Acoustics (from Greek ακουστικός pronounced akoustikos meaning "of or for hearing, ready to hear") is the science that studies sound, in particular its production, transmission, and effects. The science of acoustics has many applications which are dependent upon the nature of the sound that is to be produced, transmitted or controlled.

This advanced video class serves goes into greater depth on the topics covered in 4.351 Introduction to Video. It also will explore the nature and function of narrative in cinema and video through exercises and screenings culminating in a final project. Starting with a brief introduction to the basic principles of classical narrative cinema, we will proceed to explore strategies designed to test the elements of narrative: story trajectory, character development, verisimilitude, time-space continuity, viewer identification, suspension of disbelief, and closure.

This course considers films spanning the entire career of pioneering Spanish filmmaker Luis Buñuel (1900–1983), from his silent surrealist classic of 1929, Un perro andaluz, to his last film, Ese oscuro objeto del deseo (1977). We pay special attention to his Mexican period, in exile, and the films he made in, and about, Spain, including his work in documentary. It explores Buñuel's early friendship with painter Salvador Dalí and poet Federico García Lorca, surrealist aesthetics, the influence of Freud's ideas on dreams and sexuality, and the director's corrosive criticism of bourgeois society and the Catholic church. We will focus on historical contexts and relevant film criticism.
About This Course on OpenCourseWare
The instructor of this course, Elizabeth Garrels, is a Professor Emeritus at MIT. She retired in 2014 after 35 years at the Institute. Professor Garrels taught this course for over 15 years, and it evolved over this time period. Normally, a course on OCW represents the version of a course taught during a specific semester and year. However, for this course we hope to represent the evolution of the course during the main years it was taught. The materials you see here are not from a particular iteration of the course, but are drawn from all of the years the course was taught.

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This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema.
We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural "violences"?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text's content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?

Three Pillars of Managing Sound: The Technical, the Method, and the Creative Approach

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This class surveys the music of the Beatles, from the band’s early years to the break-up of the group, mapping how the Beatle’s musical style changed from skiffle and rock to studio-based experimentation. Cultural influences that helped to shape them, as well as the group’s influence worldwide, will be a continuous theme.

Becoming the Next Bill Nye is about using video production techniques to develop your ability to engagingly convey your passions for science, technology, engineering, and / or math. You'll have the opportunity to script and on-screen host 5-minute YouTube science, technology, engineering, and / or math-related shows to inspire youth to consider a future in science.

Short Description:
Open Music Theory is a natively-online open educational resource intended to serve as the primary text and workbook for undergraduate music theory curricula. OMT2 provides not only the material for a complete traditional core undergraduate music theory sequence (fundamentals, diatonic harmony, chromatic harmony, form, 20th-century techniques), but also several other units for instructors who have diversified their curriculum, such as jazz, popular music, counterpoint, and orchestration. This version also introduces a complete workbook of assignments.

Long Description:
Open Music Theory Version 2 (OMT2) is an open educational resource intended to serve as the primary text and workbook for undergraduate music theory curricula. As an open and natively-online resource, OMT2 is substantially different from other commercially-published music theory textbooks, though it still provides the same content that teachers expect from a music theory text.

OMT2 has been designed inclusively. For us, this means broadening our topics beyond the standard harmony and atonal theory topics to include fundamentals, musical form, jazz, pop, and orchestration. And within those traditional sections of harmony and atonal theory, the authors have deliberately chosen composers who represent diverse genders and races. The book is accessible. And perhaps most importantly, the book is completely free and always will be.

The text of the book is augmented with several different media: video lessons, audio, interactive notated scores with playback, and small quizzes are embedded directly into each chapter for easy access.

OMT2 introduces a full workbook to accompany the text. Almost every chapter offers at least one worksheet on that topic. Some chapters, especially in the Fundamentals section, also collect additional assignments that can be found on other websites.

Version 2 of this textbook is collaboratively authored and edited by Mark Gotham, Kyle Gullings, Chelsey Hamm, Bryn Hughes, Brian Jarvis, Megan Lavengood, and John Peterson.

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Creative Commons is an open license that actually works with Copyright with a slant to copyleft.

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Using film as a lens to explore and interpret various aspects of the urban experience in both the U.S. and abroad, this course presents a survey of important developments in urbanism from 1900 to the present day, including changes in technology, bureaucracy, and industrialization; immigration and national identity; race, class, gender, and economic inequality; politics, conformity, and urban anomie; and planning, development, private property, displacement, sprawl, environmental degradation, and suburbanization.

This course covers issues in contemporary French society as expressed through movies made in the 2000s. Topics include France's national self-image, the women's movement, sexuality and gender, family life and class structure, post-colonialism and immigration, and American cultural imperialism. Films by Lelouch, Audiard, Doillon, Denis, Klapisch, Resnais, Rouan, Balasko, Collard, Dridi, Kassovitz, and others. Readings from French periodicals. Films shown with English subtitles. Taught in French.

An Introduction to Moving Pictures

Short Description:
An introduction to film that explores film structure and analysis, with attention being paid to film in its contemporary global context.

Long Description:
Contemporary World Cinema is a free, open access introduction to the art and science of cinema. An adaptation of Moving Pictures. An Introduction to Cinema by Russell Sharman, James Skidmore’s Contemporary World Cinema preserves Sharman’s chapters on the tools and techniques of cinema (mise-en-scène, narrative form, cinematography, editing, sound and acting), and includes a new section on world cinema with an introduction to the concept, case studies of nine films from around the world, as well as an overview of the questions that guide film analysis.

Author Contact: skidmore@uwaterloo.ca.

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Short Description:
Este libro de texto busca fomentar el visionado crítico de productos audiovisuales contemporáneos y el reflexionar sobre la representación de las culturas hispanas en webseries y vídeos musicales. This textbook aims to promote critical viewing of contemporary audiovisual products and thinking about the representation of Hispanic cultures in web series and music videos.

Long Description:
Culturas hispanas a través de la pantalla busca fomentar el visionado crítico de productos audiovisuales contemporáneos y el reflexionar sobre la representación de las culturas hispanas en webseries y vídeos musicales. La difusión y la popularidad de estos dos géneros justifican que se les dedique espacio en el currículo junto a otros géneros audiovisuales más consagrados, caso de los cortos y los largometrajes. El libro se ofrece en inglés y en español para que pueda ser utilizado en una amplia variedad de disciplinas académicas. Asimismo, el libro está organizado en unidades didácticas independientes, las cuales presentan diferentes estructuras y temáticas de forma que el profesor/a pueda seleccionar aquellas que mejor se ajusten a los objetivos concretos de su curso. Hispanic Cultures Through the Screen aims to promote critical viewing of contemporary audiovisual products and thinking about the representation of Hispanic cultures in web series and music videos. Increasing popularity of these two genres justify dedicating part of the curriculum to them along with other more established audiovisual genres, such as short and feature films. The book is presented in English and Spanish so that it can be used in a wide variety of courses. Finally, it is organized into separate units (each based on a different audiovisual product) with different themes, structures and length, so that teachers can select those units that interest them the most for a specific course.

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This course is an introductory exploration of documentary film theory and production, focusing on documentaries about science, engineering, and related fields. Students engage in digital video production as well as social and media analysis of science documentaries. Readings are drawn from social studies of science as well as from documentary film theory. The courses uses documentary video making as a tool to explore the worlds of science and engineering, as well as a tool for thinking analytically about media itself and the social worlds in which science is embedded. The course includes a hands-on lab component devoted to digital video production, in addition to classroom lectures and in-class film screenings.

Short Description:
For the diaries and selected letters of French organist-composer Jeanne Demessieux (1921-1968), this publication provides French-to-English translations with annotations. Accompanying chapters introduce the context in which the diaries and letters were written or comment on their content.

Long Description:
This publication presents the diaries and selected letters of French organist-composer Jeanne Demessieux (1921-1968) in English translation. These fall into three sections. The earliest letters and diary, spanning 1932 to 1940, were written by the teenage Demessieux during her first eight years of study in Paris, mainly at the Paris Conservatory. They concern her tribulations and successes as a student of piano, composition, and organ. The second diary, with related letters, spans 1940 to 1946. The opening of the diary concerns Demessieux’s last semester of study at the Paris Conservatory; the bulk of the diary describes Demessieux’s collaboration, as organist and composer, with Marcel Dupré, and quotes from lengthy conversations she had with him. The third section consists of letters and travel diaries from Demessieux’s 1950s North American recital tours, and is a revealing glimpse of the trials of being a touring organist in a country very different from the European countries in which she ordinarily toured. Interspersed with the translations are chapters of introduction and commentary. The chapters introducing each translation describe the biographical, historical, and musical contexts of its content. The chapter following each translation comments on the subject matter, reading between the lines to demonstrate how the written words provide clues to more than first meets the eye.

The translations are annotated with notes. These explain obscure or incomplete references, provide background information, and mention when statements made can either be confirmed by other sources, or appear to be in error. In the translations spanning 1932 to 1940 and 1940 to 1946, names of historical figures mentioned are linked to short biographical notes.

Word Count: 262322

ISBN: 978-0-7731-0787-8

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Exploring Movie Construction & Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students’ learning, while enhancing the creativity and critical thinking of the student.

What's so exciting about movies?

Short Description:
Return to milneopentextbooks.org to download PDF and other versions of this textNewParaExploring Movie Construction & Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students’ learning, while enhancing the creativity and critical thinking of the student.NewPara

Long Description:
Exploring Movie Construction & Production contains eight chapters of the major areas of film construction and production. The discussion covers theme, genre, narrative structure, character portrayal, story, plot, directing style, cinematography, and editing. Important terminology is defined and types of analysis are discussed and demonstrated. An extended example of how a movie description reflects the setting, narrative structure, or directing style is used throughout the book to illustrate building blocks of each theme. This approach to film instruction and analysis has proved beneficial to increasing students’ learning, while enhancing the creativity and critical thinking of the student.

Word Count: 33481

ISBN: 978-1-942341-46-8

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