Performing Criticism (TDM 125X) Open Seminar: Smart Phone Filmmaking with Katie Soule


Wednesday, October 14, 2020, 3:00pm to 5:45pm



an iPhone on a tripod is placed in the middle of the image. the image on the phone/background is a blurry white/light gray tones.Taught by Katie Soule (AFVS), this workshop will teach basic video production techniques for the smart phone. We will unpack a set of filmic standards (lighting, framing, camera motion, exposure) and adapt them for use on a more simple recording device. We will review audio capture and syncing in post-production, as well as some basic editing techniques in Adobe Rush and Premiere Pro. Students can expect to learn a complete production workflow (set-up, capture, transfer, editing, and export), and adapt it for their project needs. While there is recommended equipment, the workshop is designed teach adaptable techniques to make use of what you have in a variety of environments. 

Recommended Equipment: Phone tripod mount and small tripod; lavaliere or directional microphone with audio cable adapter for phone; Adobe Rush or Premiere installed on your device. 

Register below.


Katie has been teaching film and video production within university art departments since 2014. She has run teaching workshops on projection, installation, video production, and 16mm film processing at The University of Chicago, Bennington College, and most recently, the Art, Film, and Visual Studies Department at Harvard University. She has worked with students, artists, and institutions throughout Boston to produce their work, at places such as the ICA Boston, Mass MoCA, and the Carpenter Center for Visual Arts.


What makes “Great Criticism?” Analytic clarity? A surfeit of objectivity?  Dedication to art and artists? Or is great criticism more like great art, relying on a strong point of view and deep personal investment?  This course tests the latter view, by treating works of criticism as dramatic monologues to be analyzed, invested with desire, and performed.  We will use techniques of script analysis to pay closer attention to how arguments are constructed, and acting techniques to listen closely for the ways that criticism is always, to quote Nietzsche, “the confession of its originator, and a species of involuntary and unconscious autobiography."

This course will range through the history of English criticism from Philip Sidney to Zadie Smith.  Students will also learn basic techniques of script analysis, acting, and public speech, and apply these techniques to works of criticism, culminating in a final recorded performance of an essay-as-monologue.  


Registration Closed