Professor of Film and Photography
Since 1973, his films, videos and installations have exhibited extensively in the U.S. and abroad in museums, microcinemas, and on television. They have been featured at major film festivals including the Berlin Film Festival and New Directors/ New Films Festival. The work is written about in cinema history books and in articles by Erik Barnouw, David James, Janet Maslin, Paul Arthur, J. Hoberman, B. Ruby Rich, and Noel Carroll, among others.
His 1981 Masstransiscope, a mural installed in the subway system of New York City which is animated by the movement of passing trains, is a widely regarded work of public art. In 1973 he founded Chicago Filmmakers, the showcase and workshop, and until 1991 served on the Board of Directors of the Collective for Living Cinema in New York City. He is currently an Artistic Director of Parabola Arts Foundation which he co-founded in 1981.
Since 1976 he has operated BB Optics, an optical printing service specializing in 8mm blow-ups and archival preservation. In 2006 he was named an Anthology Film Archives film preservation honoree and given a month long retrospective to celebrate BB Optics' 30th anniversary.
This course teaches the basic skills of film production, including camera work, editing, sound recording, and preparation and completion of a finished work in film and video. Students will submit weekly written responses to theoretical and historical readings and to screenings of films and videotapes, which represent a variety of aesthetic approaches to the moving image. There will be a series of filmmaking assignments culminating in an individual final project for the class. The development of personal vision will be stressed. The bulk of the work in the class will be produced in 16mm format. Video formats plus digital image processing and non-linear editing will also be introduced.Prerequisite courses include a 100 level course in media arts (Introduction to Media Arts, Hampshire Media Arts, or equivalent and must be completed and not concurrent with this course.)
The moving image is a pervasive presence in current culture but its history is threatened by the instability of its material existence. Digitization alone does not solve the problem of the medium's impermanence but only adds further layers to the medium's ephemerality. This course will give students a practical, theoretical and historical understanding of audio/visual preservation especially around the film-to-digital transition. It will also provide some hands-on experience with film-to-film and digital preservation of moving images. The course will explore issues of A/V preservation by viewing a wide range of works that have been preserved or restored, especially independent films from narrative, documentary and avant-garde cinemas. We will analyze films from historical and theoretical perspectives while considering the issues facing A/V archivists and conservators in preserving them. From a detailed study and critical research of films, students will engage in real preservation efforts and write descriptive and analytical essays. Students must have completed a cinema studies course or a course in film or video production.