In addition to the catalogue of regularly offered courses, the School of Film & Photography also has a rotating selection of variable courses. Courses are divided by the semester in which they are being offered. An additional list of courses that may be available during future semesters can be found at the bottom of this page.


SUMMER 2022 Variable Courses

FILM 494-002: 16mm Film Workshop 

The theme for the workshop is “Placed Based Filmmaking”- The goal is to develop ideas around immersing ourselves in a place and responding to it with a camera and the physical material of film itself. We will explore the concept of filmmaking as a process, and get our hands on film as a way of making art. 

Students will learn to shoot with a Bolex 16mm camera and to hand-process 16mm black and white negative.  Light meters, exposure, splicing, film loading and the film scanner will be covered to set up participants for an analog to digital HD Scan basic workflow.  

The DIY aesthetic, hand made filmmaking and the materiality of film will be concepts we will explore. Process over perfection is the ethos. Hand processed 16mm film has a specific textured look—not the pristine quality that comes from a commercial lab. Imperfection is to be embraced and used as inspiration.  

*Please note this course will have some additional out of pocket costs for materials. In the past this has been around $100 USD. 

Looking for more info? Please email CINDY STILLWELL at:cindys@montana.edu.Interested Grad students should also email Cindy. 

 

FILM 494-802: After Effects Bootcamp 

This class will focus on learning the creative and technical skills needed to create motiongraphics and animations with Adobe After Effects, an industry-standard application. Topics willinclude: Creating compositions; keyframing; creating shapes; motion blur; rendering video;anchor points; working with text and graphics; typography and icons; greenscreen; colorgrading. The work in this class will be project-based with occasional quizzes to verify yourunderstanding of the topics covered.  

This course is ONLINE and ASYNCHRONOUS which means you can work according to your  own schedule. There will be Zoom check-ins for help and questions.

 

FILM 381: The Films of Stanley Kubrick  

This course will examine Stanley Kubrick’s highly provocative and sometimes controversial films, including Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, The Shining, and Full Metal Jacket. Kubrick explored the darkest and deepest recesses of the human condition. More pointedly, he interrogated and deconstructed the (toxic) ideological root causes of our (self) destructive way of being, including elitism (classism), toxic masculinity ideologies, and a self/Other sensibility in general (“white man’s burden,” manifest destiny, etc.). Further, we will examine Kubrick’s complex use of form as well, his mise en scenes especially being some of the most rich and complex in film history.   


FALL 2022 Variable Courses

PHOTO 494: Night Low Light Photography 

You will learn technical use of small flash units on location, including use of light stands, light clamps, pocket wizards, umbrellas, shoe mounts, filters, reflectors, soft boxes, honeycombs, diffusers, and other light modifiers in combination with analog or digital photography. When these techniques are learned, remembered, and absorbed, you will then apply them to physically, emotionally, and theoretically enhance daylight, low light, and night light scenarios. 

Using lights to enhance the scene content will be for such purposes as creating narrative in a single frame, constructing a reality that may be pure fabrication, and examining the spaces between straight reportage and constructed realities/directorial photography—the latter term coined by A. D. Coleman in 1979. After semester-long analysis and evaluation during critique, the semester’s learning will result in a body of work that is a constructed narrative of one’s choosing. Throughout the semester such topics as narrative, sequencing, serial imagery, constructed realities, and docugraphics will be addressed. 

This class is in seminar format. Course content will be collaborative.  

 

FILM 494-002: Advanced TV Production: 

A real world experience creating live television content for public consumption.  Building on the basic theory knowledge and practical skills learned in the beginning class, FILM 253, students will conceive, plan and organize broadcast-worthy production.  Under guidance from the instructor, students will be responsible for all licensing, permissions, production elements, scripting, talent, set, lights, and studio and field equipment leading up to live production, as well as any post production editing and color correction, audio sweetening and mixing, final packaging and delivery for distribution. 

 

FILM 481-001: Rights and Responsibilities of Creative Artists 

This course introduces emerging artists to their rights under the First Amendment.  When films like “Cuties” face grand juries considering obscenity charges against the director; when fiction film makers “borrow” music, or documentary filmmakers worry that copyright might limit their ability to discover and convey truth, it has become essential to  understanding the principles that protect creative work and guide key artistic decisions.   

Develop a better understanding of when you might be risking a lawsuit or worse, criminal charges in your emerging creative professions.  Also learn the ins and outs of copyright, including when you can use the work of others and how to protect, or even share, your own work. Our discussion of “rights” will be balanced against a discussion of “responsibility" - not in terms of law, but in term of your own emerging artistic ethic. 

  

FILM 481-002: Films of Alfred Hitchcock 

As one of the most influential figures in film history, Alfred Hitchcock made over 50 films in a career that spanned six decades. The Master of Suspense shaped the thriller genre, framed shots to maximize anxiety, and utilized camera movement to mimic a person’s gaze, turning the audience into “voyeurs.” His legacy lives on for his expertise in montage, subtext, and his single character POV used in both a psychological and aesthetic sense. 

 

Additional Variable Courses

FILM 381: Italian Cinema

FILM 481: History of Documentary

PHOTO 494: Experimental Color Photography