Through the intentional disruption of mainstream media aesthetics and conventions, experimental media artists confront, question, and recontextualize the traditional narratives and conventions of commercial media. In the process, they create dynamic tensions between artists and audiences that transform the reception of both mainstream and innovative media content.
The course examines a portfolio of experimental work across genre, including narrative and non-narrative film, title sequences, the use of media performance and gallery installations, public art, online interactive formats, and experimental video games.
Through active viewing of experimental and non-narrative media, students gain familiarity with seminal avant-garde media artists within the contexts of artistic movements in the fine arts and popular culture. The course includes opportunities for the production of simple, individual and collaborative projects that explore the uses of experimental form, aesthetics and content for creative disruption and social expression. What is going on in the media industries today?
What kinds of issues and challenges are entertainment industry professionals dealing with? Large-scale issues being faced by those working in the entertainment industry — including the impact of conglomerate ownership, regulation, globalization, and digitization on creative practices and work roles — will be addressed through readings and class discussion.
Second, students will hear from a range of guest speakers coming from Hollywood, New York, and Texas about their personal experiences navigating the media business, past and present. While some of those visiting the class will work in production and postproduction writing, directing, editing, etc. The objectives of this course are to encourage students to examine critically existing information about the "Middle East" in U. The themes we will address include media and modernity; film, television, and news industries in national, transnational, and global contexts; and representation of the Middle East in US news and US popular culture.
This course will focus those moments where cinema has commented upon, documented, and even arguably had a hand in producing social change. The course aims to acquaint students with the film movements, film authors, production conditions, and audience reception practices that have linked film to broader social movements. Given the time constraints, the course focuses on American cinema with occasional references to influential cinema movements across the globe to place this American discourse in global perspective.
Often viewed as a medium of buffoonery or harsh stereotyping, situational comedies that focus on Black communities have in fact played a crucial role in political progress, activism, and evolving social conditions in the United States. With close attention to themes such as socioeconomics, gender, religion, and politics, Black sitcoms address American social injustices in ways that other sitcoms simply are unable to.
This course will chronicle a history of American Black sitcoms that have radically transformed television as a space for pedagogy and narratives of Black agency and resilience.
Appendix: Screenplay Format - Vale's Technique of Screen and Television Writing [Book]
Students will watch, read, and discuss popular themes and trends in Black sitcoms from the s through the present. This upper-division undergraduate course surveys Chicana and Latina feminist scholarship, activism, and creative expression, with an emphasis on Latina media production and representation in U. Latina heritage. The last half of the course will survey scholarship on Latina participation and representation in mediated popular culture and strategies of resistance enacted through Latina film and media production..
This course immerses students in the critical and theoretical analysis of queer media in order to explore dominant strategies used by the media industries, as well as those utilized by LGBTQI independents and subcultures. Important to this project are historical shifts in representation, including the mainstreaming of queerness, and the alternative media reception, production and exhibition practices developed by LGBTQI communities. Marginalized queer identities including qpoc and transgender will be centralized and the intersections of queer identities, queer politics and media culture will be engaged.
Media literacy is the ability to access, analyze, evaluate, and produce communication in a variety of forms. This course explores the expanding nature of literacy in a digital world with particular focus on its role in social and political contexts. Through the use of new media tools and an awareness of the historical uses of literacy for civic engagement and action, students will explore the way that media have been used to change society over time.
Relationships between print, broadcast and digital media are explored to analyze the content and contexts of a wide variety of media messages. Students will design innovative presentations and projects that take advantage of new media tools and messages. Dialogue related to the ethical uses of media is central to the course. This course explores theories of humor and comedy and applies them to media and performance from the early 20th century US to the present. Readings draw broadly from philosophy, cultural studies, cinema and TV studies, race, gender, sexuality, politics, psychology.
We will examine producers, texts, performers and audiences across a wide variety of media -- television and film, literature, comics, radio, internet, live performance and other forms. The seminar will be focused on student group discussion and presentation of theories, texts, specific examples of applications, and findings. While the established theoretical tracts have taken American and European films as their models, they seem totally unprepared for the vibrant horror films emerging from Asia, India to Japan, and this is exactly our charge for the course—to better understand the cinematic style of Asian horror films.
As any cinephile would testify while these films have the stock figures of ghosts and monsters, haunted houses and possessed women, they also question our settled ideas of beauty and disgust that imperceptibly shape our notions of racial, sexual, and national differences.
The course will consider how questions of national style and authorship revise the ways in which we consider genre cinema. This description is purposefully vague, and we will spend a good deal of our time refining and updating the terms independent and indie, which became increasingly complicated with the so-called indie film movement of the s and the rise of Indiewood, dominated by conglomerate-owned indie divisions like Sony Classics and Fox Searchlight.
We will chart the key films, filmmakers and companies that propelled the indie movement, considering the industrial, aesthetic, economic, and socio-political factors involved, as well as the complex interplay between independent film and mainstream Hollywood. Our approach will be critical and analytical as well as historical, addressing issues of authorship and genre, narrative and cinematic style, representation and reception, and the cultural discourse generated by indie films and the movement itself.
This is a writing flag course that will require two page critiques and a term paper, as well as a final essay exam. RTF will introduce you to screenwriting, and the primary forms which writing for the screen may take: features, shorts, television and documentary. We will explore the basic theory and formal aspects of story, structure and character which are essential to all forms of screenwriting. In lecture and sections, we will carefully examine each step of the screenwriting process - from the initial premise, through character exploration and treatments, to writing the first draft - then apply those steps to the development of your own scripts.
The class will also focus on critically examining produced scripts and films from a screenwriter's perspective, in order to learn more about the craft. Audio production and post for storytelling using voice, actuality, music, ambiences and sound effects. Students will make a variety of small projects leading up to a longer, final project of their choice. This course will examine the techniques of multi-camera live television directing in numerous formats. It will provide an overview of the current technology and how that technology impacts directing decisions.
Students will learn how directing styles shape various genres of broadcasts and how the director contributes to a successful production. The course will focus on planning and preparation and elements of production design. The demands of a controlled studio atmosphere will be compared and contrasted with those of live remote sports and entertainment programs.
Exercises will acquaint the students with camera placement, shot blocking and shot selection. From script to sound design, students spend the semester completing an advanced video production 3 - 10 minutes. Emphasis is placed on storytelling, strong cinematic style, and production values.
Students are not required to direct, but must participate in the key crew positions on various projects for full credit. This class will explore the roles of an art director on low-budget films and the particular challenges posed by independent filmmaking including: supporting the creative vision of the production designer, budgeting, breakdowns, creating specific graphics, drafting, managing and hiring crew and clearances.
Students will collaborate as a class in the execution of the production design of a short narrative project. The primary concern of this class is the role of production design and how the creation and selection of sets, locations, and environments enhances and enriches this visual language. Students will be instructed in the fundamentals of story, production, critical analysis, and collaborative processes. Students will be exposed to basic stagecraft techniques such as set construction, set decoration, props and will be required to design, draw, and dress a standing set.
This course explores visual storytelling and the art of cinematography through practice in a workshop environment. We will explore visual expression through a variety of cinema tools including camera and lighting as well as time, movement and color. Students are encouraged to think cinematically in both fiction and non-fiction approaches. A number of readings and exercises are assigned to also increase a student's technical knowledge and understanding of one's tools, leading to greater creative and personal visual expression.
This course is a production-based overview of Maya, with a focus on modeling, surfacing, lighting, and particles.
Topics include interactive environments and CG compositing and lighting. A limited number of seats are open to non-majors. This course in 3D Animation is designed for students who seek an understanding of character performance within the context of animation. It provides comprehensive artistic and technical training to help each student develop as an animation artist within the computer-generated CG environment.
Using Maya the student will create simple character rigs as an overview to understand rig mechanics, learn basic animation principles, and become familiar with the variety of animation tools found in Maya. These same animation techniques covered in class are foundation skills used in both in game and movie creation.
This course provides students with the fundamentals of interactive media through digital game creation. The course focuses on two areas: 1 general principals of game design and game development, and 2 development of simple 3D games. This course examines the necessary processes and best practices to finish and deliver a film or a media piece after the offline edit is done.
From preparing assets for online editing and sending them to sound design, integration of VFX to color correction, grading and mastering.
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While we will cover a great deal of color grading, this course will also emphasize on the technical elements that allow us to deliver the best quality of images possible for different platforms with the assets given from production and preparation from editing. Ideally, the students should come with a pretty good understanding of nonlinear editing software. Interactive storytelling is a form of dramatic writing, just like theater or television.
What makes the medium unique is that the author does not control the story; the audience does. Creatives have only just begun to explore the storytelling possibilities of this field. Your final deliverable in this course - a narrative design document - will serve as a writing sample for your portfolio. Students will complete at least one short piece to be viewed via a Head Mounted Display, a 3D monitor, or on the web. Students organize, research and create projects based on advanced compositing and visual effects techniques.
Utilizing a combination of hardware motion capture suits and facial capture techniques and software Unreal Engine, Motion Builder , students will write, direct and virtually shoot and edit a completely computer-generated film within Unreal Engine using an actual human performance. The course will also cover the history of motion capture techniques and their utilization within the world of cinema, gaming and non-entertainment related fields. Through modeling of the environment and practices that are used in game studios and the larger industry, students will gain a thorough understanding of the 2D game development process.
Local game companies and industry professionals are committed to evaluating student projects and hiring successful graduates. Consent of instructor required. Whether you want to be an editor, director or producer, Introduction to Editing is an essential, hands-on course for any production student. By completing a series of narrative and nonfiction assignments, you will finish this course with increased confidence in, and understanding of, the seamless editing technique and the AVID software.
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We will also view and analyze film scenes to understand how editing contributes to meaning. This course is a further elaboration of the principles and techniques of editing students will have encountered in RTF , building a broader technical background for professional development. We will discuss aesthetic, technical, and practical approaches to editing and consider how they might best apply to some provided editing challenges. In particular, we'll concentrate on the development of editing styles that are appropriate to a range of material and creative solutions to editing challenges.
Taught using AVID software. This course will introduce the student to the art and mechanics of two-dimensional animation in film and in digital media. Weekly exercises will be required, with an emphasis on animation as personal expression. This is a hands-on production course designed to create an original web series. Throughout the semester students will write, shoot and edit 3 episodes for season 1 of their show. A single film analysis essay may simultaneously include all of the following approaches and more.
As Jacques Aumont and Michel Marie propose in Analysis of Film, there is no correct, universal way to write film analysis. Semiotic analysis is the analysis of meaning behind signs and symbols, typically involving metaphors, analogies, and symbolism. Mismatched shoes and bedhead might be a sign of carelessness or something crazy happened that morning! Continuing in that vein:.
Symbols denote concepts liberty, peace, etc. They are used liberally in both literature and film, and finding them uses a similar process. Ask yourself:. Again, the method of semiotic analysis in film is similar to that of literature. Think about the deeper meaning behind objects or actions. Narrative structure analysis is the analysis of the story elements, including plot structure, character motivations, and theme. Consider again the example of Frozen. By the time of Act Three, the Resolution, her aversion to touch a product of fearing her own magic is gone, reflecting a theme of self-acceptance.
Contextual analysis is analysis of the film as part of a broader context. What might the film say about the culture that created it? Or, like researching the author of a novel, you might consider the director, producer, and other people vital to the making of the film. Does it align with his usual style of directing, or does it move in a new direction? Other examples of contextual approaches might be analyzing the film in terms of a civil rights or feminist movement.
You might agree or disagree with this interpretation, and, using evidence from the film, support your argument. Mise-en-scene analysis is analysis of the arrangement of compositional elements in film—essentially, the analysis of audiovisual elements that most distinctly separate film analysis from literary analysis.
Remember that the important part of a mise-en-scene analysis is not just identifying the elements of a scene, but explaining the significance behind them. Audiovisual elements that can be analyzed include but are not limited to : props and costumes, setting, lighting, camera angles, frames, special effects, choreography, music, color values, depth, placement of characters, etc. Mise-en-scene is typically the most foreign part of writing film analysis because the other components discussed are common to literary analysis, while mise-en-scene deals with elements unique to film.
Using specific film terminology bolsters credibility, but you should also consider your audience. If your essay is meant to be accessible to non-specialist readers, explain what terms mean. The Resources section of this handout has links to sites that describe mise-en-scene elements in detail. Rewatching the film and creating screen captures still images of certain scenes can help with detailed analysis of colors, positioning of actors, placement of objects, etc. Listening to the soundtrack can also be helpful, especially when placed in the context of particular scenes.