SMFA Boston - Film and Animation

The Film/Animation area offers a range of courses that build critical, conceptual, and technical skills in production and post-production in all genres and gauges, including single-screen and multiple projection. Seminar courses examine film and animation’s history through contemporary thought, aesthetic and historical movements, and cultural practice.

Whether hand-processing celluloid, shooting with the Bolex or 24-frame Panasonic digital camera, editing on the Steenbecks or in the Avid suite, animating images frame-by-frame or projecting two screens side by side, you will work with both traditional and cutting-edge processes. We encourage individual projects, and advanced students are encouraged to finish on to film, enabled by our Oxberry animation stand, JK optical printer, matchback capabilities in digital post, and the 16mm developer and contact printer. You also have the option to produce digitally in Final Cut Pro, Pro Tools, Avid, and Flash in our individual and group edit suites.

Screenings and visiting artists and critics are a regular part of the semester, providing exposure to a wide variety of contemporary, personal, and experimental works.

Previous Course Offerings
Below are previous course offerings for the Film and Animation area. Students must go to mySMFA to see current course offerings and register.

Students in the undergraduate, graduate, Studio, and Post-Baccalaureate certificate programs may also take Continuing Education courses for credit.

Introduction to Filmmaking / FLM 1015

This class provides an introduction to the technical and aesthetic aspects of film production. It assumes that you have little or no previous experience with film and that you are interested in pursuing filmmaking from an artistic standpoint. We will discuss equipment (we will use Super-8mm cameras) and the technical aspects of shooting and editing. A wide range of approaches to making films will be presented, including experimental, documentary, fictional narrative, and alternative genres. You will be encouraged to discuss, explore, and gravitate toward the cinematic form(s) that will best serve your needs.

Super 8 Filmmaking / FLM 1023

This course will introduce beginning students to the technical and aesthetic aspects of Super-8-mm film production. It assumes that the student has little or no experience with the process of making films. Super 8 mm is an exciting, inexpensive, easy-to-learn format that uses lightweight equipment. Once students have become familiar with the equipment, emphasis will be placed on formatting, filming, and editing the moving image, as well as on understanding how to put a simple idea or story together on film. Spontaneity and experimentation will be encouraged. Students will be required to do some outside work.

Film I: Visions and Construction - Part I / FLM 1024

We introduce students in this course to the practical and philosophical aspects of making media using Super-8 film. The class views and analyzes important historical and contemporary films, discusses and critiques students' work, and completes assigned readings from history and theory of cinema. Students develop skills in four assignments and produce an individual semester project. We demonstrate relevant technical processes in film, including the camera, composition, strategies for choreographing action, structuring time, lighting, and editing. Through a hands-on workshop approach, the course introduces students to the moving image as a language system, cultural object (reflecting both aesthetics and ideology), and tool for self-expression.

Animation I / FLM 1070

Through workshops and assignments, we develop ways to reference and draw movement through a variety of media and stop-frame techniques, and develop student awareness of movement, time, and the single-frame process. Animation as an important, diverse, and expressive art form can play roles in independent cinema, design, broadcasting, and digital publishing. Assignments encourage short themed sequences, which can be individually interpreted, and range from one-day to four-week projects. Students work primarily with video and basic digital capture and are introduced to new digital animation tools and processes. Screenings of historical and contemporary work cover many genres and introduce abstract and narrative issues in animation. The course is suitable for the inquisitive or those who wish to begin an in-depth study of the medium. It demands outside class time; students are advised to also take an independent study.

Animation Production Animation II / FLM 2006

Animation II is for students who already have a good understanding of basic production methods. It builds on the skills and learning of level I. Students submit projects for screening at the end of the semester, and therefore work outside class scheduling. Students are encouraged to maintain an experimental approach while developing strategies for realistic productions. Emphasis is on developing individual personal films/projects and students present a proposal outline for the semester. Screenings and group and individual critiques help students with concepts, structuring sequences, problem solving, and time management. Students learn about more advanced film, video, digital production methods, and techniques, and may work on film, video, DVD, or CD. Students research potential festivals and alternative venues where animation works can be submitted for screening. An independent study period is essential for this course. Prerequisites: Two periods of Animation I (FLM 1070), Drawing the Moving Figure (FLM 4075), or Beginning Animation (FLM 1007).

Sound for the Moving Image / FLM 2009 01

This course will provide an overview of techniques, aesthetics, and concepts of sound design within film. The class time will be divided into three sections: technical, physical, and conceptual. The technical revolves around Pro Tools, a multi track recording program, which is the standard in the film industry for sound design/mixing. Throughout the course we will explore the methods of working with sound in a non-linear fashion. Some techniques we will use are layering, editing, automation, time based tools (for working with an image), effects, mixing, and mastering sounds. The physical centers on the students work; there are four mandatory projects you will complete for the course. The projects assist your knowledge of the software as well as your ability to create thoughtful and challenging work. There will be a formal critique session for each project. (The due dates for each project are listed below). The conceptual will provide a foundation of aesthetics and methods of sound design in film using a variety of examples. Throughout the semester we will study different approaches to the relationship of sound and image. There will be discussions and readings related to the topics. Included subjects are minimalism, tension, noise, conceptualization for a scene, animation and sound, and voice. During the viewing time we will discuss the examples and readings. The structure of these three elements will culminate into a working knowledge of Pro Tools, concepts of sound in film, and a body of work you have created.

The Oxberry Stand for Filmmakers / FLM 2017

Learn one of the most fantastic and versatile pieces of equipment in the film universe. Students discover bi-packing, rotoscoping, traveling mattes, title design, wipes, irises, etc. We use the animation stand as an optical printer and demonstrate programming motion control moves into the automator control system. Possible instruction on developing 16mm hicon mattes using the 16mm processor. Students complete many in-class assignments, and screen films from early Disney to Harry Smith and title sequences by Saul Bass and others.

Critical Screening Seminar / FLM 2020

The objective of this course is to critically examine issues that surround documentary work. Is there such a notion os "truth" within non-fiction pieces? Can we reach a level of pure objectivity when there are always moments of subjectivity that occur within documents of the real? When filming subjects other than ourselves, how do we, as makers, remain ethical and responsible? How the documentary form has evolved over time and what defines it today are the issues that will be addressed within this seminar. We will screen a variety of non-fiction and documentary hybrid work and discuss the ways the genre has shaped and influenced our understanding of the truth. We will examine various documentary techniques such as the interview, voice over narration, diary films, reenactment, surveillance and voyeurism, and esplore concerns such as representation, politics, class, culture and sexuality. Students who are creating documentary work will have the option to discuss these questions and how they apply in the context of what they are making.

Film II: Sound and Image / FLM 2051

This course goes deeper into the development of skills in Super-8 by introducing l6mm and focusing on sound and sound/image relations. We demonstrate relevant technical processes such as the Bolex, Steenbeck, and l6mm cutting, sound recording, microphones, four-track mixing, and Pro Tools digital software. Screenings and analysis of important historical and contemporary films are part of the class, along with reading assignments, discussion of issues of aesthetic and critical interest, visiting artists, and field trips. Students are encouraged to develop skills in three assignments as well as complete an individual project. Prerequisite: Film I (FLM 1024) or its equivalent.

Animation III: Advanced Animation Projects / FLM 3008

Designed for students with substantial experience in animation, the course provides filmmakers with the opportunity to continue in-depth production of their independent films. Additionally, the course provides information on promotion, distribution, and funding for your work. Grant writing, film festival submission show reels, screening preparation, and industrial contacts are among the subjects offered to animators, from the experimental, independent filmmakers to those preparing for the studio industry. The course assists students with one-on-one instruction as well as regular group critique and open screenings of students' and professionals' work. We meet advanced technical needs on a one-on-one basis or through a number of other electives. The objective of the course is to refine your work to high standards for an independent or industrial profession and to produce a show reel of your work in preparation for independent or commercial distribution or employment. An independent study period is essential for this course. Prerequisites: Intro to Animation (FLM 1070), Animation Production (FLM 2006), or completion of an animation, film, video or other time-based production.

Advanced Film/Animation / FLM 3009

This advanced level animation class transforms the classroom into a working animation studio for production of a group project based on various themes. Each student will participate in the process from pitch to product to possibilities of distribution. This will include brainstorming/meeting with client, research, storyboarding, design, layout, animation, sound recording, editing, and final output. Based on availability, the final product will be either a commercial Public Service Announcement, a commercial Advertisement, or Short Animated Film for distribution in film festivals. Dedication to deadlines and details is required.

Animation Productions / FLM 3009 01

Advanced Film Production -Cinematography / FLM 3030

Examine cinematic strategies with an eye to alternative structures in this intermediate/advanced production course. Each week we screen and discuss important historical work to focus our analysis and inspire our practice. Students develop skills by working on individual films and a group project determined by the class. Technical processes are demonstrated, including the Bolex, the synchronous Arriflex SR camera, DAT recording, and the quarter-inch reel-to-reel sync Nagra, as well as digital sound editing and advanced lighting. You will move to a more advanced level of image making, emphasizing personal expression and teamwork. Emphasis this fall is on the documentary genre; spring semester takes up the narrative. Visiting artists and field trips are an important component of the course, as are reading assignments, class discussions, group critiques, and group research. Prerequisites: Film I (FLM 1024) and II (FLM 2051) or the equivalent.

Editing and Post Production Strategy / FLM 3035

This course focuses on editing: theory, philosophy, practice, and strategy. You will learn to set up and structure an editing project. We will organize film

and video material, create reel and tape inventories, footage logs, work with transcripts, make paper edits, make montage sequences, assembly,

rough and fine cuts, and learn the specifics of sound and dialogue editing, including preparing sound for export, and creating cue sheets for sound design or music cues. We will cover montage theory and the basics of non-linear/digital editing (Avid or Final Cut). You will be encouraged to think creatively, experiment, and to apply ideas in a comprehensive but unique approach. Through the process of this course you will understand the post-production sequence, design an edit path for your particular project, and learn post-production vocabulary. Through screenings, visiting editors, and field trips to post- production facilities, you will be exposed to a wide range of editing styles and approaches. You will be expected to screen and discuss your films often in class and with guest editors, to complete edit assignments, and be prepared to edit your own work. You must have film or video material of your own to edit the first day of class. Open to all makers of moving pictures. Prerequisite: Film 1, Video 1, or Animation 1 or equivalent.

16mm Filmmaking / FLM 3040

We will conceive a short experimental narrative utilizing contemporary cinematic strategies with an emphasis on alternative structures and aesthetics. Using advanced Arriflex SR 16mm sync-sound cameras, time code DAT, and other advanced sound recording techniques, along with a complete package of professional lighting gear, we will produce a short narrative film within three weeks. From conception to production and editing, the outcome will be a final cut of our group film suitable for theatrical presentation. Film stock, processing, audio stock, and all equipment will be provided. You should have a desire to learn in a collaborative environment and to engage in the technical demands of advanced narrative filmmaking practice. Prerequisite: 16mm Filmmaking or its equivalent

Directed Study / FLM 3072 01

Highly motivated students produce their own independent film work during this course. Students are required to have a substantial project in development that can be the focus of the class. Class time is divided between one-on-one appointments and regular group discussions. For individual meetings, students and the instructor discuss all phases of the student's projects, including idea development, planning production, shooting, editing, sound, completion/final print, and festival submissions. As individual projects evolve, we screen works in progress for class critique, design individual reading lists that are shared and presented to the class, and develop skills for presenting works in progress. You are encouraged to work on each other's films in various capacities. Limited to twelve. Prerequisites: A thorough knowledge of film production, with experience in both introductory and intermediate classes or the equivalent.

Collage for Animation / FLM 4021 01

Students from any and all disciplines who have a passion for collage, assemblage, or bookmaking, or who just like playing with mixed media are encouraged to take this course and learn how to turn imagery into animation using video or film. You do not need any knowledge of film, video, or animation. This is not a highly technical class. We work with a variety of film and animation techniques including multiplane, go-motion, rayograms, flipbooks, multiple exposure, and table-top lighting. You create studies in motion quickly, intuitively, and with the help of randomness. We examine examples of collagist and cubist cinema by Breer, Brakhage, Man Ray, and Harry Smith, as well as more contemporary trends.

16mm Filmmaking / FLM 4030

This class provides an introduction to the technical and aesthetic aspects of 16mm film production. It assumes that you have little or no experience with film and that you are interested in pursuing filmmaking from an artistic standpoint. We will discuss equipment and the logistics of shooting and editing. A wide range of approaches to making films will be presented, including experimental, documentary, fictional narrative, and alternative genres. You will be encouraged to discuss, explore, and gravitate toward the cinematic form(s) that will best serve your needs. We will primarily work with the moving image rather than sound, but if time permits, elementary soundtrack-making techniques may be introduced toward the end of the course.

Super-8mm Filmmaking / FLM 4031

Traditional filmmaking uses a camera and lens to capture an image. We will move beyond the framework of the camera mechanism and explore the possibilities of working directly with the film itself. Non-camera filmmaking techniques such as hand painting, bleaching, flashlight printing, and scratching will be demonstrated, discussed, and put into practice. You will also learn the basics of shooting Super-8 film and hand processing black-and-white Super-8 film. We will screen work by many filmmakers including Len Lye, Harry Smith, Phil Soloman, and Norman McLaren. No film knowledge is required. Students from diverse disciplines are encouraged to join this class

Drawing for Animation / FLM 4034 01

This course will introduce students to a variety of methods for developing imagery on paper and also strategies for finding motion in the real world. All exercises will be completed in class and will be informative to all levels of both animation and non-animation students. Students will discover the physical principles that underlie all types of motion, with many opportunities to observe motion and to draw from people and objects. We will also explore methods for making real motion abstract. Exercises will include suggestions for exploring mark making, chiaroscuro, textures, negative space, color, and scale. The weekly goal will be to produce a series of drawings on paper or in flipbooks. We will screen many examples of animation to find inspiration. This course will not be machine or technically oriented.

Critical Screenings: Alternative / FLM 4087 01

Conceived as an investigation outside the (black) box of theatrical viewing, this class will examine alternative cinema practice and venues. Beginning with a look at speculative futurist scores and the Russian Kino trains of the early 20th century, we will examine drive-ins and various public screenings on boats and walls. We will look at the Expanded Cinema experiments of the Whitney brothers from the 60s and multiple screen work by Andy Warhol, Paul Sharits, film installation by Robert Whitman, Lewis Hoch and Anthony McCall. Performance work by luminaries such as Ken Jacobs, Joan Jonas, and John Jesurun as well as contemporary cinema accompaniment for dancers will be studied. Other present day examples might include multi-screen work by Jem Cohen and Christian Marclay, loops by Tacita Dean, and the resurgence of 70s minimalism in films by Bruce Mc Clure and Luis Recoder. As well, we will explore the neo-narrative style as exemplified by Issac Julian, Shirin Neshat and Eija-Liisa Ahtila, Stan Douglas's early super-8 work and.the proliferation of international collaborative groups who use multiple projectors. Among our readings will be selections from Lev Manovitch, the catalogue for the Whitney's INTO THE LIGHT show and essays from the recent Documenta catalogue. The class includes field trips, visiting artist presentations, and discussion as we ask what happens to galleries once darkness and duration enter? What happens to cinema when it is unbounded by its theatrical beginnings? How do issues of ephemera effect strategies? What might become cinema's future? Limited to 20 students; no prerequisite though students with installations in progress will be favored.

Independent Study Film/Anim / FLM 4098