Upcoming Courses for Summer 2021

Prof. Aily Nash

FILM 47.20 Curating and Microcinema

This course provides an introduction to the practice of curating film and video work in various exhibition contexts including film festivals, moving-image installations, independent microcinemas, and as a form of public pedagogy. It will also examine the practice of curating as a formal framework for researching a concept, topic, or question of the students' choosing. Readings and materials covered in the course will focus on how curators and thinkers have worked to decolonize institutional spaces, deconstruct and rethink the cinematic canon, create platforms for marginalized voices, and explore expansive modes of relation through their work with the moving image. These methods will inform the various exercises, presentations, screenings, and discussions that the class will engage in throughout the semester to prepare students for final curatorial projects of their own design. These final projects will be presented virtually to members of the community.

K Class Schedule - Dist. ART. Remote w/ Synchronous Components. 


Aily Nash is a curator and educator based in New York. She is a programmer at the New York Film Festival, where she co-curated the Projections section from 2014–2019, and is currently head of short films and programmer for the Currents section. She is a program advisor to the International Film Festival Rotterdam's Short Film section. She served as a Biennial advisor and co-curator of the film program for the 2017 Whitney Biennial, and was Head of Programming for the 2018 Images Festival in Toronto. She curated the Basilica Screenings series at Basilica Hudson from 2012-2016. She has curated programs and exhibitions for MoMA PS1 (New York), Brooklyn Academy of Music (New York), Anthology Film Archives (New York), SAIC's Sullivan Galleries (Chicago), Institute of Contemporary Art (London), Kiasma Museum of Contemporary Art (Helsinki), Tabakalera Centre for Contemporary Culture (San Sebastian), Doc's Kingdom (Portugal), FACT (Liverpool), Tokyo Photographic Art Museum (Tokyo), Ghost:2561 (Bangkok) and others. In 2015, she was awarded a Curatorial Fellowship from the Andy Warhol Foundation. In 2018, she had a MOBIUS Curatorial Fellowship with the Finnish Cultural Institute New York, and commissioned new works by artists James N. Kienitz Wilkins and Lucy Raven in partnership with PUBLICS and Heureka, Finnish Science Center. She currently teaches at Bard Microcollege and CalArts.

Prof. Jodie Mack


J Class Schedule - Remote w/ Synchronous Components. 

Prof. Iyabo Kwayana

FILM 31 Filmmaking I: Basic Elements of Film

With opportunities for in-person and hybrid collaborations, FILM 31 is an introduction to filmmaking techniques combining comprehensive analysis of significant works in various film styles with practical exercises in production. The course aims to provide a basic understanding of the filmmaking process from script to screen. Students will work on collaborative and individual projects using portable video to gain experience in the phases of production from pre- to post-production.  Topic areas include sound, scriptwriting, directing, cinematography, acting, and editing.  Student final projects can include producing a final film, installation, or multi-media product.

K Class Schedule - Dist. ART. Remote w/ Synchronous Components. 

With Instructor Permission (IP) required. Students must email the instructor to request permission to enroll in the course. 


Prof. Iyabo Kwayana

FILM 44.09 Cinematography I: Lighting and Composition

With opportunities for in-person and hybrid collaborations, the primary focus of Cinematography I is to support students in awakening and strengthening their own unique visual language through curiosity, trial & error, and discovery rather than through prescription and formula.

Additionally, we explore lighting and composition as an extension of cultural identity to explore how to use the apparatus of the camera to tell a compelling story visually. We look at the elements of composition, aesthetic style, and lighting that factor into a visually compelling narrative or experience. Whether fiction or non-fiction, or all around experimental, we ask the question- how can we use cameras to provoke emotional, visceral, and even intellectual responses in the viewer. 

Class Schedule* - Dist. ART. Remote w/ Synchronous Components. 

With Instructor Permission (IP) required. Students must email the instructor to request permission to enroll in the course. 

Prof. Desirée J. Garcia


ARR Class Schedule - Dist: ART; WCult: CI. Remote w/ Synchronous Components

Prof. Monica White Ndounou

FILM 49.02 / THEA 10.51/ AAAS 31.90 Black Theatre & Storytelling Workshop in XR: Reimagining The Purple Flower (1928)