STORY STRUCTURE WRITERS/DIR
This is a lecture course designed to provide writers and directors with a thorough understanding of screenplay structure, from the basic to the rococo. Each week, students will watch a feature film outside of class, then analyze it structurally in class. Students will also read and parse Robert McKee’s
Story
, a dense but rewarding guide to the techniques of cinematic storytelling. Finally, lectures will include numerous modules on particular structures, genres, and storytelling paradigms.
- M 2 p.m.-5 p.m.
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Instructor:
Jack Lechner
Info - 1.5 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.
- R 6 p.m.-9 p.m.
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Instructor:
Dana Kuznetzkoff
Info - 3 points
Coding for Media Studies
The term “digital humanities” (DH) has long been used to describe scholarship at the intersection of digital technologies and humanities disciplines. Although initially characterized by quantitative analysis and number-crunching, DH today enjoys a far broader mandate encompassing new fields like software studies, data visualization, critical code studies, and more. This course proposes to ride the wave of these developments.
Specifically, it explores how coding can be harnessed to the disciplines of film and media studies. Over the past few years, developments in generative AI have placed basic coding expertise within the reach of all. But what possibilities open up from these changes? Over the course of over a dozen weeks, students in this class will learn ways in which coding can help refine and reimagine traditional scholarly agendas (e.g., film analysis, media industry studies, archival restoration, etc.). But the class also shows how coding opens up entirely new ways of working with media as objects of study.
- W 6 p.m.-9 p.m.
- 3 points
What Is An Image?
How can we define the image in the digital age? Can we (still) believe our eyes? What is underneath the image? As we will see in this course, these fundamental questions are not new within the history of media. Through the ages, the image has been questioned and redefined as image, surface, visual representation, index, etc. Philosopher Vilém Flusser once remarked that the composite essence of digital technology was already embedded in photography because the photographic image is an image composed of points, which the human eye synthesizes into an image. This course revisits Flusser’s notion of the “technical image” and proposes to rethink the image beyond its visual dimensions, from the perspectival image of the Renaissance to the AI-generated image of today. Instead of following a strict chronological path, we will delve into various theoretical debates on “what is an image?” – ranging from the binary image of textile to the haptic image of video art, from the technological image of the optical toy to the operational image of surveillance and warfare. Both mainstream and experimental films will be analyzed and discussed as critical interventions in the history of image technologies.
- R 2:10 p.m.-4:40 p.m.
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Instructor:
Wanda Strauven
Info - 3 points
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 2:10 p.m.-4 p.m.
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Instructor:
Nico Baumbach
Info - 3 points
The Face on Film
Illuminated, exposed, projected, magnified—the cinematic face is at once spectacular and mysterious, commanding and vulnerable, an inexhaustible object of wonder. The seminar will explore the workings of the human face as privileged object of representation, as figure of subjectivity, as mode and ethic of address through film theory and practice. How has the technological, mass-circulating art of the moving image mediated this singular entity—this visual incarnation of the
person
? How did it confront its mythic and iconic resonance, its charge of identity and identification, its revelatory and masking play of expression, its social, racial, and affective registers? Among filmmakers and writers who inform our discussion: Roland Barthes, Mary Ann Doane, Carl-Theodor Dreyer, Jean Epstein, Buster Keaton, Alfred Hitchcock, Emmanuel Levinas, Claude Lévi-Strauss, James Baldwin, Andy Warhol, Gilles Deleuze, and others.
- T 5:10 p.m.-9 p.m.
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Instructor:
Noa Steimatsky
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.
- F 10 a.m.-1 p.m.
- M 10 a.m.-1 p.m.
- W 9:30 a.m.-12:30 p.m.
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Instructor:
David Klass
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Instructor:
Blair Singer
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Instructor:
Carter Bays
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Instructor:
Matthew R Fennell
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Instructor:
Blair Singer
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 2 p.m.-5 p.m.
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Instructor:
Nick Braccia III
Info - 3 points
Digital Storytelling III: Immersive Prod
DS III: Immersive Product
Digital Storytelling III: Immersive Production is a mix of theory and practice. Teams of students work to design, build and deploy a digital storytelling experience that is staged for an audience at the end of the semester. The course combines project work, mentors, emerging technologies and collaborative methods to create a dynamic hands-on immersive environment that mixes story and code.
- M 6 p.m.-9 p.m.
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Instructor:
Lance Weiler
CULPA: 1 Wikipedia 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 6 p.m.-9 p.m.
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Instructor:
Chloe Gbai
Info - 3 points
Tech Arts: Advanced Post Production
Tech Arts: Adv Post Produ
- W 9:30 a.m.-12:30 p.m.
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Instructor:
Michael J Cacioppo Belantara
Info - 1.5 points
INDEPENDENT PROJECTS
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Instructor:
Ramin C Serry
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Instructor:
Miranda R Hall
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Instructor:
Jack Lechner
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Instructor:
Nico Baumbach
Info - 1-3 points
THESIS PREP SEMINAR
- R 10 a.m.-1 p.m.
- F 2 p.m.-5 p.m.
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Instructor:
Tadas Bugnevicius
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Instructor:
Phoebe Y Chen
Info - 3 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.
- T 10 a.m.-1 p.m.
- M 6 p.m.-9 p.m.
- R 6 p.m.-9 p.m.
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Instructor:
Minhal Baig
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Instructor:
David Klass
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Instructor:
Trey Ellis
Wikipedia Info - 0 points
WORKSHOP IN SCRIPT REVISION
- M 6 p.m.-9 p.m.
- T 10 a.m.-1 p.m.
- R 10 a.m.-1 p.m.
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Instructor:
Keith Bunin
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Instructor:
Wesley Jones
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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.
- M 2 p.m.-5 p.m.
- W 2 p.m.-5 p.m.
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Instructor:
Benjamin Robbins
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Instructor:
Matthew R Fennell
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.
- W 2 p.m.-5 p.m.
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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 6 p.m.-9 p.m.
- T 2 p.m.-5 p.m.
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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
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Instructor:
Anocha Suwichakornpong
Wikipedia Info - 0 points
PRODUCING THESIS ADVISEMENT
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.
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Instructor:
Jack Lechner
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Instructor:
Maureen A Ryan
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Instructor:
Mynette Louie
Wikipedia Info - 0 points
Writing for the Screen
The Pilot
Section 001: 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.
Section 002
Writing For the Screen is a screenwriting workshop for second/ Reserach Arts year creative producing students. Each student will write and present a feature screenplay. Students will submit their work for critique, while critiquing the work of fellow students. The class is about process rather than product; the aim is to further each students understanding of writing visual narrative. Students will also pitch ideas to the class, and work collaboratively to determine which format those ideas are best suited to feature films.
- M 6 p.m.-9 p.m.
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Instructor:
Miranda R Hall
Info - 0 points
Writing for the Screen
Revision
Section 001: 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.
Section 002
Writing For the Screen is a screenwriting workshop for second/ Reserach Arts year creative producing students. Each student will write and present a feature screenplay. Students will submit their work for critique, while critiquing the work of fellow students. The class is about process rather than product; the aim is to further each students understanding of writing visual narrative. Students will also pitch ideas to the class, and work collaboratively to determine which format those ideas are best suited to feature films.
- M 10 a.m.-1 p.m.
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Instructor:
Ramin C Serry
Info - 0 points
GRADUATE RESEARCH THESIS
MA Film & Media Studies students register for this class to receive academic credit for their thesis work.
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Instructor:
Nico Baumbach
Info - 3 points
FILM RESEARCH ARTS INTERNSHIP
INTERNSHIP-FILM RES ARTS
Film Program students in Creative Producing must complete at least one (1) internship to graduate. These provide exposure to and experience in the professional film industry beyond the classroom. The Internship requirement cannot be waived. Film AF9800 is the course number for Creative Producers in their Research Arts year.
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Instructor:
Hanna Seifu
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Instructor:
Jack Lechner
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Instructor:
Maureen A Ryan
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Instructor:
Mynette Louie
Wikipedia Info - 1-6 points