Courses

Criticism is an important skill to have, to appreciate and understand film more. But criticism isn’t black and white, and most importantly, it can help inform us of how to shape, tell, and develop a story that resonates with the audience.

This course will begin by exploring the basics of film criticism and film appreciation, as students develop their skills in analyzing and identifying components that make a film work (or fall short). As they approach the second half of the course, students will transform their skills in critiquing into productive feedback and use what they’ve learned to form and develop stories of their own, write a 1-2 page treatment, and finally pitch their story ideas in front of the class.

Everyone is interested in telling a story, but through the lens of film criticism, students will appreciate the creative process and learn how it is empowered by what we watch and most importantly, how we watch. Students will use this summer course to identify and prepare for areas of focus that they might be interested in pursuing (screenwriting, directing, producing) in their academic career.

This class focuses on the role of a creative producer during development of low budget film. Students will learn the framework for identifying good stories and developing them into a 3-5 minute short screenplay. We will explore the fundamental aspects of script development and the collaborative relationship between a producer and writer during the development phase. Students will learn critical elements such as writing an effective logline, treatment, and screenplay, and how to provide constructive notes and script analysis thereafter. Through lectures, screenings, writing assignments, and discussions, students will complete the course having written a first draft of a  short screenplay, revision and set of written notes as a producer.

This practical lab focuses on the fundamental aspects of development, planning and preparation for low budget films. While using a short film script as their own case study – students will learn pitching, development, script breakdown, scheduling, budgeting and fundraising. Discussion of legal issues, location scouting, deliverables, marketing, distribution and film festival strategy will allow students to move forward with their own projects after completing the class. Using weekly assignments, in-class presentations and textbook readings to reinforce each class discussion topic, students will complete the class having created a final prep/production binder for their project, which includes the script breakdown, production schedule, line item budget, financing/fundraising plan and film festival strategy for their chosen script.

Each student develops an original series concept and an accompanying pilot script. The class includes the basics of how to build a series for network, cable and streaming. There is a focus on the pilot as both a successful episode and a blueprint for an ongoing series that has a strong enough premise to sustain dynamic stories for multiple seasons. 

In a step-by-step process, students move from series concept to pilot stories, to outline and lastly to script. Both half-hour and one-hour series are covered.

Modern feature-length screenplays demand a specific architecture. In this class students will enter with an idea for a film, and during the first eight sessions build a coherent treatment; that is, a summary of the events and major emotional arcs of the film's three acts. In the final four sessions students will begin and complete the first act of their feature-length screenplay.

COURSE DESCRIPTION: This class will teach revising an original pilot script. We will review the basics of writing scripts for TV with an emphasis on character, structure, and an eye towards the current marketplace. We will also prepare for a professional career in the writers room, pitching original pilots, and work towards revising this sample for staffing as well as selling.

REQUIREMENTS: Students will revise one original pilot script during the class, with at least 3 full revisions of script and completion of a 6 page pitch document totaling no more than 10-12 minutes of pitch time.

NOTE: Students who did not enroll in S4030 TV Writing in Summer Session A may enroll in TV Writing: Revision if they have a completed pilot. Applications will be reviewed and students will be notified of their acceptance.

CLASS DESIGN: This class will parallel the professional TV development and revision process as closely as possible, as well as mimic the atmosphere of a writers room revising an episode’s script after first draft to give students the feeling of both these situations.

Students will receive detailed notes and pitches from the room to revise their sample. They will also write up their series as a pitch document and pitch the show to the class. The goal is for each student to finish at least a third draft of the pilot by the end of the semester.

THE RULES: Everyone participates. This is a workshop class so both your work and your feedback are vital to your classmates. You will not pass this class without being an ACTIVE participant.

WORK is due 48 hours prior to class, As this is a revision class, the reading load will vary week to week, but it could require reading full revisions each week. Your fellow students will need time to give thorough notes and feedback.

FEEDBACK NOTES are given orally in class and due in written form by MIDNIGHT after class. 1/2 page of notes, per script, double spaced, 12 point font. These may be bullet points, paragraph, or specific page notes. But you must deliver at least a 1/2 page of feedback.

I do not want you sending your written notes to classmates before we discuss the scripts as it stifles discussion in the room, and calcifies notes in the writers mind. You will need to deliver your written notes into the class Google Folder for notes.

CLASS DECORUM: This class will operate like a writers room. I will be expecting note sessions to operate more like writers pitching on show. We will talk about pitch etiquette in class— but your notes should be prescriptive. It is on the writer to accept or reject your pitch. I want all of you to assume the role of showrunner/ creator for your own projects, accepting or rejecting pitches with respect and open mind, and helping us understand your intention for the script.

The seminar zero in on the relationship between Hollywood and the Chinese film industry as a case study to tease out a cluster of issues concerning the politics, economy, and culture of transnational entertainment and media practices. The course aims to introduce students to foundational texts as well as the most updated research topics and approaches concerning Chinese cinema and media. Seminar participants are encouraged to utilize the research tools learned in the class to explore their own research topics and facilitate their own research projects.

Documentaries are proliferating with increasing intensity around the world. They circulate as market commodities, forms of entertainment, and vehicles for social change. In this class we will compare different national and regional contexts of contemporary documentary, including projects created within the media industries of China, Cambodia, Chechnya, Ukraine, Nigeria, and India. We will also examine the presence of “the global” within the United States, which involves exploring questions of immigration, border-crossing, and transnational co-production. Crucial to our course will be the close analysis of how documentaries actively address civil rights struggles, oppressive government regimes, cultural trends, environmental crises, and progressive social movements to create more inclusive, equitable communities. So, too, will we examine emerging technologies (AI, virtual and augmented reality), star-studded film festivals, and the reach and impact of mega studios such as Netflix and Wanda. Guest speakers (scholars, filmmakers, programmers) working in the field will enrich our class discussions. Site visits will offer the opportunity to engage with documentary through the cultural offerings of the city. This course fulfills the Global Core requirement.

Equivalent to FREN UN1101. Designed to help students understand, speak, read, and write French, and to recognize cultural features of French-speaking communities, now with the help of a newly digitized audio program. Students learn to provide information in French about their feelings, environment, families, and daily activities. Daily assignments, quizzes, laboratory work, and screening of video material.

Prerequisites: one term of college French or one year of secondary school French. $15.00= Language Resource Fee, $15.00 = Materials Fee , Equivalent to FREN UN1102. Continues the work of French S1101D and completes the study of elementary French. Students continue to develop communicative skills, narrating recent events (past, present, and future), describing daily life activities, and learning about cultural features of France and of the wider Francophone world. Following the communicative approach, students, with the help of the instructor, learn to solve problems using the language, to communicate their feelings and opinions, and to obtain information from others. Daily assignments, quizzes, laboratory work, and screening of video materials.

Prerequisites: one term of college French or one year of secondary school French. $15.00= Language Resource Fee, $15.00 = Materials Fee , Equivalent to FREN UN1102. Continues the work of French S1101D and completes the study of elementary French. Students continue to develop communicative skills, narrating recent events (past, present, and future), describing daily life activities, and learning about cultural features of France and of the wider Francophone world. Following the communicative approach, students, with the help of the instructor, learn to solve problems using the language, to communicate their feelings and opinions, and to obtain information from others. Daily assignments, quizzes, laboratory work, and screening of video materials.