Full Seminar Pass: $85/$70 (Belcourt member) | SOLD OUT
Single Seminar Session: $25/$20 (Belcourt member) | SOLD OUT
Please note that capacity is limited.
When we watch a film, the experience washes over us. We pay attention to the story and recognize its effect, but we may not notice techniques that move us—the underlying anatomy that makes up each film. In a series of four two-hour sessions, Vanderbilt faculty members in cinema and media arts lead interactive discussions on the primary categories of film technique and the aesthetic experience of the moving image.
Seminar sessions will progress and build on each other—replicating the creative process of film production and the aesthetic choices made at every stage that govern the look and effect of the final work of art. Along the way, we’ll watch clips and discuss techniques within the context of film history, genre, and the key movements that revolutionized how a film could be made and watched.
Each session is on a Thursday, 6--8pm, in the Belcourt’s second floor Jackson Education and Engagement Space.
Thu, Oct 26 | 6-8pm
SOLD OUT | Session 2: Acting in Cinema | What difference does it make that film actors play to a camera instead of a live audience, or that what we perceive as a single performance is typically many performances edited together? How do human actors compete with animals, things, and cinema’s wider environments in film as opposed to theater? This seminar takes stock of the film actor as a force of narrative, a master of technique, and as an entity uniquely produced by film style. Led by Claire Sisco King
Thu, Nov 2 | 6-8pm
SOLD OUT | Session 3: Cinematography | Sometimes described as writing with light and movement, cinematography entails the choice of film stock, lenses, framing, shot duration, and camera movement, all of which determine how we see the things, people and environments placed before the camera. Led by Se Young Kim
Thu, Nov 9 | 6-8pm
SOLD OUT | Session 4: Editing | Editing is the joining of shots, ranging from the “invisible style” of Hollywood cinema to the more experimental techniques of Soviet Montage and the French New Wave. Because editing enables filmmakers to create completely imaginary geographies and temporalities, it is often considered to be the most cinematic of all techniques. Through it, cinema creates its own world. We consider this manipulation and creation. Led by Jennifer Fay
Thu, Oct 19 | 6-8pm
SOLD OUT | Session 1: Mise-en-scène | Literally translated as “placement in the scene,” mise-en-scène is an umbrella term for location, set design, lighting, and the arrangement of people and things to be filmed. What difference does it make to shoot in a dark studio—the model of classical Hollywood cinema—versus the location shooting of Italian neo-realism or the Berlin School? What are the aesthetic and ethical dimensions of controlling mise-en-scene as opposed to allowing contingency to determine the content of the shot? Led by Lutz Koepnick