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Intro to Sound & Image

Lecture: T R @ 12:35pm-01:50pm - RM 1116
Lab Section 001: F @ 09:00am-10:50am - RM 0009E
Lab Section 002: F @ 11:00am-12:50pm - RM 0009E
Lab Section 003: F @ 01:00pm-02:50pm - RM 0009E

Professor: Robert Spahr
Contact: rspahr@siu.edu
Office: MCMA 1121E

Office Hours:
T  9am-10am
W 9am-11am & 1pm-3pm
R  2pm-3pm

Lab instructor, Section 001: David Farrell
Contact: farrelmd@gmail.com
Office: New Media Center
Office Hours: W @ 02:30-03:30pm

Lab instructor, Section 002: Elijah Odundo
Contact: enodundo@siu.edu
Office: CRC Brown Lab (across from DE)
Office Hours: M @ 02:00-03:00pm

Lab Instructor, Section 003: Derek Smith
Contact: derek@siu.edu
Office: New Media Center
Office Hours: R @ 02:00-03:00pm

Course Syllabus Location:  http://www.robertspahr.com/cp102/

Course Information:
Sound & Image Production - CP 102 001 CRN: 64937
Sound & Image Production - CP 102 002 CRN: 64943
Sound & Image Production - CP 102 003 CRN: 64945

Required Text:

All required reading materials will be provided by the instructor.

Description:

This course will provide conceptual and hands‐on experience researching, writing and producing independent cinema with a focus on critical arts practice. Emphasis will be placed on independent production from invention of the project idea to post‐production. Assignments and course content focus on a wide range of creative image and sound making guided by theoretical, aesthetic and cinematic principles.Students will be introduced to basic production and editing skills as well as produce assignments that reflect a breath of production practice, including: 1) basic still image and sound, 2) narrative, 3) documentary, 4) experimental. A combination of lecture, discussion, critique and production, this course will give students a solid foundation from which they can begin to develop their own artistic voice.

Objectives:

• Increase knowledge relevant to the analysis and history of cinema production
• Develop skills as a critic, writer, editor, director and researcher
• Acquire technical skills for producing independent cinema and basic editing on Final Cut Pro
• Apply contemporary methods and modes of cinema production to the creative process

Syllabus:

Please note syllabus is subject to change with notice.

Aug 23
Introductions, Image, Self-Portrait
Lecture Notes: Principles of Organization
Assignment: Weekly Self-Portrait

Aug 25
Image, Creativity, Critique
Lecture Notes: Critique and Self-Portraits
Journal: Self-Portrait #1, Reading Reaction/Reflection
Reading:
About Art Criticism p.1‐35 from Criticizing Photographs By Terry Barrett

To Shoot Pictures... p.7‐16 from Once Pictures and Stories by Wim Wenders

Aug 26
Labs
Create Wordpress.com blog (email Lab Instructor the URL), Upload Self-Portrait #1 to blog, Equipment, Recording Sound, Critique Self‐Portraits

Aug 30
Sound
Guest Lecture: Professor Jay Needham
Example Sound Maps:
Sound Paces
Burning Bush Park Cicada Swarm
Stanley Park Soundmap
To be viewed/listened in class:
Luigi Russolo: Intonarumori, 00:27
John Cage: About Silence, 04:18
David Greilsammer - John Cage: Prepared Piano, 01:13
Steve Reich: Come Out, 13:11

Assignment: Visual Map & Sound Map
Reading:
The Art of Noises by Luigi Russolo
Experimental Music by John Cage

Sep 01
Photography
Lecture Notes: An Incomplete History of Photography
Journal: Self-Portrait #2, Reading Reaction/Reflection
Reading:
A Brief History of Photography

Sep 02
Labs
Final Cut Pro Basics (intro to application, import, timeline, sound, organizing files)
Sound Map is Due. Visual Map is Due.
Reassign audio files and visual files for sound/image project.

Sep 06
Photography
Lecture Notes: Compositional Interpretation & Types of Photographs
To be viewed in class:
Chris Marker - La Jetée (Engl. narrator) part 1/3 , 08:59
Chris Marker - La Jetée (Engl. narrator) part 2/3 , 10:00
Chris Marker - La Jetée (Engl. narrator) part 2/3 , 07:41
12 Monkeys Trailer
Reading:
The Good Eye p.35-58 from Visual Methodologies
Assignment: Final Sound/Image Project
Journal: Critique of a Photograph (a photo of your choice)

Sep 08
Photography
Guest Lecture: Dr. Michele Torre, 100 Years of Film History in 30 Minutes
Journal: Self-Portrait #3, Reading Reaction/Reflection
Reading:
Types of Photographs p.53-95 from Criticizing Photographs by Terry Barrett

Sep 09
Labs
Final Sound/Image Project is Due.
Present Final Sound/Image Project and Critique

Sep 13
Elements of Cinematic Story I: Structure, Event, Scene, Beat, and Sequence
Lecture Notes: The Treatment and Protagonists
Journal: Critique of a Film (a film of your choice)
Assignment: Write a One-Scene Story and Production Proposal
Reading:
The Substance of Story p.135-180 from Story: Substance, Structure, Style and the Principles of Screenwriting by Robert Mckee
The Story Treatment p.115-130 and
The Master Scene Script p.168-184 from Film Scriptwriting: A Practical Manual by Dwight Swain and Joye Swain

Sep 15
Elements of Cinematic Story II: Structure vs. Setting and Character
Lecture Notes: Setting, Structure, and Character
Journal: Self-Portrait #4, Reading Reaction/Reflection
Reading:
Structure and Setting p.67-78 from Story: Substance, Structure, Style and the Principles of Screenwriting by Robert Mckee
Structure and Character p.100-109 from Story: Substance, Structure, Style and the Principles of Screenwriting by Robert Mckee

Sep 16
Labs
Intro to video cameras, genre
Presentation/Critique of the One Scene Story & Treatment
Journal: Upload One Scene Story & Treatment in PDF format
Choose the best proposals and arrange groups of three

Sep 20
The Language of the Camera: Shot Size, Angle, Movement, and Lens Perspective
Assignment: Storyboarding the One-Scene Story and Production Plan
Reading:
Composing Shots p.121-143 from Film Directing: Shot by Shot by Steven Katz
Storyboards p.23-84 from Shot by Shot: Visualizing from Concept to Screen by Steven katz

Sep 22
Constructing the Scene: Coverage and The Line of Action
Journal: Self-Portrait #5, Reading Reaction/Reflection
Reading:
Constructing the Scene p.42-59 from Film Production Technique: Creating the Accomplished Image by Bruce Mamer

Sep 23
Labs
Camera and Final Cut Pro Basics (download and log)

Sep 27
Bringing the Film to Life: The Purpose, Principles and the Rules of Editing
Lecture Notes: Principles of Editing
Reading:
Principles, Procedures, and Equipment p.348-356 from Film Production Technique: Creating the Accomplished Image by Bruce Mamer
Assignment: Shoot and Rough Edit

Sep 29
Bringing the Film to Life: The Purpose, Principles and the Rules of Editing
Journal: Self-Portrait #6, Reading Reaction/Reflection

Sep 30
Labs
Screening Rough Edit, Final Cut Pro Basics (text generators, transitions, effects, sound, and music)

Oct 04
Editing and Critique
Assignment: Re-shoot, Fine Edit

Oct 06
Editing and Critique
Journal: Self-Portrait #7, Reading Reaction/Reflection

Oct 07
Labs
Screening Fine Cut and Critique

Oct 11
FALL BREAK

Oct 13
Experimental Cinema: Historical/Contextual Overview
Journal: Self-Portrait #8, Reading Reaction/Reflection
Reading:
Introduction p.1-72 by A.L.Reese in History of Experimental Film and Video
Introduction p.1-15 by Scott MacDonald in Avant-Garde Film: Motion Studies
Preface: The Colour of Time p.vii-26 in Experimental Cinema in the Digital Age by Malcolm Le Grice

Oct 14
Labs
Found Footage archives, building a conceptual project and experimenting

Oct 18
Remix Culture
Journal: Watch 3 experimental short films, identify how they draw from experimental history
Reading:
Cutting Through History p.13-45 from Cut by Stefano Basilico
Assignment: Remix Proposal

Oct 20
Remix Culture
Journal: Self-Portrait #9, Reading Reaction/Reflection

Oct 21
Labs
Experiment #1 is Due. Editing for temporal and spatial montage

Oct 25
Space, Time and Technique
Assignment: Rough Edit
Reading:
The End of the 20th Century p.409-436 in Film Vision by P. Adams Sitney

Oct 27
Video Art and Performance
Journal: Self-Portrait #10, Reading Reaction/Reflection

Oct 28
Labs
Continue working on Remix

Nov 01
Remix and Social Media
Journal: Review a Film (a film of your choice)

Nov 03
Class Critique
Remix Project is Due
Journal: Self-Portrait #11, Reading Reaction/Reflection

Nov 04
Labs
Screening and Critique of Remix Project

Nov 08
Ethics and Documentary
Lecture Notes: Documentary Ethics
Assignment: Begin Shooting Documentary
Reading:
Why are Ethical Issues Central to Documentary Filmmaking? p.1-19 from Introduction to Documentary by Bill Nichols

Nov 10
Directors Role, Modes of Production and Expression
Lecture Notes: Directing Documentary
Journal: Self-Portrait #12, Reading Reaction/Reflection
Reading:
Developing Story Ideas p.7-66 from Directing the Documentary by Michael Rabiger

Nov 11
Veterans Day Holiday

Nov 15
Subjectivity and Positionality
Lecture Notes: POV
Assignment: Rough Edit
Journal: Review a Photograph (a photo of your choice)
Reading:
POV and Storyteller p.259-282 from Directing the Documentary by Michael Rabiger

Nov 17
Screen Documentary Examples
Journal: Self-Portrait #13, Reading Reaction/Reflection

Nov 18
Labs
Finalize project, pre-production,
Final Cut Pro workshop (intermediate editing)

Nov 22
Story Structure
Lecture Notes: Documentary Structure
Journal: Review a Film (a film of your choice)
Reading:
Dramatic Development, Time, Story Structure p.283-317 from Directing the Documentary by Michael Rabiger

Nov 23-25
Thanksgiving Holiday

Nov 29
Class Critique
Works in Progress & self portraits

Dec 01
Class Critique
Rough Edit is Due.
View Rough edits
Assignment: Fine Edit
Journal: Self-Portrait #14 & #15,
Reading Reaction/Reflection

Dec 02
Labs
Works in progress.

Dec 06
Lecture on Lighting

Dec 08
Guest Lecture: Prof. Bill Rowley - Recent Work
Journal: Self-Portrait #16, (No Reading Reaction/Reflection due this week)

Dec 09
Class Critique

Documentary Project Fine Cut is Due.
Screening Fine Cut and Critique

Dec 10
Selected Work Screening

Time to be decided.

Dec 16 - 12:50-2:50PM
Final Meeting / Class Critique

Sound/Image (3 Parts)

The objective is to focus only on images to capture a sense of place. This assignment will allow you to think about composition, movement within a static image and within a sequence of images, repetition, and scale to create a mapping of a specific location.

1) Choose a location in Carbondale (preferably within 15 minutes walking distance from the Communications Building). Time and place should be carefully considered as you capture images of the environment. Consider the lighting and composition of each image, as well as size, scale and movement within each image, as well as the use of rhythm and repetition. Consider also the sequence of images as you shoot.

2) Once you have identified one location, record two separate sequences of 60 images, one from a macro perspective [like an establishing shot in filmmaking] and one from a micro perspective [like a close up in filmmaking].

3) Create two folders on your FireWire drive & name them: lastname_firstname_visualmap_macro and spahr_robert_visualmap_micro

6) From your memory card, copy the 60 macro image files you produced to your Macro Visual Map folder & and the 60 micro image files you produced to your Micro Visual Map folder.

Criteria For Grading:
Technical: 1) composition 2) movement within the image 3) foreground, middleground, background 4) repetition and rhythm 5) scale

Creative: 1) uses image to create a sense of scale 2) creative use of images space/place 3) carefully considered how the captured images denote details specific to selected location

Grading Criteria for Visual Map
Out of 50 points:

1. Was composition carefully considered? (10)
2. Was rhythm and repetition used effectively? (10)
3. Were 60 images of macro and micro perspectives used? (10)
4. Do we get a sense of time and space (dimension and scale)? (10)
5. Creative use of image to denote place (10)

The objective is to focus only on sound as a form of meaning. This assignment will also allow you to think diligently about how sound communicates, and is represented as a space/place and to practice various strategies in sound production.

Instructions:

1) Choose a location in Carbondale (preferably within 15 minutes walking distance from the Communications Building) that could be identified by its ambient sounds. Time and place should be carefully considered as you capture these environmental sounds. Each location should be rich with various kinds of sounds. You will identify three places in your chosen location to record.

2) Once you have identified three places in your location, record two separate two-minute takes of the ambient sounds, one from a macro listening perspective [like an establishing shot in filmmaking] and one from a micro listening perspective [like a close up in filmmaking].

3) Provide a spoken slate at the beginning of each of these two recordings. Say: "Your Name/ Stop One/ Macro/ Time of Day & Day of the Week" & "Your Name/ Stop Two/ Micro/ Time of Day & Day of the Week." Carefully select microphone positions that will capture sounds that could allow a listener to identify the location.

4) Listen to each of your recordings while you still have the opportunity to re-record. Submit only the best individual take for each of the six required recordings. Your record level settings should produce recordings that can be listened to with playback volume set in the middle of its range. Your recordings should be free of any handling noise or extraneous noise from the recording operation.

5) Create a folder on your FireWire drive & name it: lastname_firstname_soundmap. (example: spahr_robert_soundmap)

Criteria For Grading:
Technical: 1) clear audio 2) understanding of macro and micro sound 3) sounds levels in middle range 4) organized sounds with slate 5) free of handling noise or extraneous noise

Creative: 1) uses sound to create a sense of scale 2) creative use of recording space/place 3) carefully considered how the captured sounds denote details specific to selected location

Grading Criteria for Sound Map
Out of 50 points:

1. Is the sound clear and usable for production? (10)
2. Is the environment identifiable through sound? (10)
3. Were instructions followed?
   - Verbal slates (5)
   - 6 sounds (Est. sound and CU sound for 3 locations) (10)
4. Do we get a sense of time and space (dimension and scale)? (10)
5. Creative use of sound (5)

The objective is to focus on the abstract (non-literal) qualities of both the sounds and images treating them both equally. This assignment will also allow you to think about how sounds and images can compliment and contrast one another to produce new meaning.

You will receive an audio file and 60 macro and 60 micro images from a fellow classmate in lab. You will use these files as inspiration for the visual world you will construct using both the sounds and images. The goal is to avoid using the sound files literally but as a source of inspiration and jumping off point. The best projects often use the images in a way that compliment, enhance, rethink, juxtapose the soundtrack, or (re)purposing the sound for new meaning.

The audio and images are yours to treat as found objects, so feel free to edit and resequence. You can't add any new audio or images. The final sound/image project should 1 minute in length.

Grading Criteria for Final Sound/Image Project
Out of 50 points:

Technical:
- Framing / Composition 5 
- Sequence of stills support the concept? 5  
- Sound and Image successfully compliment and/or contrast? 5  
- Successful use of rhythm and/or repetition? 5
- Was the pace/beat considered? 5

Conceptual:
- Developed a consistent concept within one minute? 5
- Do the sounds and images become more than their literal representation? 5
- Were both the sounds and images treated with equal importance? 5   
- Was time and space/place considered? 5
- Does the project have a comprehensive theme? 5

Narrative Project

Write a single scene that is by itself a standalone story event, i.e. it has a beginning, middle and an ending (3-4 minutes). The beginning should set up the event and build to the middle, the middle should build to a high point or climax, and the ending should be the result and conclusion of what has happened. If you compare the character(s) at the beginning with where they are at the ending, something important about him or her must have changed: the story values must have changed through the progression of the scene.

Make sure to meet the following requirements for the scene:

• Has only one single event, such as a man repairing a stove; a girl receives an unexpected piece of mail; a little boy figures out how to use a toilet, etc.
• Happens in a single continuous time and space, such as in a kitchen, a garage, an elevator, an office room, a backyard, on a front porch, etc.
• Has only one or two characters, such as a boy, or a girl, a man, a woman, a couple, two roommates, etc.
• Contains little or no dialogue: use visuals, not verbal, to provide necessary expositions. Show a character's traits/personality by showing how he/she acts and reacts and what he/she does, wears, eats etc. Avoid relying on words.
• Play the story event in real time your head, and it should be about one page long in writing, and ends up to be a film no more than 3 minutes long.

The scene should be no longer than 3 minutes.

Additional Web Resources:
Screenwriting.info
How to write a good short film script
Short Movie Scripts
How to Format a Screenplay

Step One: Write a Treatment and Script
You will write a one-page treatment for a short film of approximately 3 minutes. Please take careful consideration to explain and develop characters, setting, plot, story arc, production design, tone, genre, etc.

The script should use little or no dialogue in favor of developing rich scene description. Please make sure the scene follows the requirements outlined above.

You will be pitching these treatments in class and the most viable and well conceived works will move forward to production.

Grading Criteria for Script/Treatment
Out of 50 points:

Story Treatment/Proposal:
- Clear motivation of the action? 5
- Established story elements (characters, situations, settings, moods) 5
- Opening is focused with a clear hook and a commitment? 5
- Does story commit to a planned goal or purpose through one or more peaks? 5
- Have the issues been resolved? 5

Script:
- A world/setting (ie; wedding, birthday party, first day at school) or a journey? 5
- Clear beginning/hook, middle, and resolution/end to the change/conflict 5
- Character - is the character being driven by a want, a need or an obligation? 5
- A problem (what is the problem or goal or purpose?) 5
- Scene is typed in script format? 5

Step Two: Production Plan and Storyboard
Once you have your production group, it is time to rework the script idea with everyone's input and develop the production plan for the project.

First, sit down with your group and talk about the project and script. How could you make it better, clearer, or more accessible? Please take care with including everyone in the project and work towards equal investment in the project's development. At this time you may choose to assign jobs according to each individuals strengths or interests.

You must develop a production plan: secure a location, schedule shoots, production design, reserve equipment, organize a crew, secure any actors/extras, etc.

Finally, after visiting your location and before the shoot, you need to plan your shots with a particular eye towards creative cinematography.

You may download blank storyboards templates: Template 1 & Template 2.

Grading Criteria for Production Plan/Storyboard
Out of 50 points:

Production Plan:
- Does the production plan describe those assigned to the following positions: producer, director, art director, camera operator, and sound operator? 5
- Are the locations clearly established and confirmed? 5
- Who will be responsible in creating the camera shot list? 5
- Who are the actors, and have they been notified and confirmed? 5
-  Has there been a day and time selected for re-shoots? 5
- When will the footage be logged?  Who will log it? 5
- When will the rough cut be edited? Who will edit the rough cut? 5
- When will the final cut be edited and by whom? 5

Storyboard:
- Does the storyboard succinctly tell the story of the scene being produced? 5
- Are the designs clear in describing activity scenarios, information scenarios and interaction scenarios with varying sized camera shots? 5

Step Three: Rough and Final Edit
Out of 100 points:

Teamwork:
1. Collaboration of ideas (10)
2. How team offers/accepts suggestions for changes (10)
3. Crew positions and professionalism on set (10)

Technical:
1. Does story match original/rewritten submitted script (10)
2. Smooth camera work and composition of shots (10)
3. Is there a beginning, middle and end? (or is the scene causal) (10)
4. Continuity (10)
5. Sound - does it enhance the picture? (10)
6. Lighting - does the key light source fit the scene? (10)
7. Talent – realistic acting or over-acting? (even actors, those without dialogue can overact) (10)

Experimental Project

Remix: A remix in art often takes multiple perspectives upon the same theme. An artist takes an original work of art and adds their own take on the piece creating something completely different while still leaving traces of the original work. It is essentially a reworked abstraction of the original work while still holding remnants of the original piece while still letting the true meanings of the original piece shine through. Famous examples include the Marilyn prints of Andy Warhol (modifies colors and styles of one image), and The Weeping Woman by Pablo Picasso, (merges various angles of perspective into one view).

Your assignment is to create a video remix that offers commentary on an aspect of culture. There are many possibilities for a remix project, many of which we will discuss in class. Be sure to avoid creating a project that resembles a music video. You are also allowed to generate your own material. However, the bulk of your material should be found footage.

A key strategy you can use to generate your message is juxtaposition. If the audio you use is promoting a concept like equality, you'll want to layer images over the audio that analyze this concept and help viewers see it in a new light--images of poverty that question the premises behind the concept will create a juxtaposition that delivers the remix message. If you do not use juxtaposition, you need to purposefully choose a strategy or concept.

I would also encourage you to try to find alternative forms to use for your remix. You can find lots of video footage of current events on news Web sites. You can also use historical videos. Start with the Internet Archive, and particularly with the Praelinger Collection. You can also look on YouTube, iFilm, and other Internet video sites. One tool I would suggest is an add-on for the Firefox browser called DownloadHelper, which allows you to download web video.

To compose the remix you will use Final Cut Pro. You will need to import the video into the film editing program, and then edit the clip and add the audio to create your message. If the video is in AVI or WMV format you will have no trouble (or AVI and QuickTime on the Mac). We will discuss in class software that can be used to convert these files into a format that can be used in Final Cut Pro.

Grading Criteria for Remix Proposal
Out of 50 points:

1. Does the remix proposal offer commentary on an aspect of culture? 10
2. Does the proposed technical approach (possibly by using an existing video and adding new audio to change its meaning or by taking song or speech with a clear message and added images to deliver a commentary) suit the commentary? 10
3. Does the proposal offer a clear strategy for conceptual juxtaposition? 10
4. Does the proposal promise social impact or significance? 10
5. If there are any alternative ideas and/or criticisms that other classmates are suggesting to enhance or change in the mash up, does the student appreciate those ideas and take them (good of bad) into consideration with a positive response? 10

Grading Criteria for Remix Project : Rough and Final Edit
Out of 100 points:

1. Does it offer commentary on an aspect of culture? 15
2. Is there a clear strategy for conceptual juxtaposition? 10
3. Does the technical approach suit the commentary? 10
4. Do the various montage of visual elements enhance/compliment the interpretation? 15
5. Do the various montage of audio sources enhance/compliment the interpretation? 15
5. Is the running time no more than 4 minutes? 10
6. Is the project creative and grab the viewer's attention? 15
7. If there are any alternative ideas and/or criticisms that other classmates are suggesting to enhance or change in the mash up, does the student appreciate those ideas and take them (good of bad) into consideration with a positive response?  10

Documentary Project

You will pitch, produce, direct and edit a 3-4 minute documentary in this unit. This project will be a bio of a person, place or thing. Expectations are that you will be creative and enterprising as you develop your project. You will be asked to adopt a particular approach and form of documentary production that serves your story. This project will demand that you utilize the skills from the narrative unit, be curious about the world around you as well as network with characters and experts within your topic.

The section will be demanding and challenging because it requires you to negotiate with a world of real people who only partially cooperate. It will require you to use your storytelling skills with the camera in an impromptu manner. This project will also challenge you to become a better producer, dealing with a wide range of people and negotiating for access to new communities.

First, you will write a proposal for your documentary project. Please see the proposal helper for guidance on what is expected in your document. Please take the time to address each part of the proposal as you are brainstorming for ideas. Key factors in choosing a topic is access, ability to complete in four weeks, and interest. Please type this proposal out and turn in to your lab instructor.

Second, half of the project proposals will advance into production and you will be placed into groups of two. You will shoot at least 4-5 hours of footage, edit and see your project through multiple revisions.

Because mocumentary as a form requires a sophisticated knowledge of the genre and you have yet to take a documentary studies course, it is the only form that is off limits for this assignment. You need to be curious about the world and engage with it.

Grading Criteria for Documentary Proposal
Out of 50 points:

- A paragraph that clearly discusses the topic (what place, thing, or person are you exploring?) and background information about the topic. (Shows that student has started researching his or her topic) 10
- An idea of what might be argued or worked out in the film 10
- A plan/timeline indicating how you will approach potential interviewees and how you will get access to film at certain locations (subject should be from local area) 10
- Is the proposal well articulated at the table read? Is it convincing? 10
- A paragraph that states your motivation for making the film 10
- At LEAST one full typed, double-spaced page with 1" margins

Grading Criteria for Documentary Rough Cut
Out of 50 points:

1. Is there a clear concept? (Does the filmmaker hold onto the concept consistently throughout the film?) 10
2. Is there a hook at the beginning? 10
3. Is there conflict? (something being argued or worked out in the film?) 10
4. Does the style (juxtaposition of A-roll and B-roll, music/audio, lighting, pace, etc.) fit the subject matter? 10
5. Is there resolution or impact? 10

Grading Criteria for Documentary Final Cut
Out of 100 points:

1. Is there a clear concept? (Does the filmmaker hold onto the concept consistently throughout the film?) 10
2. Is there a hook at the beginning? 20
3. Is there conflict? (something being argued or worked out in the film?) 20
4. Does the style (juxtaposition of A-roll and B-roll, music/audio, lighting, pace, etc.) fit the subject matter? 20
5. Is there resolution or impact? 20
6. Teamwork and critique behavior (if there are any alternative ideas and/or criticisms that other classmates are suggesting to enhance or change, does the student appreciate those ideas and take them into consideration with a positive response?) 10

Journal

View the Class Journals/Blogs

Guidelines for Journal Entries

Students will create an online journal hosted at wordpress.com. Please email the URL of your blog to your Lab Instructor.

1. Each week you will be writing a reaction/reflection entry to one or more of the assigned readings that week.
2. Each week you will be creating a self-portrait and uploading this to your journal.
3. There will occasionally be written critiques and reviews of blogs, movies, or artwork.

Reaction/Reflection
Each entry should be approximately 250 words and no more than 500 words. I encourage you to freely discuss creative ideas for films, things that inspire you from the readings or films screened in class, concerns regarding theory or production, and most importantly, how you plan to apply what is learned to your own body of work.

Do not simply repeat information or facts that were mentioned during lecture or in the readings: REFLECT on them.

Movie reviews are not summaries of what happened in the movies. They are also not a space for you to simply say you "liked it" or "hated it." You will receive no credit for doing this. Discuss the mise-en-scene, character development, story arc, social/historical significance, etc. You can also express how a film inspired your own production.

No plagiarism!

Self-Portraits
The objective of this assignment is for you to have an ongoing investigation creating a self-portrait. I want you to continue to explore the idea of self, incorporating ideas, concepts and theory from the lectures, readings and discussions.

Evaluation:

Your final grade will be determined by the following:

Attendance: ### Change made Thursday, November 10th. ### Attendance to all classes is expected. You are allowed up to TWO unexcused absences. Unexcused absence beyond this threshold may result in failing this course. As a group we have agreed that as adults, you have the responsibility to attend class as you see fit. Attendance will no longer be taken.

Assignments: All assignments and projects are due at the beginning of class. Late projects will not be accepted. If you anticipate difficulty completing an assignment, see me for assistance well before the deadline. You must turn in every assignment to pass the class. If you do not turn in one assignment, you cannot get any grade higher than a C on your final grade.

Critique: Students will work closely with each other to develop their media production projects. This includes learning to speak clearly expressing oneself when discussing their own and others artwork. The class will also work on learning how to provide helpful feedback on improvement, concept, execution, translation of plan to screen, and production techniques.

Quizzes: There will be occasional unannounced quizzes regarding recent lectures and/or readings.

MCMA Equipment Checkout:
http://mcma.siu.edu/checkout/
Open: 07:30am-07:30pm Mon-Thurs
Closed: 12:30pm-01:30pm Daily
Call: 618-453-7763
Email: mcma.checkout@gmail.com

Necessary Equipment: You must have our own portable external hard drive with a triple interface (FireWire 400, 800, and USB connectivity). You cannot use a USB drive. FireWire provides faster transfer speeds than USB. You will also use this drive in upper level production courses, including HD production, which requires large storage capacity and fast speed. We recommend something like the LaCie Rugged Hard Disk with FireWire 800, FireWire 400, and Hi-Speed USB2 connectivity and 7200 rpm rotation speed.  You will also need access to headphones that are not ear buds (preferably headphones that cover your ear) and SDHC flash card (8gb or 16gb). You will also need a hardbound composition notebook or sketchbook (at least 8.5” x 11”) for your journal, notes and sketches.

Helpful Equipment: You will have the opportunity to check out video and sound recording equipment from
the college. However, if you have your own point and shoot camera, DSLR still image 
camera or video camera, those items will be very helpful in this class.

Web Resources:

Equipment Manuals
Tascam Manual
Canon HFS10 Manual

http://www.creativecommons.org/

http://www.aivf.org/

http://www.filmmakermagazine.com/

http://www.itvs.org/

http://www.indiewire.com/

http://www.filmmaking.net/

http://www.panix.com/~hamiltro/links/

https://www.withoutabox.com/

http://ubuweb.com/

http://rhizome.org/

Building Emergency Response Protocols

University's Emergency Procedure Clause: Southern Illinois University Carbondale is committed to providing a safe and healthy environment for study and work. Because some health and safety circumstances are beyond our control, we ask that you become familiar with the SIUC Emergency Response Plan and Building Emergency Response Team (BERT) program. Emergency response information is available on posters in buildings on campus, available on BERT's website at www.bert.siu.edu, Department of Public Safety's website www.dps.siu.edu (disaster drop down) and in the Emergency Response Guideline pamphlet. Know how to respond to each type of emergency.

Instructors will provide guidance and direction to students in the classroom in the event of an emergency affecting your location. It is important that you follow these instructions and stay with your instructor during an evacuation or sheltering emergency. The Building Emergency Response Team will provide assistance to your instructor in evacuating the building or sheltering within the facility.

Disabled Students: Instructors and students in the class will work together as a team to assist disabled students out of the building safely. Disabled students will stay with the instructor and communicate with the instructor what is the safest way to assist them.

Tornado: During the spring semester we have a Storm Drill. Pick up your belongings and your instructor will lead you to a safe area of the basement. No one will be allowed to stay upstairs. Stay away from windows. The drill should not last more than 10 minutes. You must stay with your instructor so he/she can take roll calls. Students need to be quiet in the basement as the BERT members are listening to emergency instructions on handheld radios and cannot hear well in the basement.

Fire: During the fall semester we have a Fire Drill. Pick up your belongings and your instructor will lead you to either the North or South parking lot depending on what part of the building your class is in. You must stay with your instructor so he/she can take roll calls. As soon as the building is all clear, you will be allowed to return to class. These drills are to train instructors and the Building Emergency Response Team to get everyone to a safe place during an emergency.

Bomb Threat: If someone calls in a bomb threat, class will be suspended and students will be asked to pick up their belongings, evacuate the building and leave the premises. Do not leave anything that is yours behind. We will not allow anyone back into the building until the police and bomb squad give us an all clear. DO NOT USE YOUR CELL PHONES. Some bombs are triggered by a cell phone signal.

Shooter in the Building: When it is safe to leave, move to a safe area far from the building where the shooter is located.  If you have any information about the shooter, please contact the police after you return home.  If you cannot leave, go into a room, lock the door, turn out the lights, and if possible, cover the glass on the door. Silence all cell phones after you call the police and inform them of your location. Be quiet and wait for the police to arrive.  The police are looking for one or more shooters, and they have no way of knowing if the shooter is in the room with you.   For that reason, when the police enter the room, no one should have anything in his/her hands and each person MUST raise his/her hands above his/her head.  

Earthquake: In the event of an earthquake you are advised to take cover quickly under heavy furniture or near an interior wall, a corner, to avoid falling debris. Outside the building are trees and power lines and debris from the building itself that you will need to stay away from. In the building, large open areas like auditoriums are the most dangerous. Do not try to escape on a stairway or elevator. Do not hide under a stairway. We do not recommend that you stand in a doorway because the door could shut from the vibrations and crush your fingers trapping you there.

Women's Self-Defense Class: For interested female students and female faculty and staff, the SIU Public Safety Department sets up free self-defense classes. The SIU Public Safety Department will be teaching this class. They teach a free class in the fall and spring at the Rec Center. In the fall you would register at the Rec Center for the Women's Self-Defense Class or RAD (Rape Aggression Defense) as it is sometimes called. If you have questions about registering for the class, you can send an email to lavong@siu.edu. LaVon is the contact in the Dean's Office in the Communications building that will assist you to try to find the class you need.