
creation and display of three dimensional images... |
| FVEA643 | CalArts Animation: The Early Years | This course will take the form of a screening and
discussion seminar designed to provide an overview
of animation at CalArts during the formative
decades of the institute. Having been a member of
the CalArts community during that period, current
facu... |
| FVEA644 | Worlding Strategies and Making Work | Worlding has become a rapidly developing concept
and process for assisting us in the creation of
work for arts: including written, performative,
media-based, and other diverse forms. Worlding,
simply stated is what each of us do day to day as
we nego... |
| FVEA645 | Motion and Meaning | Moving beyond basic navigation in After Effects,
students will create a range of projects that
explore video processing, creating animation
references, scene layout, color styling,
live-action footage and 3D graphics integration,
keying, masking, lig... |
| FVEA648 | Absolute Animation Workshop | In the early 20th century the term "absolute"
applied to the moving image arose out of an
equivalency with the
term "absolute" as it is applied to music. It its
most direct definition, absolute music is
non-representational,
providing a direct sensua... |
| FVEA649 | Experimental Animation Colloquium | This is a class that will be rotated among
Experimental Animation Faculty and is intended to
be a flexible space where faculty can engage with
students in a diverse range of topics and
activities in a variety of formats. It may take
the form of a sem... |
| FVEA650 | Exp Animation: Visiting Artists | This course features weekly conversations with animators who will share insights through lectures, screenings, workshops, and critiques. The visiting artists will offer perspectives on unconventional techniques, artistic risk-taking, and navigating c... |
| FVEA651 | AI for Experimental Animation | AI for Animators allows students to develop a
working relationship to AI tools in their
animation practice. This course introduces ways of
thinking about AI that will produce a durable and
critical philosophy of what these tools can be for
artists. T... |
| FVEA652 | Animation Aesthetics in Practice | When creating an animated narrative, how does the
filmmaker tell the story? How can the art design
and language of the scenes push the story forward?
How can the filmmaker let the audience into the
emotion of the animated characters, and allow them
t... |
| FVEA654 | Talking Sketchbook: Silhouetted Image | Course overview:
This course is designed to harness the bold and captivating power of the silhouetted image.
Short areas of playful animatic investigations along with self-generated audio bites, that attempt to loosely document the spontaneous work... |
| FVEA659 | Memory Clash | In this course, students will use some old
photographs from their family as a starting
point. They will proceed to add collages and
hand-colored and build up stories based on their
personal memories. Afterwards, students could try
to get images from... |
| FVEA663 | Previsualization Techniques | The focus of Previsualization Techniques is to help students develop their ideas, style, and communication before beginning production work. We will explore how ideas are shaped and conveyed through different artistic processes and containers. An aim... |
| FVEA665 | Direction & Performance in Stop Motion | This course is by Permission of Instructor Only.
A key component of a stop motion film is the
quality of the animation. The success of a
character's performance is not merely defined by
its smoothness. The movement must communicate the
physical and t... |
| FVEA667 | Permutations | Process is at the heart of animation practice, and
the decisions artists make about tools, methods,
and techniques are often a fundamental, defining
aspect of their individual works or overall style.
This screening-based course will survey the
extens... |
| FVEA668 | Primary Stimulus | Named Primary Stimulus after a film by animator
and historian Robert Russett, this class meets
once a week, focusing on a single experimental
animator or artist working with animation in each
session. In class we will look at several films
and relate... |
| FVEA672 | Animation, Identity, Authorship | A series of three four-week units delving into
representation issues related to gender, race,
national identity, and other relevant topics. For
each unit within the course, students will present
a creative project and/or a research presentation.
Stud... |
| FVEA673 | Puzzling | A puzzle is something puzzling - it expects
deduction and solution, while at the same time
describes a condition of open confusion. The
Puzzling class uses screenings, readings, and
group discussion to examine the idea of film as a
puzzle. The course... |
| FVEA678 | Rules | "Rules" focuses on creative experimentation using constraints, permissions, and structures. The course will explore different ways in which setting, following, and breaking rules can allow for creative possibilities. Drawing inspiration
from examples... |
| FVEA679 | Cartoon Logic | Cartoon Logic is a seminar course that presents a
critical and theoretical framework for
experimental animation. Through weekly readings
and discussions, the course will address
foundational questions about what animation is and
what it can do. These... |
| FVEA680 | The Professional World | Course available by permission of instructor.
This intensive workshop will focus on preparing
students for life in the professional working
world. We'll examine various career paths such as
the studio system, freelance, and an independent
artist path... |
| FWNT126L | Intro to Animating With Houdini | "Approaching the Near Distance" is a School of Film/Video's Wintersession course that gathers under one umbrella various sections taught by Special faculty or MFA2-3s. This class is an introduction to animating using procedural 3D software SideFX Hou... |
| FWNT127A | Archive Fever | In this course, we will look at contemporary moving image works that deal with the use of archive in an expansive way. We will begin with Jacques Derrida's analysis of the word "archive" and its relationship with Freud's notion of death drive in his... |
| FWNT127B | Compositing Claymation | Claymation Compositing will commence with an introduction to notable claymation animators like Rich Zim and Fokion Xenos, showcasing their innovative use of compositing techniques. Over the course of five sessions, students will craft a seamless clay... |
| FWNT127C | Proto Now: Reading Macluhan and Berger | This course has a simple goal: we will read the 1967 book of memes The Medium is the Massage by Marshall McLuhan and watch 1972s four part BBC video essay Ways of Seeing produced by John Berger. Despite the age of these texts, they have only gotten m... |
| FWNT127D | TheArt of the Filmed Interview/Testimony | This intensive course looks at the history and varied practices of the interview over time, focusing on varied and creative approaches taken by nonfiction and experimental filmmakers. The interview, or the construction of testimony on/for film, is ub... |
| FWNT127E | Rhizomatic Riots:A Mutable Film Workshop | The aim of the workshop is to indulge in expansive models of filmmaking that take from the oral traditions; to create work that strives for anti-Western hierarchies of film and opts for an anti-colonial cinema. In a tangible sense this entails a film... |
| FWNT127F | Reel Intelligence: Ethical AI in Film | Artificial intelligence (AI) tools are becoming increasingly prevalent in the rapidly evolving world of film production. This Winter Session course aims to equip students with the knowledge and skills necessary to leverage these tools effectively and... |
| FWNT127G | Kinetic Kino | This course offers a practical and aesthetic introduction to the application of 16mm film projectors in expanded cinema performance and video installation. The workshop-based class encourages students to manipulate film projectors as performing kinet... |
| FWNT127H | Drawing in Blended Space | What can drawing look like in 3D space? How can it be combined aesthetically with traditionally-modeled 3D objects? This course explores the Grease Pencil functionality of Blender and how it can be used to create detailed animation. Beginning with an... |
| FWNT127I | Introduction to Strata-cut | In this course the students will be introduced to the strata-cut animation technique. The course will have a workshop quality to it, there will be four classes and three assignments in total. The first assignment will cover scaling objects and figure... |
| FWNT127J | Experimental Game Design | This course is an intro level exploration of the concepts of "gameplay", focusing on how to make our works "playful" and "playable." Students will embark on their game design journey by uncovering potential gameplay elements and connections from non-... |
| FWNT127K | Build Your Project Using Motion Capture | This course will introduce how to utilize motion capture as a reference/base to help with students' 2D/3D/stop motion projects. The course is targeting "quick start motion capture" so only the phone will be used in the motion capture. Basic motion ca... |
| FWNT127L | Voltage Controlled Filmmaking | In Voltage Controlled Filmmaking, students will learn: sound synthesis and sound design basics using Film/Video's ARP 2600; video synthesis basics; and how to make the two interact, via both control voltage cross-patching and by manually composing im... |
| FWNT127M | Foley 101 | Foley is the art of recording sound effects directly to image (as opposed to using a sound library) for use in post-production sound design. Foley is used mainly to clarify, clean, and accentuate the soundscape of films that sound somewhat realistic,... |
| FWNT497 | Undergrad Independent Project Production | In the weeks of Project Production, the
student works under the supervision of a grading
instructor (generally, the student's mentor) but
also quite independently and with great focus on
the production, project, or artistic work
described in the pr... |
| FWNT526L | Intro to Animating W/ Houdini | "Approaching the Near Distance" is a School of
Film/Video's Wintersession course that gathers
under one umbrella various sections taught by
Special faculty or MFA2-3s.
This class is an introduction to animating using
procedural 3D software SideFX H... |
| FWNT527A | Archive Fever | In this course, we will look at contemporary moving image works that deal with the use of archive in an expansive way. We will begin with Jacques Derrida's analysis of the word "archive" and its relationship with Freud's notion of death drive in his... |
| FWNT527B | Compositing Claymation | Claymation Compositing will commence with an
introduction to notable claymation animators like
Rich Zim and Fokion Xenos, showcasing their
innovative use of compositing techniques. Over the
course of five sessions, students will craft a
seamless clay... |
| FWNT527C | Proto Now: Reading Macluhan and Berger | This course has a simple goal: we will read the 1967 book of memes The Medium is the Massage by Marshall McLuhan and watch 1972s four part BBC video essay Ways of Seeing produced by John Berger. Despite the age of these texts, they have only gotten m... |
| FWNT527D | TheArt of the Filmed Interview/Testimony | This intensive course looks at the history and varied practices of the interview over time, focusing on varied and creative approaches taken by nonfiction and experimental filmmakers. The interview, or the construction of testimony on/for film, is ub... |
| FWNT527E | Rhizomatic Riots:A Mutable Film Workshop | The aim of the workshop is to indulge in expansive models of filmmaking that take from the oral traditions; to create work that strives for anti-Western hierarchies of film and opts for an anti-colonial cinema. In a tangible sense this entails a film... |
| FWNT527F | Reel Intelligence: Ethical AI in Film | Artificial intelligence (AI) tools are becoming increasingly prevalent in the rapidly evolving world of film production. This Winter Session course aims to equip students with the knowledge and skills necessary to leverage these tools effectively and... |
| FWNT527G | Kinetic Kino | This course offers a practical and aesthetic introduction to the application of 16mm film projectors in expanded cinema performance and video installation. The workshop-based class encourages students to manipulate film projectors as performing kinet... |
| FWNT527H | Drawing in Blended Space | What can drawing look like in 3D space? How can it be combined aesthetically with traditionally-modeled 3D objects? This course explores the Grease Pencil functionality of Blender and how it can be used to create detailed animation. Beginning with an... |
| FWNT527I | Introduction to Strata-cut | In this course the students will be introduced to the strata-cut animation technique. The course will have a workshop quality to it, there will be four classes and three assignments in total. The first assignment will cover scaling objects and figure... |
| FWNT527J | Experimental Game Design | This course is an intro level exploration of the concepts of "gameplay", focusing on how to make our works "playful" and "playable." Students will embark on their game design journey by uncovering potential gameplay elements and connections from non-... |
| FWNT527K | Build Your Project Using Motion Capture | This course will introduce how to utilize motion capture as a reference/base to help with students' 2D/3D/stop motion projects. The course is targeting "quick start motion capture" so only the phone will be used in the motion capture. Basic motion ca... |
| FWNT527L | Voltage Controlled Filmmaking | In Voltage Controlled Filmmaking, students will learn: sound synthesis and sound design basics using Film/Video's ARP 2600; video synthesis basics; and how to make the two interact, via both control voltage cross-patching and by manually composing im... |
| FWNT527M | Foley 101 | Foley is the art of recording sound effects directly to image (as opposed to using a sound library) for use in post-production sound design. Foley is used mainly to clarify, clean, and accentuate the soundscape of films that sound somewhat realistic,... |
| FWNT597 | Masters Independent Project Production | In the weeks of Master's Project Production, the
student works under the supervision of a grading
instructor (generally, the student's mentor) but
also quite independently and with great focus on
the production, project, or artistic work
described... |
| FWNT598 | MFA Wintersession Supervised Instruction | MFA WS Supervised Instruction supports a
Film/Video MFA2 or MFA3 who has developed a short
course proposal (reading group or
screening/discussion) for Wintersession that has
been approved by the Film/Video WS Committee. The
student will receive 1 cre... |