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.
- W 9:30 a.m.-12:30 p.m.
- M 6 p.m.-9 p.m.
- M 6:30 p.m.-9:30 p.m.
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Instructor:
Blair Singer
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Instructor:
Elizabeth Schacter
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Instructor:
Matthew R Fennell
Info - 3 points
CINEMATOGRAPHY
This course serves as a hands-on introduction to both the aesthetics and craft of cinematography geared for the non-cinematographer. The syllabus is designed to deepen students' understanding of the craft and develop the communication skills that enhance a filmmaker's collaboration with a Cinematographer.
VISUAL EXPERIENCES
The course seeks to bridge two intimately related studies that currently exist within the Film Program: 1. intensive academic analysis of filmmaking practices/principles and, 2. the practitioner’s creative/pragmatic application of those practices/principles in their own work. Students will study, through screenings, lectures and personal research, an overview of various directing forms/methodologies (conventional coverage, expressive directing, comedy directing, subjective directing, objective directing, multiple-protagonist narrative, etc.) with a primary focus on the Western classic narrative tradition. The visual grammar, axiomatic principles, structural necessities of a variety of directing forms/genres will be analyzed and compared with works of art from other disciplines (poetry, painting, sculpture, etc.) and cultures. The ultimate goal is student implementation of these principles in their own work, exposure to and examination of some works of the established canon, as well as a greater understanding of the context in which creation occurs.
- M 2 p.m.-5 p.m.
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Instructor:
Eric Mendelsohn
Wikipedia Info - 3 points
BUSINESS OF TELEVISION
Explores the different types of television and the ways in which producing is defined differently from theatrical narratives. Covers series television (both scripted and unscripted), made-for-TV movies, mini-series and other forms of television; the roles of the writer/producer, the show runner, and the director in different forms of television; how television is developed; and the implications of changing business models. Open to all SoA students.
- T 6 p.m.-9 p.m.
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Instructor:
Richard Perello
Info - 1.5 points
DIGITAL STORY TELLING II
- M 6 p.m.-9 p.m.
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Instructor:
Lance Weiler
CULPA: 1 Wikipedia Info - 3 points
ENTERTAINMENT LAW FILMMAKERS
- F 10 a.m.-1 p.m.
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Instructor:
Domenic Romano
Wikipedia Info - 1.5 points
FILM FESTIVALS:THEORY&PRACTICE
- M 2 p.m.-5 p.m.
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Instructor:
Mynette Louie
Wikipedia 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.
- R 10 a.m.-1 p.m.
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Instructor:
Michael J Cacioppo Belantara
Info - 1.5 points
SCREENWRITING THESIS WORKSHOP
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.
- R 6 p.m.-9 p.m.
- T 2 p.m.-5 p.m.
- M 5:30 p.m.-8:30 p.m.
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Instructor:
Andrew S Bienen
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Instructor:
Katherine Dieckmann
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Instructor:
Trey Ellis
Wikipedia Info - 0 points
SCREENWRITING THESIS WORKSHOP
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 6 p.m.-9 p.m.
- F 10 a.m.-1 p.m.
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Instructor:
Jamal Joseph
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Instructor:
Christina Lazaridi
Info - 0 points
TV WRITING THESIS WORKSHOP
TV WRITING THESIS ADVISEMENT
- M 10 a.m.-1 p.m.
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Instructor:
Blair Singer
Info - 0 points
WORKSHOP IN SCRIPT REVISION
- M 2 p.m.-5 p.m.
- M 10 a.m.-1 p.m.
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Instructor:
David B Schwab
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Instructor:
Stephen Molton
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.
- T 10 a.m.-1 p.m.
- M 6 p.m.-9 p.m.
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Instructor:
Courtney M Baron
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Instructor:
Peter Ackerman
Wikipedia Info - 0 points
DIRECTING THESIS ADVISEMENT
- W 2 p.m.-5 p.m.
- F 10 a.m.-1 p.m.
- R 2 p.m.-5 p.m.
- R 10 a.m.-1 p.m.
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Instructor:
Ramin Bahrani
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Instructor:
Hilary Brougher
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Instructor:
Bette Gordon
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Instructor:
Tom Kalin
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Instructor:
Eric Mendelsohn
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Instructor:
Bogdan G Apetri
Info - 0 points
PRODUCING THESIS ADVISEMENT
- T 6 p.m.-9 p.m.
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Instructor:
Jack Lechner
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Instructor:
Ira Deutchman
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Instructor:
Maureen A Ryan
Info - 0 points
Writing for the Screen
Writing for Screen: Revis
Reading/analyzing case study pitch documents. Writing assignments (Pitch Document). Reading and critiquing the writing assignments of other students. Watching and critiquing the live pitch of the writing assignments of other students. Live pitch of the writing assignments to TV producers and executives. Like the other Writing for the Screen sections (Feature, Pilot, Revision) will provide an alternative to Screenwriting 3, Screenwriting 4 and Revision for Creative Producing Students. This course is designed to mirror a professional television development process, from both the writer’s perspective and that of a development executive/producer.
- R 10 a.m.-1 p.m.
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Instructor:
Jeremy A Robbins
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:
Ronald Gregg
CULPA: 2 Info - 3 points
FILM RESEARCH ARTS INTERNSHIP
Internship for Film Research Arts Students Only
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Instructor:
Hanna Seifu
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Instructor:
Jack Lechner
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Instructor:
Ira Deutchman
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Instructor:
Maureen A Ryan
Info - 1-6 points