INTRO TO FILM & MEDIA STUDIES
This course serves as an introduction to the study of film and related visual media, examining fundamental issues of aesthetics (mise-en-scene, editing, sound), history (interaction of industrial, economic, and technological factors), theory (spectatorship, realism, and indexicality), and criticism (auteurist, feminist, and genre-based approaches). The course also investigates how digital media change has been productive of new frameworks for moving image culture in the present. Discussion section FILM UN1001 is a required corequisite.
- R 10:10 a.m.-12:55 p.m.
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Instructor:
Robert King
CULPA: 7
Info
- 3 points
INTRO-FILM & MEDIA STUDIES-DIS
Co-requisite discussion section for FILM UN 1000 INTRO TO FILM & MEDIA STUDIES.
- F 9:10 a.m.-10 a.m.
- F 1:10 p.m.-2 p.m.
- F 2:10 p.m.-3 p.m.
- F 11:10 a.m.-noon
- F 3:10 p.m.-4 p.m.
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Instructor:
Kali A Kahn
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Instructor:
Katla Solnes
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Instructor:
Mengyuan Li
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Instructor:
Anne Ning
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Instructor:
Audrey Zane
Info - 0 points
GENRE STUDY: Blockbuster
This course examines how globalization and the global success of American blockbuster films have affected Hollywood film production, stardom, distribution, and exhibition. The course will analyze blockbuster aesthetics, including aspects of special effects, 3-D, sound, narration, genre, and editing. We will also study the effects of new digital technologies on Hollywood and the cross-pollination among Hollywood, art house, and other national cinemas. Finally, we will examine the effects of 9/11, the “war on terrorism,” climate change and other global concerns on marketing, aesthetics and other aspects of this cinema. This lecture course has a required discussion section, listed as UN 1011 Genre Study - Disc. There will also be a film screening, scheduled immediately after one of the lecture sessions.
- R 2:10 p.m.-3:25 p.m.
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Instructor:
Ronald Gregg
CULPA: 2 Info - 3 points
INTRO TO GENRE STUDY-DISC
Co-requisite for FILM UN 1010 Genre Study: Blockbuster.
- F 9:10 a.m.-10 a.m.
- F 1:10 p.m.-2 p.m.
- F 2:10 p.m.-3 p.m.
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Instructor:
Amie Song
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Instructor:
Sierra Nutkevitch
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Instructor:
Kate Dirienzi
Info - 0 points
CINEMA HIST I: BEGIN-1930
This course rethinks the ;birth of cinema; from the vantage of ;when old media was new.; Following standard approaches, it moves from actualities to fiction, from the ;cinema of attractions; to narrative, from the cinematographe to cinema, from cottage industry to studio system. Units in silent film music, early genres, film piracy and copyright, word and moving image, and restoration--the film archivists dilemma in the digital era. FILM W2011
- M 10 a.m.-1:45 p.m.
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Instructor:
Jane Gaines
CULPA: 4 Info - 3 points
CINEMA HIST I:BEGIN-1930-DISC
- F 2:10 p.m.-3 p.m.
- R 9:10 a.m.-10 a.m.
- R 10:10 a.m.-11 a.m.
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Instructor:
Julianna D Bjorksten
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Instructor:
Graham Paull
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Instructor:
Nazenin Elci
Info - 0 points
CINEMA HISTORY IV: AFTER 1990
This course brings our survey of the development of the art, technology, and industry of motion images up to the present. During this era, most people no longer watched movies (perhaps the most neutral term) in theaters, and digital technology came to dominate every aspect of production, distribution, and exhibition. Highlighted filmmakers include Michael Haneke, Lars von Trier, Wong Kar-wei, and Steve McQueen. Topics range from contemporary horror to animation. Requirements: short (2-3 pages) papers on each film shown for the class and a final, take-home exam. FILM W2041
- M 2 p.m.-5:45 p.m.
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Instructor:
Fabio C Andrade
Info - 3 points
CINEMA HIST IV:AFTER 1990-DISC
- F 1:10 p.m.-2 p.m.
- F 12:10 p.m.-1 p.m.
- F 11:10 a.m.-noon
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Instructor:
Greta Diaz Moreau
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Instructor:
Nimisha Misra
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Instructor:
Max C Tullio
Info - 0 points
LABORATORY IN SCREENWRITING
This lab is limited to declared Film and Media Studies majors. Exercises in the writing of film scripts.
- T 6 p.m.-9 p.m.
- M 6 p.m.-9 p.m.
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Instructor:
Mathilde A Hauducoeur
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Instructor:
Maggie F Talbot-Minkin
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Instructor:
Angeline J Dimambro
Info - 3 points
LAB IN FICTION FILMMAKING
This lab course is limited to declared Film & Media Studies majors. Exercises in the use of video for fiction shorts.
- F 10 a.m.-1 p.m.
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Instructor:
Zuko Garagic
Info - 3 points
LAB IN NONFICTION FILMMAKING
Exercises in the use of video for documentary shorts.
- F 2 p.m.-5 p.m.
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Instructor:
Munir M Atalla
Info - 3 points
AUTEUR STUDY
Krzysztof Kieslowski
Krzysztof Kieslowski - This seminar in Auteur Study explores the cinematic work of the renowned Polish filmmaker Krzysztof Kieslowski, best known for such classics as Three Colors: Blue, White, Red and Decalogue. Special attention will be paid to the latter - ten 1-hour films loosely based on the 10 Commandments - considered a towering achievement of poetic style as well as spiritual vision. Through in-class screenings, discussions, and readings, we will focus on the formal, political and thematic richness of his films. Requirements include weekly attendance, punctuality, classroom participation, a midterm paper (5 - 7 pages), and a final paper (10 - 12 pages).
- T 2 p.m.-5:45 p.m.
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Instructor:
Annette Insdorf
CULPA: 10 Wikipedia Info - 3 points
ADVANCED FILM PRODUCTION PRACTICE
Advanced Film Production Practice is an advanced production and lecture course for students who wish to obtain a deeper understanding of the skills involved in screenwriting, directing and producing. Building on the fundamentals established in the Labs for Fiction and Non-Fiction Filmmaking, this seminar further develops each student’s grasp of the concepts involved in filmmaking through advanced analytical and practical work to prepare Thesis film materials.
- R 2 p.m.-5 p.m.
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Instructor:
Benjamin C Leonberg
Info - 3 points
NARRATIVE STRAT-SCREENWRITING
Prerequisites: FILM W2420. This workshop is primarily a continuation of Senior Seminar in Screenwriting. Students will either continue developing the scripts they began in Senior Seminar in Screenwriting, or create new ones including a step outline and a minimum of 30 pages. Emphasis will be placed on character work, structure, theme, and employing dramatic devices. Weekly outlining and script writing, concurrent with script/story presentation and class critiques, will ensure that each student will be guided toward the completion of his or her narrative script project.
- F 2 p.m.-5 p.m.
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Instructor:
Loren-Paul Caplin
CULPA: 2 Info - 3 points
Music, Sound and Image Theory
Some of the most exciting theoretical moving image work in recent years has centered on the problem of the acoustic sign in cinema and especially around the relation between image track and sound “track.” This course rethinks the history and theory of cinema from the point of view of sound: effects, dialogue, music. From cinematic sound recording and play-back technologies through Dolby sound enhancement and contemporary digital audio experiments. Revisiting basic theoretical concepts from the pov of sound: realism (sound perspective, dubbing), anti-realism (contrapuntal and dissonant effects), genre (the leitmotiv), perception (the synaesthetic effect). The silent to sound divide considered relative to the *19th* century Romanticism of the classical Hollywood score associated with the Viennese-trained Max Steiner to the scores of John Williams.
- W 2:10 p.m.-3:25 p.m.
- 3 points
Music, Sound and Image Theory DISC
Music, Sound & Image Theo
Some of the most exciting theoretical moving image work in recent years has centered on the problem of the acoustic sign in cinema and especially around the relation between image track and sound “track.” This course rethinks the history and theory of cinema from the point of view of sound: effects, dialogue, music. From cinematic sound recording and play-back technologies through Dolby sound enhancement and contemporary digital audio experiments. Revisiting basic theoretical concepts from the pov of sound: realism (sound perspective, dubbing), anti-realism (contrapuntal and dissonant effects), genre (the leitmotiv), perception (the synaesthetic effect). The silent to sound divide considered relative to the 19th century Romanticism of the classical Hollywood score associated with the Viennese-trained Max Steiner to the scores of John Williams.
- F 2:10 p.m.-3 p.m.
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Instructor:
Xiaoyi Zhong
Info - 0 points
Auteur Studies: Agnes Varda
Agnès Varda's career, ranging from a 1955 black-and-white drama to a 2019 autobiographical masterclass, was extraordinary in its formal innovation, visual sophistication, emotional depth and often-undervalued influence. This course will look at the evolution of her work and aesthetic with particular attention to the imaginative way she created hybrids from fiction, documentary, biography and autobiography. Her early masterpiece,
Cléo from 5 to 7
, plays with near-real time and creates a profound depiction of a woman's inner life, a melding of form and content that would run through her career. In various films, notably
Jane B. by Agnès V
. and
Jacquot de Nantes
, she artfully enhanced biography with fiction. In documentaries such as
The Gleaners and I
she created a performative first-person narrative and warm on-screen presence. And in the later stage of her career she created multi-media installations.
We will examine her visual style, which often incorporates elements of photography and painting. We will look at the themes of time and memory that shape so many of her films. And we will see how she frequently addressed social issues including women's rights and homelessness, putting the films in the context of the times in which they were created, and considering their relevance now.
We will also look at her changing critical reputation. Often called the mother of the New Wave, she was more accurately New Wave-adjacent, overshadowed early in her career by Truffaut and Godard. In the last years before her death, in 2019, she was lauded as a feminist pioneer. But that acclaim, including an honorary Oscar, rarely grappled with the true depth, originality and importance of her work, which this course aims to do.
Students will be encouraged to arrive at their own assessments of Varda's work, through class discussion and two substantial papers incorporating research and original analysis.
- M 2:10 p.m.-4 p.m.
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Instructor:
Caryn James
Wikipedia Info - 3 points
Black Film and Media
This course examines the historical and theoretical issues concerning the representation of African Americans in film and media. The course will provide a historical overview while focusing on key themes, concepts, and texts.
- T 9:10 a.m.-1:10 p.m.
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Instructor:
Racquel Gates
Info - 3 points
Black Film and Media Discussion
Black Film and Media DISC
This course examines the historical and theoretical issues concerning the representation of African Americans in film and media. The course will provide a historical overview while focusing on key themes, concepts, and texts.
- F 11:10 a.m.-noon
- F 1:10 p.m.-2 p.m.
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Instructor:
Michael Gonzalez
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Instructor:
Josephine Simonian
Info - 0 points
EXPERIMENTAL FILM & MEDIA
This course provides an overview of experimental film and video since the early 20th century European art movements (abstract, Dada, Surrealism), including the emergence of American experimental film in the 1940s, post-World War II underground experimental films, structuralist films and early video art in the 1960s and 70s, post-1960s identitarian experimental work, the emergence of digital video in museums and online in the 1990s to the present. The course surveys and analyses a wide range of experimental work, including the artists Hans Richter, Luis Bunuel, Salvador Dali, Joseph Cornell, Maya Deren, Andy Warhol, Stan Brakhage, Michael Snow, Martha Rosler, Vito Acconci, Barbara Hammer, Su Friedrich, Julie Dash, Isaac Julien, Matthew Barney, Ilana Harris-Babou, and others. The course will study the structural, aesthetic and thematic links between mainstream and avant-garde cinema, theater, and art movements, and will place the films in their economic, social, and political contexts.
- W 9:30 a.m.-12:30 p.m.
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Instructor:
Ronald Gregg
CULPA: 2 Info - 3 points
Reality Television
This course focuses on the origins, form, and social relevance of reality television. Specifically, the course will examine the industrial, economic, and ideological underpinnings of reality television to gesture toward larger themes about the evolution of television from the 1950s through the present, and the relationship between television and American culture and society. To this end, the class lectures, screenings, and discussions will emphasize (but are not limited to) topic of race, gender, sexuality, and class.
- R 10:10 a.m.-1 p.m.
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Instructor:
Racquel Gates
Info - 3 points
History of American Television
From its relative appearance in American homes (ca. 1950 - 1955) through the first decade of the 21st century television has remained (arguably) the most culturally, socially and politically determinative technology in American life. The exchanges that occur between the content of American television and its ever-broadening audience really shaped perspective on the American character and American values across fifty years. Indeed, it’s difficult to imagine that the cultures of consensus and conformity that shaped the 1950s were in fact attainable in the absence of television. But, and at the same time, we must admire the creativity of shows like
Donna Reed
or
Wagon Train
that made certain that subtilty insured the advocacy for a more democratic America.
We begin with brief attention to the most immediate creative influences on early television: vaudeville, and radio. Across the semester we will then consider the evolution of the various technologies that shaped and reshaped the American experience of television. While our focus remains on creative content, we must also note the moments where television afforded new experiences of collective sympathy (JFK and MLK assassinations, the Vietnam War etc.) as well as collective failure (The Pentagon Papers, Iran Contra, Rodney King) and triumph (Civil Rights Movement across the American South, the moon landing etc.). We will also, of course, consider the full implications of television “events” that afforded news kinds national debate concerning the very soul of America: Roots, the final episode of M*A*S*H*, and The Day After)
Finally, we will conclude with discussion of HBO and the formative impress of unprecedented creative achievement: The Sopranos, The Wire, Deadwood, Mad Men; and, we must consider that during the early years of the 21st century these serial dramas represent a particular (and unprecedented) manifestation of American art and artistry.
- W 6 p.m.-9 p.m.
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Instructor:
Ben Alexander
Info - 3 points
ANALYSIS OF FILM LANGUAGE
- R 2 p.m.-5:45 p.m.
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Instructor:
Annette Insdorf
CULPA: 10 Wikipedia Info - 3 points
CINEMA HIST I:BEGINNINGS-1930
- M 10 a.m.-1:45 p.m.
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Instructor:
Jane Gaines
CULPA: 4 Info - 3 points
CINEMA HIST IV:AFTER 1990
CINEMA HIST IV: AFTER 1990
- M 2 p.m.-5:45 p.m.
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Instructor:
Fabio C Andrade
Info - 3 points
GENRE STUDY: Blockbuster
- R 2:10 p.m.-3:25 p.m.
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Instructor:
Ronald Gregg
CULPA: 2 Info - 3 points
SCREENWRITING II
- T 10 a.m.-1 p.m.
- W 6 p.m.-9 p.m.
- T 2 p.m.-5 p.m.
- W 2 p.m.-5 p.m.
- R 6 p.m.-9 p.m.
- T 6 p.m.-9 p.m.
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Instructor:
Richard Dresser
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Instructor:
Valerie C Martinez
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Instructor:
Rafael L Pedreira
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Instructor:
Galt V Niederhoffer
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Instructor:
Jessie Keyt
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Instructor:
Michael H Castelaz
Info - 3 points
SCRIPT TO SCREEN
- R 2 p.m.-5 p.m.
- T 2 p.m.-5 p.m.
- W 6 p.m.-9 p.m.
- T 6 p.m.-9 p.m.
- M 2 p.m.-5 p.m.
- W 6 p.m.-9 p.m.
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Instructor:
Tom Kalin
Wikipedia Info -
Instructor:
Trey Ellis
Wikipedia Info -
Instructor:
Katherine Dieckmann
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Instructor:
Joshua R Troxler
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Instructor:
Sush Parmar
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Instructor:
Aslihan Unaldi
Info - 1.5 points
Fundamentals of Directing Lab: Secrets o
Fund of Dir Lab: Short Fi
Each week, outstanding shorts from Sundance, Cannes, Tribeca, Aspen, and other international festivals will be screened and discussed. (You might see a few duds as well, for comparison purposes.) The emphasis in the first two weeks will be on shorts under six minutes, in preparation for the “3-to-5” project. The second two weeks will be devoted to films between 8 and 12 minutes long, in preparation for the “8-to-12”. The final weeks will include a variety of narratives the size of Columbia thesis films. Altogether, over forty films will be shown and discussed.
- M 6 p.m.-9 p.m.
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Instructor:
Daniel Kleinman
Info - 0 points
DIRECTING II
- T 10 a.m.-1 p.m.
- W 6 p.m.-9 p.m.
- T 10 a.m.-1 p.m.
- M 2 p.m.-5 p.m.
- M 10 a.m.-1 p.m.
- R 6 p.m.-9 p.m.
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Instructor:
Bogdan G Apetri
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Instructor:
Ian W Olds
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Instructor:
Anocha Suwichakornpong
Wikipedia Info -
Instructor:
Rania Attieh
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Instructor:
Diana Peralta
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Instructor:
Darya V Zhuk
Info - 3 points
DIRECTING ACTORS II
- W 2 p.m.-5 p.m.
- W 6 p.m.-9 p.m.
- T 2 p.m.-5 p.m.
- R 2 p.m.-5 p.m.
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Instructor:
Anna Maria Cianciulli
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Instructor:
Emil Benjamin
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Instructor:
Mikael Sodersten
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Instructor:
Lisa Milinazzo
Info - 3 points
PRACTICAL PRODUCTION II
- F 9 a.m.-11 a.m.
- F 11 a.m.-1 p.m.
- F 1 p.m.-3 p.m.
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Instructor:
Maureen A Ryan
Info - 1.5 points
Tech Arts: Post Production II
Tech Arts: Post Production II continues teaching the core techniques for picture and sound editing and the post production workflow process for Columbia Film MFA students. 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
Ethics: Inclusive Storytelling
This course focuses on the necessary and often undiscussed role of ethics and inclusivity in storytelling and story creation. This course will provide space, as requested by the students, faculty and staff, for facilitated discussion around narrative ownership, comedy, history of on-screen portrayals, intersectionality, the business of inclusion and other related topics so that students walk away with a personal inclusive storytelling plan and a greater level of cultural competency as they continue their creative journeys. The instructors are professionals in the entertainment space with deep knowledge and practical Equity, Diversity and Inclusion (EDI) experience.
- W 9:30 a.m.-12:30 p.m.
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Instructor:
Diane Houslin
Info - 1.5 points
Media Archeology
“It could have been otherwise.” -Noël Burch
With this brief yet generative statement from a foundational film theorist we are introduced to a major theme of this course, a graduate level seminar concerning the still-in-formation field of media archeology. Pursuing the material traces left by false starts, wrong moves, misbegotten speculation, and dead formats, this course will dig into the historical past in order to better understand our current media ecology, prepare for the computational future, and imagine how things could be otherwise. Archeology in this sense refers to the study of a technical object through investigating its origins (its arché), as a means of breaking down traditional linear accounts of history and reconstructing them along new, more lacunary, less teleological lines. This will be our goal. We will be introduced to media archeology as both a method and an aesthetics. Our approach will look for the old in the new and the new in the old, while locating recurring topoi, ruptures, and discontinuities. Marking a departure from more hermeneutical, text-based film and media studies models, we will instead focus on questions of hardware, materiality, and physical inscription—technological research that sticks close to the signal of mediatic events, close to the metal, close to the silicon. We will perform close reading and thick description, as in established humanities disciplines like literary studies and anthropology, but with radically different, non-phenomenological, non-discursive object formations. Topics we will consider include, for example, analog waveforms and digital pulses, mathematical versus narrative modes of epistemology, and what Thomas Elsaesser calls a “poetics of obsolescence.” Our readings will draw from the corpus of media archeology studies as well as consonant fields such as material culture studies, computer engineering, and the history of science.
- F 2 p.m.-5 p.m.
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Instructor:
Wanda Strauven
Info - 3 points
INTERNSHIP
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Instructor:
Hanna Seifu
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Instructor:
Maureen A Ryan
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Instructor:
Jack Lechner
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Instructor:
Mynette Louie
Wikipedia Info - 1-3 points
Character Development Lab
In this seven-week class, open to Writing for Film and Television and Screenwriting & Directing concentrates we will do the deep work of creating at least two unforgettable and irreplaceable characters for a future screen or teleplay. In weekly group meetings, students will be assigned a slot to discuss first a main character and then in response to that character, their main antagonist/foil, working through specific exercises until their two characters are sufficiently rich and nuanced that the writer is now able to build a story around them.
- T 2 p.m.-5 p.m.
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Instructor:
Trey Ellis
Wikipedia Info -
Instructor:
Jamal Joseph
Info - 1.5 points
SCREENWRITING IV
- T 10 a.m.-1 p.m.
- R 6 p.m.-9 p.m.
- T 2 p.m.-5 p.m.
- R 10 a.m.-1 p.m.
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Instructor:
Trey Ellis
Wikipedia Info -
Instructor:
Andrew S Bienen
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Instructor:
Katherine Dieckmann
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Instructor:
Christina Lazaridi
Info - 3 points
Story Gym
This seven-week elective is taught online. It is open to 2nd year Screen/TV Writers and Directors, will serve as an incubator for story ideas not currently being developed in any full-semester core classes.
- W 6 p.m.-9 p.m.
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Instructor:
Katherine Dieckmann
Info - 1.5 points
Intro to TV Pilot Writing
This new class will provide Writing for Film & Television students with a foundational experience in TV Writing in the second semester of their first year at Columbia. They will have studied feature writing in their first semester, and this class will explore how TV is different from the feature form, the unique structure of TV when compared to features, plays, and novels, the key elements of a good TV show and pilot, the different worlds of network and streaming and the current marketplace, how to structure a TV pilot, and how to write and begin revising the pilot episode for an original TV show.
- M 10 a.m.-1 p.m.
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Instructor:
David Klass
Info - 3 points
DIRECTING IV
- W 9:30 a.m.-12:30 p.m.
- W 2 p.m.-5 p.m.
- R 2 p.m.-5 p.m.
- R 6 p.m.-9 p.m.
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Instructor:
Anocha Suwichakornpong
Wikipedia Info -
Instructor:
Bette Gordon
Wikipedia Info - 3 points
FEATURE FILM FINANCING
- M 10 a.m.-1 p.m.
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Instructor:
Mynette Louie
Wikipedia Info -
Instructor:
Lucas Joaquin
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.
- R 10 a.m.-1 p.m.
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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.
- R 6 p.m.-9 p.m.
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Instructor:
Dana Kuznetzkoff
Info - 3 points
POST SUPERVISING FOR PRODUCERS
This class is an intensive introduction to Post Production, with a specific focus on the role of the producer and post-production supervisor. We will examine the different components of Post-Production (Editing, Sound Design/Mixing, Music, Picture finishing, VFX, Titles) from Pre-Production through Delivery. Throughout the course, post department heads will come in as guests, and we will attend site visits to local post facilities. Required for all second-year Creative Producing students and only open to students in that concentration.
- W 2 p.m.-5 p.m.
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Instructor:
Luca Borghese
Info - 1.5 points
POST SUPERVISING FOR PRODUCERS
This class is an intensive introduction to Post Production, with a specific focus on the role of the producer and post-production supervisor. We will examine the different components of Post-Production (Editing, Sound Design/Mixing, Music, Picture finishing, VFX, Titles) from Pre-Production through Delivery. Throughout the course, post department heads will come in as guests, and we will attend site visits to local post facilities. Required for all second-year Creative Producing students and only open to students in that concentration.
- W 2 p.m.-5 p.m.
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Instructor:
Luca Borghese
Info - 1.5 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.
ADVANCED EDITING WORKSHOP
- M 2 p.m.-5 p.m.
- T 6 p.m.-9 p.m.
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Instructor:
Elizabeth Kling
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.
- W 2 p.m.-5 p.m.
- M 2 p.m.-5 p.m.
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Instructor:
Alice O'Neill
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Instructor:
Blair Singer
Info -
Instructor:
Lucy Thurber
Wikipedia Info - 3 points