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.
- F 10 a.m.-1 p.m.
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Instructor:
Eric Mendelsohn
Wikipedia Info - 3 points
Vietnam War in American and Vietnamese C
Vietnam War in US and Vie
This course explores the portrayal of the Vietnam War in American and Vietnamese cinema. Students will analyze and compare films from both countries, examining themes such as patriotism, disillusionment, national identity, resistance and the human cost of war. The course also investigates how each country portrayed the other through its cinema, and the impact of cinema on public opinion and historical understanding of the conflict in both countries. We will also examine differences in cinematic and storytelling techniques used in each country, unpacking cinema as art, commercialism and propaganda. This course combines film screenings (in and out of class), discussions and critical analysis to provide a deeper understanding of how cinema in America and Vietnam were used to portray the same war.
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
BUILDING STORYWORLDS
- M 6 p.m.-9 p.m.
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Instructor:
Lance Weiler
CULPA: 1 Wikipedia Info - 3 points
World-Building and Unbuilding
What happens when we reject the classic hero’s journey in favor of new myths? From folktales to franchises, this course from the Digital Storytelling Lab will explore transportive worlds and the methods used to create them. Collectively, we will deconstruct the idea that World-Building is a private practice and instead, uplift the notion that it is a creative tool to strengthen stories and expand ideas. As Author and activist Clarice Lispector writes: “Creating isn't imagination, it's taking the great risk of grasping reality,” but what happens when we use World-Building to shift the systems that govern our reality?
Leveraging storytelling techniques of Alternate Reality Games (ARGs) and Role Playing Games (RPGs), we will collectively build a world that transcends the classroom and moves into the outside world, ultimately bringing participants together to tackle complex issues and redefine solo authorship as a collaborative space. This course culminates in the collective experience of each other’s worlds and the Alternate Reality experiences therein. There are no prerequisites for this course.
- R 2 p.m.-5 p.m.
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Instructor:
Char Simpson
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
FILM FESTIVALS: THEORY & PRACT
An overview of the history, organization, management, and purposes of film festivals, and their roles in launching films and filmmakers, facilitating industry dealmaking and networking, and nurturing cinema culture. The course is centered around a series of guest speakers, including festival directors and programmers, filmmakers, distributors, publicists, and more. Students are required to research and complete two individual presentations: (1) Festival Presentation, examining a lesser-known film festival, and (2) Film Presentation, tracking the trajectory of a recent film that utilized festivals as a key part of its sales or release plan.
- 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.
- 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:
Robert King
CULPA: 7
Info
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Instructor:
Ian W Olds
Info - 1-3 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 6 p.m.-9 p.m.
- M 6 p.m.-9 p.m.
- W 9:30 a.m.-12:30 p.m.
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Instructor:
Andrew S Bienen
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Instructor:
Trey Ellis
Wikipedia Info -
Instructor:
Jamal Joseph
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Instructor:
Christina Lazaridi
Info - 0 points
WORKSHOP IN SCRIPT REVISION
- F 2 p.m.-5 p.m.
- F 10 a.m.-1 p.m.
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Instructor:
Yared Zeleke
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Instructor:
David B Schwab
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 10 a.m.-1 p.m.
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Instructor:
Courtney M Baron
Info - 0 points
DIRECTING THESIS ADVISEMENT
- W 9:30 a.m.-12:30 p.m.
- T 2 p.m.-5 p.m.
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Instructor:
Ramin Bahrani
Wikipedia Info -
Instructor:
Bette Gordon
Wikipedia Info -
Instructor:
Hilary Brougher
Wikipedia Info -
Instructor:
Eric Mendelsohn
Wikipedia Info -
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:
Mynette Louie
Wikipedia Info -
Instructor:
Maureen A Ryan
Info - 0 points
Writing for the Screen
Revision
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.
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Instructor:
Ramin C Serry
Info - 0 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:
Maureen A Ryan
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Instructor:
Mynette Louie
Wikipedia Info - 1-6 points