PBDS 600

MEDIA DESIGN

NOTE: This is representative of the syllabi for this course. It is not necessarily the syllabus being used in any one semester.

TEXT: Herbert Zettl. Sight/Sound/Motion (3rd Ed). Wadsworth, 1999.

OBJECTIVE

By the end of the course, you should be able to identify, discuss, and apply several aesthetic and production variables which affect the aural and visual presentation of information.

THINGS TO DO

1. Readings: Be able to discuss and apply assigned readings.

2. Activities and Projects: There will be a series of small activities; some of which you'll do in class; others, you'll do out of class with a week or two in advance. In addition, there will be two larger projects.

GRADES

Activities 20%

Project #1 (Poem) 30%

Project #2 (Final) 50%

Participation borderline determiner

PROJECT DESCRIPTIONS

Project #1

Present an aural and visual interpretation of a poem (written by someone other than you) —no shorter than 14 lines; no longer than 3:00. The visuals should consist entirely of still images. The presentation must include the text of the poem.

Project #2

Present an aural and visual adaptation of an Ellen Goodman column or comparable op/ed commentary or cultural analysis.

Project #1 and #2 Analyses

Each project includes a two-part analysis. The first (and most important) part should explain the project's design/intent in terms of the criteria which Zettl establishes throughout his book (a summary of those criteria is on p. 354-355). The second part should evaluate the project in terms of which elements worked, which didn't, and why.

PLAGIARISM

It is illegal and unethical to use someone else's work without properly crediting the source, whether online, print, or other. If you are not sure whether to credit a source, or to quote or paraphrase, or to use original language, please ask me in advance -- or err on the side of citing the source you are using. If I discover that you've plagiarized material for this class, I will follow the university's policy for violations of academic integrity. (See the UB Student Handbook for this policy). Under that policy, the consequences of plagiarism can include failing this course and being expelled from the university.

NOTE

This is a design and not a production course. In all of your assignments, effective, well thought-out design strategies will always outweigh slick and glitzy production. Even if you've never touched a piece of video or audio production equipment, you can still get an "A" in this course.

Class Meetings and Reading Assignments

September 11 COURSE OVERVIEW

MEDIA STRENGTHS & WEAKNESSES

PRINCIPLES OF ADAPTATION

September 18 LIGHT & LIGHTING

READ: Chapters 1-3: pp.1-45

DUE: Magazine Photo Sequence #1: Story

September 25 COLOR, AREA

SCREEN FORCES

COMPOSITION

READ: Chapters 4-8: pp.46-139

DUE: I.D. poem

October 2 DEPTH, VISUALIZATION, SHOTS

READ: Chapters 9-11: pp.140-205

DUE: Magazine Photo Sequence #2: Morph

October 9 SOUND

READ: Chapters 17-18: pp.306-358

DUE: Poem Project Description

DUE: Self-Characterization Box

October 16 TIME & MOTION

READ: Chapters 12-13: pp.206-243

DUE: Photo Set Soundtrack

DUE: Poem Storyboard

October 23 EDITING

READ: Chapters 14-16: pp.244-305

DUE I.D. Final Project Column and Thesis

October 30

DUE: Video Tape Edit (:30 that conveys chaos, speed, and activity; and :30 that conveys calm, peacefulness, and tranquility)

DUE: Final Project Description

November 6

DUE: Poem Project

November 13

DUE: Poem Project Analysis

November 20 [Individual Conferences]

DUE: Final Project Treatment/Storyboard

November 27 [Individual Conferences]

December 4 [Individual Conferences]

December 11

DUE: Final Project

December 18

DUE: Final Project Analyses




			PBDS 600 MEDIA DESIGN NOTE: This is representative of the syllabi for this course. It is not necessarily the syllabus being used in any one semester. TEXT: Herbert Zettl. Sight/Sound/Motion (3rd Ed). Wadsworth, 1999. OBJECTIVE By the end of the course, you should be able to identify, discuss, and apply several aesthetic and production variables which affect the aural and visual presentation of information. THINGS TO DO 1. Readings: Be able to discuss and apply assigned readings. 2. Activities and Projects: There will be a series of small activities; some of which you'll do in class; others, you'll do out of class with a week or two in advance. In addition, there will be two larger projects. GRADES Activities 20% Project #1 (Poem) 30% Project #2 (Final) 50% Participation borderline determiner PROJECT DESCRIPTIONS Project #1 Present an aural and visual interpretation of a poem (written by someone other than you) —no shorter than 14 lines; no longer than 3:00. The visuals should consist entirely of still images. The presentation must include the text of the poem. Project #2 Present an aural and visual adaptation of an Ellen Goodman column or comparable op/ed commentary or cultural analysis. Project #1 and #2 Analyses Each project includes a two-part analysis. The first (and most important) part should explain the project's design/intent in terms of the criteria which Zettl establishes throughout his book (a summary of those criteria is on p. 354-355). The second part should evaluate the project in terms of which elements worked, which didn't, and why. PLAGIARISM It is illegal and unethical to use someone else's work without properly crediting the source, whether online, print, or other. If you are not sure whether to credit a source, or to quote or paraphrase, or to use original language, please ask me in advance -- or err on the side of citing the source you are using. If I discover that you've plagiarized material for this class, I will follow the university's policy for violations of academic integrity. (See the UB Student Handbook for this policy). Under that policy, the consequences of plagiarism can include failing this course and being expelled from the university. NOTE This is a design and not a production course. In all of your assignments, effective, well thought-out design strategies will always outweigh slick and glitzy production. Even if you've never touched a piece of video or audio production equipment, you can still get an "A" in this course. Class Meetings and Reading Assignments September 11 COURSE OVERVIEW MEDIA STRENGTHS & WEAKNESSES PRINCIPLES OF ADAPTATION September 18 LIGHT & LIGHTING READ: Chapters 1-3: pp.1-45 DUE: Magazine Photo Sequence #1: Story September 25 COLOR, AREA SCREEN FORCES COMPOSITION READ: Chapters 4-8: pp.46-139 DUE: I.D. poem October 2 DEPTH, VISUALIZATION, SHOTS READ: Chapters 9-11: pp.140-205 DUE: Magazine Photo Sequence #2: Morph October 9 SOUND READ: Chapters 17-18: pp.306-358 DUE: Poem Project Description DUE: Self-Characterization Box October 16 TIME & MOTION READ: Chapters 12-13: pp.206-243 DUE: Photo Set Soundtrack DUE: Poem Storyboard October 23 EDITING READ: Chapters 14-16: pp.244-305 DUE I.D. Final Project Column and Thesis October 30 DUE: Video Tape Edit (:30 that conveys chaos, speed, and activity; and :30 that conveys calm, peacefulness, and tranquility) DUE: Final Project Description November 6 DUE: Poem Project November 13 DUE: Poem Project Analysis November 20 [Individual Conferences] DUE: Final Project Treatment/Storyboard November 27 [Individual Conferences] December 4 [Individual Conferences] December 11 DUE: Final Project December 18 DUE: Final Project Analyses home \| bs, corporate communication \| ba, english \| ma, publications design \| mfa, integrated design \| mfa, creative writing & publishing arts \| people \| portfolio \| facilities \| classes \| undergraduate applications \| graduate applications \| contact \| site index \| university of baltimore