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In Camera: a Video Practice of Living, Learning and Connecting

Syllabi for courses I've taught where pedagogy and practice meet

Much of the research and practice documented and described in this dissertation project extends into and is informed by my experiences creating and teaching courses in the Media Arts + Practice division of USC's School of Cinematic Arts. I am including several course syllabi here as a way to illustrate these connections. Of course syllabi are merely incomplete blueprints and guidelines for what a course will be like; true to my intentions concerning video practice, my teaching practice is also very much about watching, listening and responding to student needs within a well-defined framework of expectations, goals and practical realities.

IML 500: Digital Tools and Tactics is the course sequence where I first began teaching video practice as a complimentary practice to existing scholarly discipline. IML 102: Digital Studies Studio was a core course for MA+P undergraduate students that I developed over several years with Steve Anderson and Holly Willis and that focused on helping students articulate and develop their own media research and practice methodologies through a series of creative construction and media projects. IML 420: New Media for Social Change is a class I teach with Sangita Shresthova where we bring our work on youth and participatory politics into the classroom and work with students to explore new and innovative forms of creative media making for civic engagement. Finally, IML 499: Hypercinemas Studio is the experimental course in which I explore with students emerging forms of representation that push against the boundaries of traditional film and video making, seeking connections in theoretical writings that stretch back to the earliest writings on cinema.

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1. One More Shot - Representation and reproduction
3. Reading the Virtual Window Medium specificity and materiality are key questions in this exploration of video. Friedberg's project in The Virtual Window is to trace the evolution of the relationships between technologies of representation and the cultural perspectives in which they arise and inform. I made these video records of myself reading the book as a way of visualizing the temporal quality of a book that is simultaneously contained within and erased by the bounded pages. The text exists in a state of simultaneity, but the act of reading unspools and fixes it into a linear experience. Video adds a dimensional layer.
4. IML 500 reaction to Maya and Noah footage All

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