14 sessions will be devoted to a history of the genre, screening essential films both inside and outside the canon, with a focus on the changes in style, technique, and subject matter which influenced the form from its earliest beginnings to the present. Undergraduates who take the course for three points are required to keep journals in which they respond to each session and compare observations with those made when viewing at least one documentary of their choice seen outside class, as well as in response to critical essays provided at each session and references in the text.
Archives
Intro to Television Writing (FMTV-UT 1017)
This course, aimed at second semester sophomores, is the launch pad of Television Writing in the department. Before taking any other TV writing courses, students must take Introduction To Television Writing. The course will introduce sophomores interested in TV writing to all aspects of what goes into the creation of a script for a TV program. It is also recommended for non-writers who wish to learn the fundamentals of TV writing as preparation for creating shows and working with writers. The course will also prepare students for other TV-writing courses in the departmental Television Progression. The course is also open to seniors with an interest in television writing who haven’t taken other TV writing courses. This course allocates as Film & TV, Scriptwriting for Film & TV majors.
Editing I (FMTV-UT 1016)
This is a hands-on course designed to introduce the student to narrative and documentary editing techniques, and to the role of the editor in shaping the final form of film and video productions. Good editing is crucial to the success of every film and video. This class is recommended to students pursuing directing or producing who want a better understanding of how the post-production workflow functions, as well as to any student, from sophomore to senior, who would like to gain a clearer understanding of the role of the editor as an artist, a technician and a collaborator. To achieve this, the class will delve into the methods, objectives, and technical aspects of post-production. It will thoroughly explore two major editing programs (Avid Media Composer and Adobe Premiere Pro) used in today’s professional post-production environment, and acquaint the student with every stage of the editing workflow from capture to final output. Students will learn to approach these and other non-linear programs as variations on common themes rather than as completely new and foreign tools. In addition, the class will present examples of edited sequences from both narrative and documentary films for discussion, and have invited guests who will share their experiences in bringing films to completion. There will also be a course pack of assigned readings. This course allocates as a Craft for Film & TV majors.
Storyboarding (FMTV-UT 1033)
Students will create a storyboard from an assigned literary property (i.e., fairy tales, folk tales, famous short stories, etc.) and research the chosen material visually in picture libraries, print and photo archives, museum/gallery libraries and online. From this basic research, the student will create and develop all the visual elements that lead to a final production storyboard; these elements include character model drawings; styling sketches for costumes and sets; experimental “inspirational” sketches exploring mood, color, and character relationships and experiments in animation and color test footage. Each week, students will “pitch,” (i.e. present material) as it is being developed. Through weekly critiques from the instructor and students, elements and shape of the production storyboard is refined to its final form. The approved storyboard at the end of the semester should be ready to go into production, and must reflect character ,attitude, design, entertainment, mood, expressions, feeling and type of action. It must use dialogue, music/sound effects, and tell the story in the best possible way. This course allocates as a Craft for Film & TV majors.
History of Cinematography (FMTV-UT 1206)
This course deals with the history of the art and science of cinematography. A working Director of Photography will relate a perspective that is unique and factual to a theoretical discussion, which is traditionally academic. Cinematography has a strong tradition of adapting its tools to enhance the storytelling experience. This course allocates as History & Criticism for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES. “Non-majors must process a “Permission Notice for Non-Majors” form” to register for the course (subject to availability).
TV Nation: Inside and Out of The Box (FMTV-UT 1086)
TV Nation: Inside and Out of the Box gives students the opportunity to experience, first hand, how the world of network television works from two points of view: business and creative. Students will gain an understanding of the business aspect through the vantage point of the network executives and programmers. They will also learn the creative process from development to pitching, from the vantage point of writers and producers in the industry. In TV Nation, students will role play the entire process as the key players who put together a season for broadcast and cable networks. This course allocates as a Craft for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES.
History of Editing (FMTV-UT 1003)
The theory and practice of editing, from Griffith to Kubrick. The emphasis will be on experiments in narrative clarity and dramatic emphasis in storytelling. For many, editing is the unique source of the art of filmmaking. This course addresses this point of view. This course allocates as History & Criticism for Film & TV majors.
The Art of Sound (FMTV-UT 1007)
This is a critical studies course exploring the aesthetics and psycho-acoustics of sound: how sound works in art and life; how it affects emotions and stimulates the imagination; and how it is used in film, radio, television and other creative or artistic contexts, particularly its application as a key element in storytelling. This course examines the meaning and character of the soundscape (the acoustic environment) and the ways it has technically and aesthetically evolved throughout film history from the Kinetophone to the iPhone. The course includes reading in the theory of sound, and listening to examples of sound work by composers and sound designers. In previous semesters we have looked at the soundtrack in such films as: Playtime; Apocalypse Now, The Conversation, Aliens, The Evil Dead II, Saving Private Ryan, and Monty Python and the Holy Grail. Class meetings will be devoted to: 1) lecture and discussion based on assigned readings and listening and viewing assignments; and 2) screening of selected audio and video works. Students are graded on class participation, journals, a paper, and exams. This course allocates as History & Criticism for Film & TV majors.
The Black Image in Cinema (FMTV-UT 1216)
This is a critical analysis of the Black image in cinema through film screenings, discussions, and selected readings. Film is an art form whose influence dictates how we see others and ourselves. It shapes our worldview and, yet, it is one of the youngest and most misunderstood art forms. On the surface, film viewing might seem like a passive form of learning, but effective films engage us on emotional, intellectual, spiritual, cultural, and political levels. Film is one of the most powerful mediums ever invented and since it’s invention, the Black image and experience has been distorted, demonized, romanticized, erased, appropriated as well as exalted and reified. So, it is our duty and responsibility to know its history, understand its present effects, so we can dictate its future and participate in how the Black image evolves and is treated over time. This course will survey and critically explore an historical range of the Black image on screen and Black films in relation to inspiration, narrative, a scene, set, and site of production. Screening will include a sampling of important Black independently made, and/or Black cast and narrative feature films. We will discuss and analyze specific technical elements (direction, editing, framing and composition, mise-en-scene, music, etc.) that reinforce and demonstrate these larger themes. Accordingly, our discussions and readings will cover the full range of current issues and debates in Black cinema studies, from independence vs. mainstream filmmaking; gender and sexuality; class and color caste; the ghettoization and upwardly mobile integration of urban zones; cooptation and the rise of the bourgeois story as genre, and so on.
American Cinema: 1960 to Present (FMTV-UT 324)
Offered in the spring semester only. Course level: Intermediate. 4 points. No prerequisite. Over the last 50 years the American Cinema has produced a remarkably rich abundance of entertaining, exciting, and challenging films. This course is designed to provide a survey of the wealth of styles, forms, purposes, and approaches to filmmaking that developed and emerged in this era. While Hollywood has obviously served as the dominant mode of filmmaking in this country, a significant of other filmmaking practices have continued to operate and sometimes thrive outside of it. Beyond the attention paid to Hollywood narrative cinema as it has changed and evolved over this half-century, we will also consider documentaries, avant-garde and experimental works, independent narraive cinema, and “cult” films. Consequently, we will be screening a variety of films, including works by such notable American filmmakers as Steven Spielberg, Francis Ford Coppola, Quentin Tarantino, George Romero, John Singleton, and Michael Moore.
Feminist Filmmakers (FMTV-UT 1156)
Feminist Filmmakers examines gender constructs in narrative film and episodic work. We will explore how gender constructs in film and television influence societal views of gender roles, as well as contextualize gender in the era and cultures specific films were made. The vehicle through which this course will examine gender will be the history and work of female directors around the world. Screenings, critical reading in film and gender studies, articles and interviews on current debates regarding gender and diversity inclusion in the film industry, make this class valuable for everyone.
Traditions in Narrative: Comedy in America (FMTV-UT 1231)
The history of comedy in 20th century America is the history of America itself. Comedians from all walks of life have provided a funhouse mirror as well as a perceptive lens for American society and culture. This course will examine significant periods and players of the 20th century comedic genre and analyze them against their historic context and legacy. Humor will be used as a platform to discuss how comedy was governed by and ultimately responded to the influence of American society. This course will observe how comedians in turn shaped American life, running the gamut from silent movies to Vaudeville; screwball comedies of the 1930s and ‘40s to the Golden Age of Television; from the sitcom to the political comedies of present day. Equally important, this course will analyze the genesis and evolution of the comedic persona in performance: what worked, what did not work, and why. Comprehensive analysis of performances will help this course determine how performers did what they did and why they made the choices they made. This course will assess how the work of the comedian has evolved and grown over the course of a career, what methods have withstood the test of time, and why.
Storytelling: from Aristotle to Beyonce and Beyond (FMTV-UT 1203)
Aristotle to Beyoncé and Beyond introduces students to an eclectic group of storytellers and storytelling. Students study the mechanics of telling a story, gaining a deeper appreciation and understanding of how storytellers and storytelling impact the world.
Undergrad Film & TV (Undergraduate)
3 credits – 6 Weeks
Sections (Summer 2024)
FMTV-UT 1203-000 (3347)07/03/2024 – 08/15/2024 Tue,Thu2:00 PM – 5:00 PM (Early afternoon)at Washington SquareInstructed by Riazi, Saba
FMTV-UT 1203-000 (3348)07/03/2024 – 08/15/2024 Tue,Thu2:00 PM – 5:00 PM (Early afternoon)at Washington SquareInstructed by Riazi, Saba
Music for Film and TV (FMTV-UT 1008)
This course examines the artistic, aesthetic, and technical aspects in composing and creating music for film and television. It provides an inside look into the relationship between composer, director, and music editor, exploring music as a creative tool. Through lectures, analysis, demonstrations, and presentations by guest speakers, students learn and deal with the specifics of the film composer’s job, duties, and responsibilities, including the basics of film scoring. As a result, students develop the listening and production skills necessary for creative use of music in films, television, and media. In addition to creative and technical considerations, the business and personal relationship between composer and director/producer will be discussed. This course allocates as History & Criticism for Film & TV majors.
Hollywood Auteurs (FMTV-UT 1154)
This course will analyze the possibility of pursuing the ideals of an “author cinema” – a personal way of expressing ideas that can deal with Hollywood mainstream and also with the independents, but will never be considered an integral part of either one. The “author cinema” would be a cinema of personal expression that refuses the mainstream’s prison of “three acts, happy ending, stars, etc.”; and at the same time, refuses the trends and the limited scope of most of the independents: a cinema that shows not only how to make a film, but why. Films from all over the world will be analyzed, focusing in particular on the authors that are able to keep alive their personal vision while dealing with the studios (i.e. Stone, Lee, Scorsese, Kubrick), the ones that dared to fight Hollywood (i.e. Welles, Peckinpah, Cimino, von Stroheim) and the loose cannons independent at heart (Altman, P.T. Anderson, Coen brothers). A series of guests to the class will be comprised of critics, curators and cultural organizers, filmmakers and producers. This course allocates as History & Criticism for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES. Non-majors must process a “Permission Notice for Non-Majors” form to register for the course (subject to availability).
Traditions in Narrative (FMTV-UT 1031)
This course surveys narrative forms and representative works from literature that employ them, contributing to a familiarity with the literary tradition inherited by film, television, and radio. It examines the various strategies of narrative structure and its principal components (e.g., plot, theme, character, imagery, symbolism, point of view) with an attempt to connect these with contemporary forms of media expression. The course includes extensive readings, which are examined in discussions, and selected from English, American, and world literature. This course may be allocated to either History & Criticism or Gen Ed Humanities for Film & TV majors.
Film Analysis (FMTV-UT 1204)
A rival reportedly asked Walt Disney why Disney’s films were so much better. Disney replied, “I analyze.” His rival said, “So do I.” Disney answered, “I analyze better.” Film Analysis is an advanced course in film criticism taught by practitioners. We build upon the analytical skills developed in Language of Film, Storytelling Strategies and the various production courses in order to strengthen the students’ ability to critically assess the weave of narrative content, mise-en-scene, cinematic technique and structures. Through this in-depth examination of a wide range of films, students deepen their understanding of how filmmakers over the years and in various cultures have created meaningful experiences for their audiences.This course counts as History & Criticism for Film Majors.
Intro to 3D Character Design using Zbrush (FMTV-UT 1071)
This course explores the Art of Character Creation using the powerful digital sculpting program ZBRUSH. Students will learn the ins and outs of the program to create their own 3d characters from scratch. Sculpting, detailing, Polypainting, rendering and compositing in Photoshop will all be covered. The class will encourage learning while doing as I find it’s the best way to learn a new art. Zbrush is a unique program that allows users to manipulate 3D shapes in a quick fashion without having to model polygons like other 3D programs such as Maya. In effect you are using “digital clay” in Zbrush to push and pull primitive forms into fantastic creatures and characters. Zbrush is the perfect tool for traditional artists to transition to artmaking in the digital realm. Zbrush is an extremely feature-rich piece of software, with a unique interface unlike any other computer graphics program. While the interface may seem quite intimidating at first, rest assured we will explore the interface together and learn all the most important tools to get started and having fun with organic character creation! Some benefits of using Zbrush for Character and Creature Design over other computer design software: -The ability to quickly create concepts as if you were manipulating real clay -Great for rough character concepts or more finished painted renders -Transition is much smoother from practical to digital art using Zbrush because it feels like you are using an artistic tool rather than a technical tool – Zbrush offers such a deep diverse toolset, you can create stylized cartoon-like characters, realistic animals and humans! The possibilities are endless. You can use it for everything from organic characters to hard surface robots and props! -Once you learn the interface and tools, you can simply sculpt without worrying as much about technical aspects like polygons, faces, points and edges like other traditional polygon modelling programs
Undergrad Film & TV (Undergraduate)
3 credits – 15 Weeks
Introduction to 3D (FMTV-UT 1110)
This is an introductory course to the fundamentals of 3D computer animation. Through in-depth discussions and hands-on assignments, students will gain a thorough beginner’s understanding of the 3D production process. Using industry-leading Autodesk Maya running on high-end Mac Pro workstations, students will learn the basics of modeling and proceed through UV layout, texturing, rigging, animation, lighting and final render. At the end of the class students will have completed a series of exercises that will culminate in a final scene that showcases all they learned.This course allocates as a Craft for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES.
Legal Aspects of The Entertainment Industry (FMTV-UT 1195)
A course that tracks the filmmaking process from its inception, at the idea phase and follows the creative process through development, pre-production, principal photography and post-production. The class will focus on the business and legal issues that arise during every phase of filmmaking. Key topics covered will include: copyright law; option agreements for underlying rights such as books, plays, magazine and newspaper articles; sources of financing; distribution agreements; licensing of music; agreements for actors, directors, producers and writers. This course allocates as a Craft for Film & TV majors. Students must have Junior or Senior standing. COURSE SUBJECT TO DEPARTMENTAL FEES.