Courses

In a 2015 interview with David Simon (creator of The Wire) President Barak Obama offered that The Wire is, "one of the greatest -- not just television shows, but pieces of [American] art in the last couple of decades."  The Wire combines hyperrealism (from a-quasi anthropological capture of syntax and dialect that recalls the language of Langston Hughes and Zora Neal Hurston to a preference for actors who lived “the game” in Baltimore’s inner city) with the reinvention of fundamental American themes (from picaresque individualisms, to coming to terms with the illusory “American dream”, to a fundamental loss of faith in American institutions), and engages in a scathing expose of the shared dysfunction among the bureaucracies (police, courts, public schools etc.) that manage a troubled American inner city.  On a more macro level The Wire humanizes (and therefore vastly problematizes) assumptions about the individual Americans’ who inhabit America’s most dangerous urban environments from gang members to police officers to teachers and even ordinary citizens.

The Wire, of course, did not single-handedly reshape American television. Scholars like Martin Shuster refer to this period of television history as “new television.” That is, the product of new imaginations that felt television had exhausted its normative points of reference, subject matter and narrative technique. Many of the shows from this period sought to reinvent television for interaction with an evolving zeitgeist shaped by shared dissolution with 21st century American life: “I’d been thinking: it’s good to be in a thing from the ground floor, I came too late for that, I know.  But lately I’m getting the feeling I might be in at the end.  That the best is over,” Tony Soprano confides to Dr. Malfi in S1.E1 of the Sopranos.  Series that fall within this rubric include (in chronological order): The Sopranos; The Wire; Deadwood; Madmen; and Breaking Bad.

This course will offer an immersion in both the history and the language of comics, from the newspaper strips through the early comic books to today's graphic novels. Beginning with readings that offer a theoretical framework and an analytical vocabulary, students will examine and discuss the way page layout, panel composition, color, lettering, sound effects, and more help carry and shape the narrative, as soundtracks and shot composition do in film. Readings will include wordless works by Shaun Tan, classic works by Alison Bechdel, as well as many that may be less familiar. Students will analyze the American, Asian, and European approaches to comics. Guest speakers from the comics industry will aid in developing students' analytical skills. Instructor permission is required for registration after 5/28.

The nature of cinema as a technology, a business, a cultural product, an entertainment medium, and most especially an art form. Study of cinematic genres, stylistics, and nationalities; outstanding film artists and artisans; the relationship of cinema to other art forms and media, as well as to society.

Traditionally, stories have followed a linear path, with a clear distinction between teller and audience. Yet, since the late 20th century, this model is shifting. Today, postmodern fiction, video games, interactive films, VR, participatory theater and immersive experiences offer audiences agency, creating a challenge for creators: how do they uphold narrative integrity while allowing for choice, collaboration, and remixing?

In this class, we’ll examine how modern narrative designers craft stories across media that invite audience participation. Through history, analysis, and workshops, we’ll explore how creators design for interaction while preserving tone and themes, turning audiences into active participants.

For the final assignment, students will develop a 12-15 minute pitch presentation for an original story concept, adapting it into an interactive format that balances strong authorial vision with audience agency.

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.

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.

Tech Arts: Post Production delivers a practical introduction to the post production process, a vital part of filmmaking. The course will look at the process of moving efficiently from production to post production, the techniques of non-linear editing and ultimately the process of professionally finishing a film for modern distribution. Students will learn foundational post terminology, how to create the best workflow for your film, how to manage data/footage in the edit room, and offline and online editing. Additionally, the class will cover other key steps in the post production process including audio syncing, transcoding, exporting and mastering. The hands-on lessons and exercises will be conducted using the industry-standard Non-Linear Editing System, Davinci Resolve, and will serve as a primer for other professional systems, including Adobe Premiere and Davinci Resolve. Each lecture will consist of hands-on demonstrations and self-paced practice using content created by the students and/ or content provided by the program.

Documentaries are increasingly proliferating across small and large screens around the world. They circulate as market commodities, forms of entertainment, and vehicles for social change. In this seminar we will compare different national and regional contexts of contemporary documentary production, including projects created within the media industries of Mexico, Peru, India, China, Cambodia, and Israel. We will also examine how documentaries resonate locally, but can still transcend geographic borders and engage viewers across the globe. 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 (such as VR/AR), strategies of international co-production, star-studded film festivals, as well as the global reach and impact of mega studios such as Netflix and Wanda. 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.