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Syllabus: "The Essay Film: Adventures in Modern Cinema" (2020)
This course examines the international evolution of the "essay film" after World War II. The essay film is a highly self-conscious genre that combines fiction and documentary, incorporates the subjectivity of the filmmaker, relies crucially on montage, and addresses the viewer as a participant in the ongoing reflection. An "essay" in this context is less an argument than an investigation that proceeds in an exploratory fashion. The filmmaker's perspective is not just asserted but is self-critically questioned and tested through meditations on perception, memory, and identity. We will consider how this peculiar, still-evolving tradition of cinema deviates from conventional documentary. We will repeatedly examine the ways in which essay filmmakers have confronted horrors of history, urgent political matters, and the workings of audiovisual media themselves. We will study this wide-ranging genre through several approaches, including but not limited to historiography, affect theory, phenomenology, critical race theory, feminism, philosophies of selfhood, and more. We will spend the first full week examining the history of documentary in order to prime you to grasp how essay films operate. At all points, we will be careful not to impose an overly restrictive and schematic definition of the essay genre that robs the films themselves of their unruly and elusive qualities. The second half of the course will be devoted to challenging and revising theories of the essay film that guide our discussions through the first seven weeks. We will increasingly want to distinguish the essay film as a genre from “the essayistic” as a mode that can find expression within and across a range of genres, not just in personal documentaries but in narrative films as well.
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When making substituted judgments for incapacitated patients, surrogates may often struggle to guess what the patient would want if they had capacity. Surrogates may also agonise over having the (sole) responsibility of making such a determination. To address such concerns, a Patient Preference Predictor (PPP) has been proposed that would use an algorithm to infer the treatment preferences of individual patients from population-level data about the known preferences of people with similar demographic characteristics. However, critics have suggested that even if such a PPP were more accurate, on average, than human surrogates in accurately identifying patient preferences, the proposed algorithm would nevertheless fail to respect the patient’s (former) autonomy since it draws on the ‘wrong’ kind of data: namely, data that are not specific to the individual patient and which therefore may not reflect their actual values, or their reasons for having the preferences they do. Taking such criticisms on board, we here propose a new approach: the Personalized Patient Preference Predictor (P4). The P4 is based on recent advances in machine learning, which allow technologies including large language models to be more cheaply and efficiently ‘fine-tuned’ on person-specific data. The P4, unlike the PPP, would be able to infer an individual patient’s preferences from material (e.g., prior treatment decisions) that is in fact specific to them. Thus, we argue, in addition to being potentially more accurate at the individual level than the previously proposed PPP, the predictions of a P4 would also more directly reflect each patient’s own reasons and values. In this article, we review recent discoveries in artificial intelligence research that suggest a P4 is technically feasible, and argue that, if it is developed and appropriately deployed, it should assuage some of the main autonomy-based concerns of critics of the original PPP. We then consider various objections to our proposal and offer some tentative replies.
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Film, Television & New Media General senior syllabus
Film, television & new media general senior syllabus 2025.
- For implementation with students who will complete their study of the course in 2026 or beyond. Film, Television & New Media 2025 v1.2 (PDF, 609.4 KB)
Film, Television & New Media General senior syllabus 2019
- Film, Television & New Media 2019 v1.2 (PDF, 1.7 MB)
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Syllabus: "The Essay Film: Adventures in Modern Cinema" (2020) Rick Warner. This course examines the international evolution of the "essay film" after World War II. The essay film is a highly self-conscious genre that combines fiction and documentary, incorporates the subjectivity of the filmmaker, relies crucially on montage, and addresses the ...
Essay (15 points), and a final project plan (5 points). Finally, you will have 3 participation self-assessments (5 points each) that factor into your participation check-ins. Film Term Analyses (4 short essays, 300 words and 50 points each) In these short essays, you will choose one film vocabulary term (i.e. high angle, makeup,
The Essay Film: Portraits and Self-Portraits (ENGL 87500 / BAM 70500) Spring 2022, Wednesdays 4:15-6:15, room 6417 Prof. Wayne Koestenbaum office hours by appointment [email protected] Text Nora M. Alter and Timothy Corrigan (eds.), Essays on the Essay Film (Columbia University Press). Schedule Feb. 2 Introduction
Film Art provides some helpful guidance on writing a film analysis - see p. 438-449. Film Analysis 2: Due April 10 , this 5 page paper (double-spaced) will take a single film seen in class and IDENTIFY, MAKE AN OBSERVATION ABOUT and ANALYZE 5 specific uses of a formal choice or technique discussed at this point in the semester (narrative
the semester and, create their own short essay-film until the end of the course. Alternatively they can transfer/recreate short sequences of the films shown, as „homeworks". This would result in either one longer essay film (~15 minutes) or different short „homeworks" and essay film drafts, adding up to a maximum length of ~15 Minutes.
Film Term Analyses (4 short essays, 300 words and 25 points each) In these short essays, you will choose one film vocabulary term (i.e. high angle, makeup, flashback, pan, sound bridge, etc.) covered in class and analyze its use in one of the previous few films from the syllabus. (For example, for the first of these essays, you
Film guide ix Core syllabus 18 Syllabus outline 18 Syllabus details 18 Syllabus content 19 Overview of the course 19 ... of the interdisciplinary world studies essay, two subjects, and acquaints them with the independent research and writing skills expected at university. This leads to a major piece of formally presented, structured writing,
• 1 Close Reading of a long film of your choice (15%) • 1 Critical Analysis of a long film from the syllabus (25%) • 1 15 minute film shot using camera or phone with classmates as cast (15%) • 1 video essay (15%) • Extra-credit assignments may also be offered according to class needs. 1. Attendance & Participation (10%)
MIDTERM REVIEWS & FINAL ESSAY Halfway through the semester, you will be asked to write two movie reviews, one premised on a descriptive claim (a neutral account of the basic plot and style of a film), the other on an evalua-tive claim (a judgment that a film is good or bad based on specific criteria). Then, at the end of
Reports & papers Research and reports that inform ... Statistics on subject enrolments, certification and assessment outcomes. Statistics from 2020; Statistics before 2020; Syllabus amendment notices Information about General and ... Television & New Media General senior syllabus 2019. Film, Television & New Media 2019 v1.2 (PDF, 1.7 MB ...