From: miriam jayne martins sampaio (email suppressed)
Date: Mon Dec 07 2009 - 06:22:45 PST
Hello
Very rarely do I interfere with my comments. I am currently doing a Masters in Fine Arts at Concordia University although I am in living in Portugal for my third year. I have to say that I just love when professors give me a course pack and a list of books to read. I love to read, primarily learning new things. I am never without a book. I personally hate reading PDF files or anything online (sorry). The screen hurts my eyes. There is nothing better than having a paper trail or book trail....and everyone who knows me knows that if I cannot be found anywhere? check the library....
Anyways
Miriam
> Date: Mon, 7 Dec 2009 01:28:46 -0500
> From: email suppressed
> Subject: Re: looking for good intro text
> To: email suppressed
>
> Hi Nicholas-----------
>
> The students are not "awful"; they've been treated to American secondary
> education. Hence their command of English has not developed fully -- they would
> not find usages such as "the curmudgeon pantheon of Moving-Image Arts History" or
> "more intrigue into assigned readings" unwieldy or awkward at all.
>
> As for the cost of 'Art Cinema' from Taschen, this is undoubtedly an issue,
> though it lists at only 30, whereas the acquisition of video production texts
> such as Millerson (48), Utz (109), or Zettl (165) is probably expected and
> accepted by students at "a more technically leaning institution."
>
> -----------t0ny
>
>
> On Sun 12/06/09 11:48 PM , "Nicholas O'Brien" email suppressed sent:
> > Your students sound awful! I get my students to read the material
> > (incoming freshman or transfer 1st years) with only a little bit of
> > hesitation. When the material is positioned away from the curmudgeon
> > pantheon of Moving-Image Arts History and reframed as being an
> > introduction to understanding their media environments, I've
> > noticed a tendency for more intrigue into assigned readings (this
> > coming from a more technically leaning institution).
> > And not to be too antagonistic, but maybe it isn't the
> > student's _fault_ that the price of Taschen/MIT
> > Press/Phaidon/etc. books is more than they can afford (on top of the
> > exorbitant amount for liberal arts undergrad).
> > On Sun, Dec 6, 2009 at 8:37 PM, Patricia R. Zimmermann wrote:
> > It goes without saying in a film studies/theory course that if you
> > don't read the books you are not going to pass or get beyond a C-.
> > Most production students don't care about GPA in my experience.
> > This is the world we are in now. Students don't want to read.
> > We can hack this system, however, with imagination.
> > -------
> > Patricia R. Zimmermann, Ph.D.
> > Professor, Cinema, Photography and Media Arts
> > Roy H. Park School of Communications
> > Codirector, Finger Lakes Environmental Film Festival
> > Division of Interdisciplinary and International Studies
> > 953 Danby Road
> > Ithaca College
> > Ithaca, New York 14850 USA
> > Office: +1 (607) 274 3431
> > FAX: +1 (607) 274 7078
> > http://faculty.ithaca.edu/patty/ [2]
> > http://www.ithaca.edu/fleff [3]
> > BLOG: http://www.ithaca.edu/fleff10/blogs/open_spaces/ [4]
> > ---- Original message ----
> > >Date: Mon, 7 Dec 2009 02:05:22 +0000
> > >From: Experimental Film Discussion List (on behalf of Rob Gawthrop
> > )
> > >Subject: Re: looking for good intro text
> > >To:
> > >
> > > How about failing the students.
> > >
> > > Rob
> > >
> > > On 06/12/2009 23:31, "Beth Capper"
> > > wrote:
> > >
> > > How about...
> > > make your books available as downloadable pdfs!
> > >
> > > On Sun, Dec 6, 2009 at 4:20 PM, Patricia R.
> > > Zimmermann wrote:
> > >
> > > I hesitate to dive into this "book" issue for
> > > film classes, but nonetheless,given the Web 2.0
> > > zeitgeist, I must.
> > >
> > > I totally agree with Tony about books. The
> > > undergraduates I teach at Ithaca College have
> > > actually often gone to our dean to complain that
> > > I actually USE books in my classes (for those
> > > who don't know me, I teach history/theory, not
> > > production). The norm for theory classes in
> > > liberal arts at most schools is 5-8 books--and
> > > all the students do in cinema studies courses is
> > > complain and then take action against this. The
> > > few overachievers who buy books are all focused
> > > on getting into graduate PHD programs.
> > >
> > > The sad aspect of this anti intellectualism is
> > > that students are shooting themselves in the
> > > head and the foot by not reading. They are
> > > entering industries and arts cultures with
> > > highly education, liberal arts, humanistic
> > > thinkers with analytical edge. By not reading
> > > they are tracking themsevles into the hidden
> > > class system of the media ecology.
> > >
> > > That said, I do think that the current
> > > contradictions of this moment in higher
> > > education offer all us new ways to imagine
> > > inviting students into a larger disciplinary
> > > based conversation that is both legacy and
> > > innovative. Here are some ideas I've culled from
> > > colleagues that I'm going to steal to propel
> > > more engagement:
> > >
> > > 1. Use websites on the syllabus and have
> > > students INTERACT with the website
> > >
> > > 2. use blogs and require blogging and require
> > > linking
> > >
> > > 3. require students to participate in and
> > > comment on smart blogs in our field (there are a
> > > lot, in fact, I have one myself)
> > >
> > > 4. Use blackboard and post your websites
> > >
> > > 5. Do webinars and conference calls (it's free,
> > > they dial in) with people in the field who have
> > > knowledge you want them to know. I taught a
> > > course a few years ago and we had Scott
> > > MacDonald as a "course listserv" guest. I
> > > taught a course in film festivals, online, this
> > > summer, and we did four conference calls
> > > withpeople in the field, requiring students to
> > > read the websites and bios BEFORE the networking
> > > call)
> > >
> > > 6. About ten years ago, our own Tony Conrad had
> > > me on a conference call with his class to
> > > discuss an article I had written. I think he
> > > had me call into a phone line he put on speaker
> > > phone. I had a blast. I didni't have to travel
> > > to Buffalo, and I enjoyed it and felt comraderie
> > > with Tony.
> > >
> > > 7. Use Wikis to engage dialogue
> > >
> > > 8. Use teleconferencing to bring in
> > > conversations with people around the world
> > >
> > > 9. If you can't find a book on a topic, that
> > > means your class it breaking new ground. Treat
> > > it like a film festival and bring people
> > > involved in those organizations or those films
> > > into your class via all of the above--see if
> > > your school can get them some minimal honoraria
> > > or trade them something.
> > >
> > > 10. Be optimistic, have fun, let go of old
> > > assumptions, invent new ways to invite students
> > > into the field through engagement.
> > >
> > > All for now--good luck. Pedagogy is changing,
> > > and it's really been an eye opener for me. We no
> > > longer need to wait for books to be available,
> > > since most books now don't fit most film
> > > classes, they are monographs.
> > >
> > > Thanks, Tony, for making me think.
> > >
> > > Patty Zimmermann
> > >
> > > -------
> > > Patricia R. Zimmermann, Ph.D.
> > > Professor, Cinema, Photography and Media Arts
> > > Roy H. Park School of Communications
> > > Codirector, Finger Lakes Environmental Film
> > > Festival
> > > Division of Interdisciplinary and International
> > > Studies
> > > 953 Danby Road
> > > Ithaca College
> > > Ithaca, New York 14850 USA
> > > Office: +1 (607) 274 3431
> > > FAX: +1 (607) 274 7078
> > > http://faculty.ithaca.edu/patty/ [11]
> > > http://www.ithaca.edu/fleff [12]
> > > BLOG:
> > > http://www.ithaca.edu/fleff10/blogs/open_spaces/ [13]
> > >
> > >
> > > ---- Original message ----
> > > >Date: Sun, 6 Dec 2009 16:35:17 -0500
> > > >From: Experimental Film Discussion List
> > > (on behalf of Tony
> > > Conrad )
> > > >Subject: Re: looking for good intro text
> > > >To:
> > > >
> > > >Hi Bernie--------
> > > >
> > > >You will probably not like this message.
> > > >
> > > >But yesterday I received my copy of a new
> > > Taschen book, Art Cinema
> > > >(9783822835944), that takes a swipe at the huge
> > > project of connecting cinema, in
> > > >its origins and full sweep as art, with the
> > > contemporary art media. In it you
> > > >will find Bresson, Pipilotti Rist, Aernout Mik,
> > > Len Lye, Muehl, Sharits, Arrabal,
> > > >Tracey Moffatt, Dreyer, Greenaway, etc. etc.
> > > (but no community-based video at
> > > >all). Of course this book is a failure, but it
> > > connects viscerally with things
> > > >students are interested in (sex, surrealism,
> > > movies), and is loaded with pix and
> > > >lite on text. In fact, I will consider it as a
> > > textbook for certain of my own
> > > >classes.
> > > >
> > > >That said, my experience has been that students
> > > don't buy books any more,
> > > >especially big beautiful picture books---
> > > however useful. I used Michael Rush's
> > > >book Video Art as a text, and I felt that
> > > nobody in the class owned or really
> > > >read it very much. The fact is that students
> > > will access a compilation of
> > > >websites more readily than they will use
> > > reserve texts at the library, even when
> > > >in the library itself. The only books that
> > > average students regularly acquire are
> > > >"textbooks" they are required to swallow page
> > > by page, in business, science, and
> > > >pre-med courses. Except among over-achievers,
> > > books are over.
> > > >
> > > >:-)
> > > >
> > > >-----------t0ny
> > > >
> > > >
> > > >
> > > >On Sun 12/06/09 10:22 AM , Mark Webber
> > > sent:
> > > >> bernard
> > > >>
> > > >> this sounds something like a book i've been
> > > working on for a few
> > > >> years, and i'm afraid it is still a few years
> > > away.
> > > >>
> > > >> my project is an oral history of the
> > > development of 'avant-garde' film
> > > >> from the 50s to the 70s, predominantly
> > > covering the US situation,
> > > >> which will be told in the words of those
> > > directly involved. it is more
> > > >> of a social / cultural history of the ways in
> > > which the films were
> > > >> made, shown, distributed and discussed rather
> > > than a study of the
> > > >> films themselves.
> > > >>
> > > >> i've conducted 70-80 new interviews to date.
> > > eventually, copies of the
> > > >> complete interview transcripts and recordings
> > > (many of which are 3-4
> > > >> hours long) will be deposited at archives in
> > > new york and london,
> > > >> where they will be available for other
> > > researchers.
> > > >>
> > > >> details below of a related (free) event in
> > > new york this evening. (not
> > > >> sure if it's just me, but i didn't receive
> > > part 1 of the this weeks
> > > >> listings)
> > > >>
> > > >> mark
> > > >>
> > > >> ...
> > > >>
> > > >> UNDERGROUND NEW YORK
> > > >> New York Gershwin Hotel
> > > >> Sunday 6 December 2009, at 7:30pm
> > > >>
> > > >> In the 1960s, filmmakers investigated new
> > > forms of production in
> > > >> dialogue with radical shifts in art, music,
> > > performance and popular
> > > >> culture. Following the example of the Beats,
> > > the counterculture was
> > > >> alive with protest, freedom of expression and
> > > the breaking of taboos,
> > > >> and from the Film-Makersa�� Coop to Andy
> > > Warhola��s Factory,
> > > >> portable 16mm cameras were bringing a whole
> > > new way of seeing to the cinema
> > > >screen.
> > > >> These heady days of a��underground
> > > filma�� were captured by
> > > >> Gideon Bachmann in a spirited broadcast for
> > > German television. Rarely seen
> > > >> today, it is one of the few surviving
> > > documents to show aspects of New
> > > >> Yorka��s independent film community
> > > during this exhilarating
> > > >> period.
> > > >> UNDERGROUND NEW YORK (PROTEST WOFA�R)
> > > >> Gideon Bachmann, 1967, black & white, sound,
> > > 51 minutes
> > > >>
> > > >> Shirley Clarke grows carrots on top of the
> > > Chelsea Hotel and meets
> > > >> Jonas Mekas and Michelangelo Antonioni at the
> > > Film-Makersa��
> > > >> Distribution Center. Allen Ginsberg, Susan
> > > Sontag and Tuli Kupferberg
> > > >> protest for peace before being shipped off to
> > > the Department of
> > > >> Correction. USCO freak out in their
> > > intermedia church and Maurice Amar
> > > >> stages a happening at the Movie Subscription
> > > Group. Gideon Bachmann
> > > >> goes on location with Adolfas Mekas in New
> > > Jersey, George Kuchar in
> > > >> the Bronx, and Carl Linder in his bedroom.
> > > Bruce Conner dances in a
> > > >> diner, and Andy Warhol fakes it for
> > > television.
> > > >>
> > > >> Presented by Mark Webber, the
> > > Gershwina��s outgoing artist in
> > > >> residence, who is currently researching an
> > > oral history of avant-garde cinema
> > > >> from the 1950s through the 1970s. Some of
> > > those interviewed for the
> > > >> project will be present.
> > > >>
> > > >> Free Admission.
> > > >> Arrive 7:30pm. Screening 8pm.
> > > >>
> > > >> at
> > > >>
> > > >> The Gershwin Hotel
> > > >> 7 East 27 Street (between 5th & Madison)
> > > >> New York, NY 10016.
> > > >>
> > > >> Subways: R, W, 6 at 28 St or F, V at 23 St.
> > > >>
> > > >> On 4 Dec 2009, at 09:02, FRAMEWORKS automatic
> > > digest system wrote:
> > > >>
> > > >> > Date: Thu, 3 Dec 2009 19:25:44
> > > >> -0800> From: Bernard Roddy OO.COM [19]
> > > >> Subject: looking for good
> > > intro text
> > > >> >
> > > >> > Greetings, frameworkers:
> > > >> >
> > > >> > Can anyone think of an introductory text
> > > that
> > > >> combines a history of > experimental film
> > > and video IN THE U.S. with a
> > > >> strong discussion of > the history of
> > > artists' organizing, writing, and
> > > >> distribution IN THE > US?
> > > >> >
> > > >> > For Great Britain there's David Curtis' A
> > > >> History of Artists' Film > and Video in
> > > Britain. This has the distinct
> > > >> advantage of combining > film and video art
> > > criticism with strong (and
> > > >> introductory) writing > about the social
> > > history behind production,
> > > >> distribution, and > critical reception.
> > > It includes discussion of
> > > >> "little magazines," > the "schooling" of
> > > film artists,
> > > >> institutional support for artists' > work
> > > in film such as the Experimental
> > > >Film Fund
> > > >> and the Arts > Council, as well as issues
> > > motivating and
> > > >> confronting artists' > organizations like
> > > the London Filmmakers'
> > > >> Co-op.>
> > > >> > I'd love to find something like this for
> > > the
> > > >> U.S. It would include > a history of
> > > things like Canyon Cinema and the
> > > >> Film-Makers' Co-op, > Cinema 16 and
> > > Anthology Film Archives, in
> > > >> addition to offering a > critical context
> > > for student work.
> > > >> >
> > > >> > Thanks in advance.
> > > >> >
> > > >> > Bernie
> > > >>
> > > >>
> > > >>
> > >
> > __________________________________________________________________
> > > >> For info on FrameWorks, contact Pip Chodorov
> > > at om>.
> > > >>
> > > >>
> > > >>
> > > >>
> > > >
> > > >
> > >
> > >__________________________________________________________________
> > > >For info on FrameWorks, contact Pip Chodorov at
> > > .
> > >
> > >
> > __________________________________________________________________
> > > For info on FrameWorks, contact Pip Chodorov at
> > > .
> > >
> > >
> > __________________________________________________________________
> > > For info on FrameWorks, contact Pip Chodorov at
> > > .
> > >
> > > Email has been scanned for viruses by Altman
> > > Technologies' email management service
> > >
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at .
> > --
> > Nicholas O'Brien
> > doubleunderscore.net [26]
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at .
> >
> >
> >
> > Links:
> > ------
> > [2] http://faculty.ithaca.edu/patty/
> > [3] http://www.ithaca.edu/fleff
> > [4] http://www.ithaca.edu/fleff10/blogs/open_spaces/
> > [11] http://faculty.ithaca.edu/patty/
> > [12] http://www.ithaca.edu/fleff
> > [13] http://www.ithaca.edu/fleff10/blogs/open_spaces/
> > [19] http://OO.COM
> > [20] http://OO.COM
> > [24] http://www.altman.co.uk/emailsystems
> > [26] http://doubleunderscore.net
> >
> >
>
>
> __________________________________________________________________
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
_________________________________________________________________
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