CINEMATIC MULTIMEDIA
Winter 2010 • Grand Valley State University
Professor Jennifer Proctor
Required Texts:
Compressor tutorials on Lynda.com
Readings posted to Blackboard
Course Description
As moving-image technology shifts, so do the possibilities for storytelling and creative expression. This course will focus on expanding conceptual and technical skills in emerging forms of cinema, such as interactive narrative, multi-frame video, transmedia, and database cinema, with a special focus on online video and the opportunities presented by online cinema. While this course will implement several kinds of software and interfaces, the emphasis is on the conceptual and creative implications of these tools, and on innovating new forms, ideas, and stories as a result of their implementation. In addition, throughout the course we will interrogate the notions of “new media” and “cinema” in an effort to arrive at our own working definitions of these concepts.
Important Note
This course is centered on the notion that each student will pursue a unique creative path requiring different kinds of technical knowledge. Therefore, you are expected to take the initiative to learn techniques and software as needed to meet the goals you set for yourself with assignments. Support and resources will be offered to you, of course, but responsibility for your own learning is a crucial element of this class.
Be sure to back up all of your project work during and at the end of each work session.
Computer Usage
Do not use class time for Internet or email purposes. If you are discovered using class time to read email or explore the Internet (unless part of the class discussion) you may be asked to leave and/or will receive an absence for that day. The same penalty applies to anyone who answers a phone call or text messages during class.
Classroom Behavior
It is important that we are able to balance our candor with respect for the ideas or subject matter addressed by the works in this class. The goal in this course is to critique the work, as it stands before us as an audience – not the person who created it. Bear this in mind when critiquing others’ works, as well as when it is your turn to be critiqued.
Disruptive and rude behavior—including carrying on side conversations, eating/drinking, using computers for non-class work, arriving late, leaving early, and cell phone calls/texts—will not be tolerated. Food and beverages are not permitted in the lab.
Disabilities
If there is any student in this class who has special needs because of learning, physical or other disability, please contact both me and Disability Support Services (DSS) at 616-331-2490.
Furthermore, if you have a disability and think you will need assistance evacuating this classroom and/or building in an emergency situation, please make me aware so I can develop a plan to assist you.
Academic Honor Code
Responsibility for your own learning is in your hands, and that includes an understanding of and commitment to honesty and integrity in your scholarly work. Violations or attempted violations of academic honesty include, but are not limited to, cheating, fabrication, plagiarism, and multiple submissions of the same work in different courses. Plagiarism is the unacknowledged use of another person’s labor, ideas, words or assistance. All work done in this course is expected to be the original effort of the student(s) presenting the work. Violations may result in failure of the assignment and possibly failure of the course.
Attendance & Participation
This class will move quickly as we tackle multiple tools, platforms, and concepts. Your active participation in class is essential to your learning and the overall thriving of the class. Attendance is not required; however, failure to participate in class will result in a lowering of your participation grade. No incompletes will be given in this course.
Late Work
I will accept late work up to the next class meeting after the deadline. Your grade will be lowered one grade for each day it is late. Work will not be accepted after this grace period.
Grading Breakdown
| Voodles | 20% |
| Quizzes | 10% |
| Crowdsourcing Project | 10% |
| Assignment #1: Remix/Mashup | 15% |
| Assignment #2: Multi-channel video | 15% |
| Assignment #3: Final project | 20% |
| Participation | 10% |
| TOTAL: | 100 points |
*Please note that while I am happy to discuss your grade, my policy is that you must wait 24 hours after receiving a graded assignment back before approaching me with questions or concerns.
PROPOSED SCHEDULE
(subject to change – student is responsible for keeping up with any changes)
WEEK/DATE |
ASSIGNMENTS DUE |
IN-CLASS |
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1 |
1/12 |
|
What is Cinematic Multimedia? Introductions, computer logins Skills survey |
|
1/14 |
Begin Compressor tutorials on Lynda.com |
Screen examples of cinematic multimedia and discuss. Introduce vocabulary. Discuss online video hosting Assign Voodle #1 |
2 |
1/19 |
Read: “Political video mashups as allegories of citizen empowerment” “Remix Theory” http://remixtheory.net/?p=174 Complete Compressor tutorials on Lynda.com |
Video compression for the web Introduce class Tumblr Remix/mashup – goals, meanings, watch examples Assignment #1: Remix/mashup |
1/21 |
Properly compressed Voodle #1 due on Tumblr Read: “Best Practices in Fair Use for Online Video” (Blackboard) |
More on video compression with Quicktime Copyright and fair use on the web Assign Voodle #2 |
||
3 |
1/26 |
“Soviet Montage Theory” http://en.wikipedia.org/wiki/Soviet_montage_theory |
Editing strategies TV vs. movies vs. web QUIZ |
|
1/28 |
Voodle #2 DUE on Tumblr Read: “The Art of Watching Databases” (Lovink) “The Practice of Everyday (Media) Life” (Manovich) from the Video Vortex Reader |
Database cinema/cinema as database Introduction to New Media |
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4 |
2/2 |
|
In-class edit day |
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2/4 |
Assignment #1: Remix/Mashup due on hard drive |
In-class critiques |
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5 |
2/9 |
Read: "Smart Montage" (Maher) The Language of New Media (excerpt on spatial montage) (Manovich) |
Assignment #2: Multi-channel video Screen examples |
|
2/11 |
Revised Assignment #1: Remix/Mashup due on Tumblr |
Critiques |
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6 |
2/16 |
Read: “If It Doesn't Spread, It's Dead (Part One): Media Viruses and Memes” (Jenkins) http://www.henryjenkins.org/2009/02/if_it_doesnt_spread_its_dead_p.html “The Not-So-Hidden Politics of Class Online” (Boyd) http://www.danah.org/papers/talks/PDF2009.html Bring examples of memes |
Memes and social media Audiences on the web Privacy on the web Assign: Voodle #3 |
|
2/18 |
READ: “Making Violent Practices Public” (Kambouri/Hatzopolous) from Video Vortex Reader |
Tech tips for multi-frame video Ethics in online video Public vs. Private online |
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7 |
2/23 |
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QUIZ |
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2/25 |
Voodle #3 DUE on Tumblr |
Assign Final Project |
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8 |
3/2 |
|
In-class editing |
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3/4 |
Assignment #2: Spatial Montage due on hard drive |
In-class critiques |
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9 |
MARCH 8 - 12 ::: SPRING BREAK ::: NO CLASS |
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10 |
3/16 |
|
Voodle #4: In-class |
|
3/18 |
Revised Assignment #2: Spatial Montage due |
Net neutrality, regulation of the internet, and Freedom of Speech Assign Voodle #5 |
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11 |
3/23 |
Read: “Transmedia storytelling 101” (Jenkins) http://henryjenkins.org/2007/03/transmedia_storytelling_101.html |
Transmedia storytelling Integrated media models |
|
3/25 |
Read: “Peeling the Onion: Layers of Interactivity in Digital Narrative Texts” (Ryan) http://users.frii.com/mlryan/onion.htm Voodle #5 DUE on Tumblr |
Database and interactive storytelling Examples Assign crowdsourcing project |
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12 |
3/30 |
|
Guest: Wreck and Salvage, wreckandsalvage.com |
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4/1 |
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Guest: Chris Weagel, human-dog.com |
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13 |
4/6 |
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QUIZ New Media and digital installation |
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4/8 |
Crowdsourcing project DUE on Tumblr |
Watch: Copyright Criminals RiP: A Remix Manifesto |
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14 |
4/13 |
Read: The Language of New Media Ch. 6 (Manovich) |
Discuss readings So what is new media? What is cinema? |
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4/15 |
|
In-class work day |
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15 |
4/20 |
|
In-class work day |
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4/22 |
FINAL PROJECTS DUE on hard drive |
In-class critiques Introduction to Livestream/live video switching |
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16 |
Thurs 4/29 |
Revised Final Projects DUE 4 – 5:50 |
Online screening via Livestream |
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