FEATURE FILM DEVELOPMENT
An exploration of the process and the various options for developing feature film scripts and ideas. The course covers option deals, copyrights, dealing with agents, lawyers and managers, working with writers, guild requirements and the selling process. There is a particular emphasis on learning pitching skills in order to effectively communicate the essence of a project to potential collaborators, financiers and end users. Required for all second-year Creative Producing students and only open to students in that concentration.
- F 10 a.m.-1 p.m.
-
Instructor:
Mynette Louie
Wikipedia Info -
Instructor:
Diane Houslin
Info - 3 points
WRIT/SCRIPT ANALYSIS-PRODUCERS
This is a specialized course designed to provide prospective producers with a nuanced framework for understanding the screenwriting process. The course will explore all the ways a producer might interact with screenwriters and screenplays, including coverage, script analysis, notes, treatments, and rewrites. Each student will complete a series of writing and rewriting assignments over the course of the semester. Required for all second-year Creative Producing students and only open to students in that concentration.
- T 10 a.m.-1 p.m.
-
Instructor:
Jack Lechner
Info - 3 points
PRE-PROD OF A MOTION PICTURE
Pre-Production of the Motion Picture teaches Creative Producing students how to breakdown, schedule and prep all aspects of a low budget independent feature film. Using one shooting script as a case study, the class will learn to think critically and master each step of the pre-production process. Students will prepare script breakdowns, production strip boards, call sheets and a full production binder. Topics will include state tax incentives, payroll services, union contracts, deal memos/hiring paperwork, casting, labor laws, hiring BTL crew, legal, insurance and deliverables. Additionally, students will become proficient in Movie Magic Scheduling. Required for all second-year Creative Producing students and only open to students in that concentration.
- T 10 a.m.-1 p.m.
-
Instructor:
Maureen A Ryan
Info - 3 points
International Filmmaking
This course covers international filmmaking, examining the creative, cultural, technical and logistical aspects of working across borders. Students will also learn the benefits of cross-cultural collaboration and how to handle the challenges often associated with it and be better prepared to collaborate with creative teams from different cultures. The course aims to foster an appreciation for diverse perspectives, inspire personal storytelling and cultivate the ability to create both culturally authentic and universally engaging films. Through analysis, discussions and case studies, students will develop a deeper understanding of global filmmaking practices and their unique impact on directing and storytelling.
Conspiracy Theory in American Film and C
Conspiracy Theory in US F
This class will look at the history of conspiracy theories in American culture from the 50s and 60s (UFOs, the red scare, JFK’s assassination) to the 21st century (from 9/11 truthers to Covid conspiracies and QAnon) with particular attention to cinematic representation. What is the lure of conspiracy theories? Are there particular reasons that conspiracy theories thrive in American culture? Do different media forms and platforms encourage the spread, and even transform the content, of conspiracies? What is the difference between theory in the social sciences and humanities and conspiracy theory? We will read a range of theoretical material including writings by Richard Hofstadter, Fredric Jameson, Jean Baudrillard, Eve Sedgwick, Sianne Ngai, and many others. Films will include:
Invasion of the Body Snatchers,
The Parallax View
,
Videodrome
,
The Matrix
,
Get Out
, and others.
- T 6:10 p.m.-9:45 p.m.
-
Instructor:
Nico Baumbach
Info - 3 points
TV PILOT: COMEDY & DRAMA
With the pilot as a focal point, this course explores the opportunities and challenges of telling and sustaining a serialized story over a protracted period of time with an emphasis on the creation, borne out of character, of the quintessential premise and the ongoing conflict, be it thematic or literal, behind a successful series.
Early in the semester, students may be required to present/pitch their series idea. During the subsequent weeks, students will learn the process of pitching, outlining, and writing a television pilot, that may include story breaking, beat-sheets or story outline, full outlines, and the execution of either a thirty-minute or hour-long teleplay. This seminar may include reading pages and giving notes based on the instructor but may also solely focus on the individual process of the writer.
Students may only enroll in one TV Writing workshop per semester.
- M 10 a.m.-1 p.m.
-
Instructor:
David Klass
Info -
Instructor:
Alice O'Neill
Info -
Instructor:
Carter Bays
Info -
Instructor:
Matthew R Fennell
Info - 3 points
TV PILOT - COMEDY
FILM AF 8131 Intro to Pilot: Comedy
With the comedy pilot as a focal point, (and by comedy, that could also include dramedies like
Transparent
and
Insecure
) this course explores the opportunities and challenges of telling and sustaining a serialized half-hour story over a protracted period of time with an emphasis on the creation, borne out of character, of the quintessential premise and the ongoing conflict, be it thematic or literal, behind a successful series.
Early in the semester, students may be required to present/pitch their series idea. During the subsequent weeks, students will learn the process of pitching, outlining, and writing a television pilot, that may include story breaking, beat-sheets or story outline, full outlines, and the execution of a thirty-minute teleplay. This seminar may include reading pages and giving notes based on the instructor but may also solely focus on the individual process of the writer.
Students may only enroll in one TV Writing workshop per semester.
- M 2 p.m.-5 p.m.
-
Instructor:
Mark Williams
Info - 3 points
DIGITAL STORY TELLING I: History and The
HISTORY&THEORY OF INTERACTIVIT
What does interaction have to do to storytelling? How do we tell stories within media that are non-linear, including games, virtual reality, and immersive theater? How can we craft narratives that emerge from the dynamics of interaction, narratives experienced through exploration and choice? What design strategies exist regarding an understanding of character, plot, drama, time, space, and event within interactive fictions? This course will take a close look at the mechanics of storytelling within dynamic media, exploring connections between interactivity and narrative experience. The course will examine examples ranging from the design of Live Action Role Playing games to massively multi-player experiences, from hypertext to tarot cards, from Oculus to Punchdrunk. Content will be delivered through lectures, reading, discussion, case studies, and small studio-based exercises. Elective open to all SOA students.
- W 6 p.m.-9 p.m.
-
Instructor:
Akmyrat Tuyliyev
Info - 3 points
DOCUMENTARY PRODUCING
Through the process of developing, pitching, researching, and writing a treatment for a documentary short, students will develop an overview of the documentary process from development through distribution. The course will touch on research, story, production and post production logistics, legal, financing, budgeting, distribution, and ethical issues in the creation of documentary films.
- M 2 p.m.-5 p.m.
-
Instructor:
Chloe Gbai
Info - 3 points
Tech Arts: Advanced Post Production
Tech Arts: Adv Post Produ
Tech Arts: Advanced Post Production covers advanced techniques for picture and sound editing and the post production workflow process. The goal of the course is to give you the capabilities to excel in the field of post production. We will focus extra attention to concepts and workflows related to long-form projects that can contain a team of technical artists across the post production pipeline. We will cover preparing for a long-form edit, digital script integration, color management and continuity, advanced trimming, and advanced finishing. The hands-on lessons and exercises will be conducted using the industry-standard Non-Linear Editing Systems, Avid Media Composer, and Davinci Resolve.
Each week’s class will consist of hands-on demonstrations and self-paced practice using content created by the students and provided by the program.
- W 9:30 a.m.-12:30 p.m.
-
Instructor:
Michael J Cacioppo Belantara
Info - 1.5 points
SCREENWRITING THESIS WORKSHOP
SCREENWRITING THESIS ADVSMNT
Screenwriting concentrates who are focusing on Screenwriting MUST take Screenwriting Thesis Workshop with their advisor at least once during Research Arts matriculation in order to graduate. Students may take this class with their advisor whenever it is offered. They should consult with their advisor if they are considering taking Thesis Workshop at the same time as Script Revision or TV Revision.
- W 9:30 a.m.-12:30 p.m.
- M 6 p.m.-9 p.m.
- W 6 p.m.-9 p.m.
-
Instructor:
Christina Lazaridi
Info -
Instructor:
Jamal Joseph
Info -
Instructor:
Trey Ellis
Wikipedia Info - 0 points
WORKSHOP IN SCRIPT REVISION
- F 10 a.m.-1 p.m.
- T 10 a.m.-1 p.m.
- T 6 p.m.-9 p.m.
-
Instructor:
David B Schwab
Info -
Instructor:
Richard Dresser
Info -
Instructor:
Christina Lazaridi
Info - 0 points
TV REVISION
FILM AF 9120 TV Revision
The goal of TV Revision is to bring in a completed pilot and then completely revise it in one semester. Students will initially present their full scripts for feedback in class discussion, then map a plan for rewriting with their instructor. Deadlines throughout the semester will focus on delivery of revised pages.
The work can range from an intensive page 1 rewrite to focus on selected areas in a script. Reading of all scripts in the workshop and participation in class discussion is required.
There is an application process to select students for the class.
- W 9:30 a.m.-12:30 p.m.
- R 10 a.m.-1 p.m.
-
Instructor:
Courtney M Baron
Info -
Instructor:
Blair Singer
Info - 0 points
Portfolio Film Workshop
This fourteen-week elective, open to Research Arts Screen & TV Writing students, will provide vital directing advisement to Portfolio films. It covers pre-production and director’s prep.
- T 2 p.m.-5 p.m.
-
Instructor:
Bogdan G Apetri
Info - 0 points
DIRECTING THESIS ADVISEMENT
This course will serve to provide an opportunity for Students who are Directing Concentrates to develop their thesis projects within a structured environment. The course may be taught in every week or alternating week formats. Students will be encouraged to submit ideas, treatments, scripts, rough cuts and fine cuts of their thesis films. The class is collaborative and serves as a base from which Directors can try out concepts and ideas, and receive input from fellow students as well as their thesis advisor.
- W 9:30 a.m.-12:30 p.m.
- W 2 p.m.-5 p.m.
- T 2 p.m.-5 p.m.
-
Instructor:
Ramin Bahrani
Wikipedia Info -
Instructor:
Hilary Brougher
Wikipedia Info -
Instructor:
Bette Gordon
Wikipedia Info -
Instructor:
Tom Kalin
Wikipedia Info -
Instructor:
Eric Mendelsohn
Wikipedia Info -
Instructor:
Bogdan G Apetri
Info -
Instructor:
Anocha Suwichakornpong
Wikipedia Info - 0 points
PRODUCING THESIS ADVISEMENT
Meets one Tuesday every month from June 2021 through May 2022, from 6-9pm. Dates are listed below, but there may be times when class dates will have to change.
All classes will be taught via Zoom.
Overview:
The class will meet once monthly and will focus on the following:
1) Students’ thesis work - class will analyze, advise, give notes on, support, and discuss each person’s work over the year during the development, prep, production, post-production, and marketing periods of work for each thesis project.
2) Exploration of skills necessary to transition to working in the film industry after graduation. Topics include resume workshops, web site creation, film festival strategy, financing strategies, rights clearance, and press kit creation.
3) CU alums and other guest speakers will discuss their transitions from film school to working in the film industry, and will discuss their areas of expertise: TV producing, feature film producing, development, representation, networks and studios, teaching as a career, etc.
- T 6 p.m.-9 p.m.
-
Instructor:
Jack Lechner
Info -
Instructor:
Maureen A Ryan
Info -
Instructor:
Mynette Louie
Wikipedia Info - 0 points
DIGITAL STORY TELLING III: Immersive Pro
IMMERSIVE PRODUCTION
Students work in teams to design, build and deploy a digital storytelling experience which is staged for the public at the end of the semester. The course
combines project work, mentors, and collaborative methods to create a dynamic hands-on learning environment that mixes story and code.
Interested students should contact the instructor for details on applying to the course.
- M 6 p.m.-9 p.m.
-
Instructor:
Lance Weiler
CULPA: 1 Wikipedia Info - 0 points
Writing for the Screen
The Pilot
A great TV series starts with a great pilot episode. You have one chance to intrigue an audience and stand out from hundreds of other series—599 were released in 2022, and that only includes the English language releases! This course will share the building blocks needed to write the next compelling series, starting with the pilot. Not all buyers want to read a finished pilot, but as the creator, you’ll need to know your pilot inside out and become an expert in your series’ genre if you want to sell it. This course will be a combination of pilot outlining and scene writing with an exploration of character and theme. All this through the lens of the marketplace and your authentic, lived experience—the magic combination for a winning series. We will workshop your outlines and scenes in class. Any assigned readings, screenings, and exercises will be focused as much as possible on inspiring material that relates to your pilot/series idea.
This course will support you if you want to write a full pilot script. However, the main objective is to finish the course having written a pilot outline and key scenes, as well as other material that's vital to a successful pilot and series such as character and season one breakdowns. You should come to the first class with at least two original logline/elevator pitches for series ideas to which you have a strong personal connection.
Existing ideas that you feel would benefit from this coursework are also welcome.
- W 9:30 a.m.-12:30 p.m.
-
Instructor:
Benjamin Robbins
Info - 0 points
GRADUATE RESEARCH THESIS
MA Film & Media Studies students register for this class to receive academic credit for their thesis work.
-
Instructor:
Jason R Lariviere
Info - 3 points
FILM RESEARCH ARTS INTERNSHIP
INTERNSHIP-FILM RES ARTS
Internship for Film Research Arts Students Only
-
Instructor:
Hanna Seifu
Info -
Instructor:
Jack Lechner
Info -
Instructor:
Maureen A Ryan
Info -
Instructor:
Mynette Louie
Wikipedia Info - 1-6 points