This studio course will cover a breadth of stop motion animation techniques, with a focus on experimental and nontraditional methods and ideas. Students will experiment with a variety of materials and techniques, including claymation, puppet animation, collage, charcoal, pixilation, and object animation. Students will have the opportunity to work on a long form project in this course and will learn to make a stop motion film from start to finish. Stop motion animation is a time-consuming art form. Keywords:stop motion, animation

This course is designed for intermediate and advanced photography students to explore the art of photography and bookmaking. Students will learn the principles of book binding, design, and image sequencing, all aimed at developing their personal photographic projects. Beyond obtaining technical skills, this course will foster a space for constructive critiques and lectures that encourage students to recognize photobooks not just as collections of images, but as profound tools for intellectual exploration and complex storytelling. Keywords:Photography, Photobooks, Bookmaking.

This course proceeds from the premise that the ideas behind a successful artwork should be intimately related to its media, conventions and platforms-and that those in turn shape which ideas we even think. We will investigate the underlying assumptions of digital media, through the process of making. Students will work with a wide variety of tools that allow for the creation and manipulation of various media, including bitmap and vector images, 2D animation, and sound.

Handmade Pictures: Explorations in Historic Photographic Print Processes: This course will explore handmade photographic techniques such as cyanotype, platinum/palladium, wetplate, gravure, and carbon printing. We will examine photographic imagery made using these techniques by historic and contemporary figures in photography. Workshops, readings, and critique will be integrated into the technical aspects of this course.

This course will survey filmic techniques of resistance in Latin American cinema with a heavy focus on the Third Cinema Movement. This course will ask: What has a cinema of liberation looked like in the past and what do we want it to look like in the future? Students will spend time watching, analyzing, discussing and writing about these films. They will then be tasked with creating one film that utilizes specific filmic techniques as resistance to push against systems of oppression that intersect with their own lives. Keywords:Cinema, Film, Latine, third cinema, Latin American

The focus of this course is dreaming up and creating the tools necessary for a sustainable future for analog filmmaking. This is necessary because a lot of the tools needed for working with 16mm and Super 8 film are no longer made and as a result are very expensive to buy and not accessible to many filmmakers. We will spend part of the semester dreaming up and designing the tools we need and the rest of the semester working in groups focused on making specific designs come to life. We will be partnering with the Center for Design in the creation of these tools.

What kinds of stories can we tell from archives? What stories do archives themselves tell? Cultural historians and literary critics often rely on archives and special collections, which contain materials like letters, journals, manuscripts, organizational records, oral histories, photographs, periodicals, and ephemera. Creative writers, artists, and filmmakers can draw upon archives to shape their work as well.

The course focuses on the musics of Africa and the African diaspora through the lens of ethnomusicology. Concentrating on selected countries, including Brazil, Cuba, Nigeria, South Africa, and the United States, it examines the musical performance of gender, race, ethnicity, and nationality and the role of music in social and political movements. The course explores the global dimensions of Africanist musical aesthetics as enabled historically and sustained through ongoing transatlantic exchanges between Africa and the African diaspora.

Hearing The World: Journalism,Fieldwork,Story,Sound will explore ethnographic practices as powerful tools for understanding culture, identity, and place. Through hands-on fieldwork, students will learn methods of sound recording, interview techniques, and field observation to document the stories and soundscapes that shape everyday life. With an emphasis on the art of conducting interviews and oral histories, students will engage ethically and creatively with communities and individuals, capturing voices and experiences that might otherwise go unheard.

This integrative seminar is designed for students who are working on a DIV III or an advanced DIV II Project (or independent Study) in the arts, media, and humanities. The course will include regular opportunities for class workshopping of students' ongoing DIV III /DIV II advanced projects work. In addition, during the first half of the semester, students will read broadly on topics of shared interest and complete several short written responses to articles that draw from various disciplines in the arts, media, and humanities.