• COM FT 513: Polish Cinema
  • COM FT 514: Writing the Television Pilot
    Undergraduate Prerequisites: COM FT 512 or COM FT 522.
    Graduate Prerequisites: COM FT 512 or COM FT 522.
    Prereq FT 512 or FT 522. Explores the development and creation of the Television Series Pilot. Each student will pitch a concept, write a treatment and a finished pilot script for an original series, either comedy or drama. Emphasis on premise, story structure, characterization and originality. Lectures, screenings, script readings, written assignments and critiques. 4 cr. 2nd sem.
  • COM FT 515: International TV
    Survey of telecommunications in various nations; analysis of the impact of cultural, economic, demographic, and political factors on both their internal and external operation. Also explored is the dynamic international telecommunications field, its impact on understanding and commerce between nations, and its meaning for the United States.
  • COM FT 516: Writing The Sitcom Pilot
    Undergraduate Prerequisites: COM FT 512 or COM FT 522.
    Graduate Prerequisites: COM FT 303.
    Students will develop an original concept for their own TV situation comedy series. This includes pitching their concept for the series, submitting a beat sheet for review and creating a show bible. Once the concept and characters are sufficiently fleshed out, the process of writing the pilot episode will begin. For the final project, each student is required to hand in a polished draft of his/her pilot.
  • COM FT 517: Television Management
    Undergraduate Prerequisites: COM FT 303.
    Graduate Prerequisites: COM FT 701.
    The responsibilities that television and multi-platform content managers face. Research, programming, revenue, regulatory issues and ethics are all explored. Lectures, readings, case studies, and visits from professionals develop the student's understanding of a variety of managerial functions and the challenges these functions entail. 4 cr. Fall/spring
  • COM FT 518: Media Management Strategy
    Undergraduate Prerequisites: COM FT 517.
    Graduate Prerequisites: COM FT 517.
    Through lectures, extensive case studies, and the opportunity to interact with practitioners in the telecommunications field, such key management processes as strategic planning; marketing, promotion, and sales techniques; finance and budgeting; and issues involving human resources are explored.
  • COM FT 520: TV Theory and Criticism
    Undergraduate Prerequisites: COM FT 303.
    This course will set aside evaluative considerations of TV in favor of theoretical and critical approaches that challenge widespread assumptions about the medium and expand our understanding of its role in our lives. Such approaches include, but are not limited to, critical political economy, cultural studies, semiotics, genre theory, and narrative theory. Students will emerge from the course with a thorough understanding of how to perform television-focused research and analysis. As students discover the critical and theoretical foundations of the study of television, they will learn how to apply those foundations to crucial developments in television (in their midterm exam) and to expound upon them (in the form of a scholarly final paper). Undergrad Pre-req FT 303
  • COM FT 522: Writing Television Situation Comedy Scripts
    Undergraduate Prerequisites: COM FT 310.
    Graduate Prerequisites: COM FT 709 or COM FT 711.
    Intense writing workshop learning how to write professional sitcom scripts. Elements of character, dramatic story structure, how comedy is created, how scenes build and progress a story, formal story outlines, dialogue, the business of sitcom writing, pitching, arc, comedic premise are analyzed. The class becomes a sitcom writing team for a current hit series and writes an original class spec script to understand the process of group writing employed on most sitcoms. Also, students write their own personal spec scripts with individual conferences with the professor.
  • COM FT 524: Golden Age of Television
    Course examines the extraordinary explosion of talent and creativity in live television's early days. It covers writers such as Paddy Chayefsky and Rod Serling, personalities like Edward R. Murrow, entertainers Sid Caesar, Milton Berle, Groucho Marx, Gertrude Berg, and Lucille Ball, live political broadcasts and blacklisting, and most significantly the great anthology series like Philco Television Playhouse, Studio One, Playhouse 90 which presented great and original American teleplays "Marty", "Requiem for a Heavyweight", "Patterns", "The Comedian", "The Defenders", and many more. Also covered are the great early TV directors John Frankenheimer, Alfred Hitchcock, Delbert Mann and actors who began their careers in television like Paul Newman, Ed Begley, and James Dean. We also look at the quiz show scandals and unique series like "The Twilight Zone." These live television shows (seen by kinescope) are of major importance in understanding the history of television.
  • COM FT 525: Creative Producing II
    Undergraduate Prerequisites: COM FT 325.
    Graduate Prerequisites: COM FT 727.
    Course takes the student through the process of creating a fictional program or film. The course covers comedy and drame series and movies-of -the week from development through production and post-production. The student learns the complexities of the industry, the layers of decision makers to be dealt with, the place of agents, the nature of negotiation, and the fundamentals of hiring crews, scheduling and budgeting. 4cr, 2nd sem.
  • COM FT 526: Directing
    Undergraduate Prerequisites: COM FT 353.
    Graduate Prerequisites: acting experience.
    Students learn all aspects of directing, with particular emphasis given to script analysis and working with actors. The director's involvement in blocking action, composing shots, managing the production process and editing are also covered. Acting experience is helpful but not required.
  • COM FT 527: Lighting
    Undergraduate Prerequisites: COM FT 353.
    Graduate Prerequisites: COM FT 707 or COM FT 849.
    An intensive combination of lecture, demonstration, and hands-on work in lighting. Film and video systems, from the camera to the transfer, are explained, explored, and used. Guest lecturers and field trips to production facilities and shooting locations are included. 4 cr, either sem.
  • COM FT 529: Michael Haneke
  • COM FT 533: American Independent Film
    A survey of cinema from the past three decades originating outside of the studio system. Though the screening list changes from semester to semester, filmmakers to be dealt with include Elaine May, Barbara Loder, John Cassavetes, Robert Kramer, Mark Rappaport, and Charles Burnett, among others.
  • COM FT 535: Film Analysis
    Focuses on a particular director (Godard, Hitchcock, Altman, Losey, Bergman, etc.), period, or style (film noir, suspense), and studies how meaning is structured and perceived in the screen image. Includes viewing and analysis of narrative strategies in selected films.
  • COM FT 536: Film Theory and Criticism
    An introduction to classical and contemporary film and media theory. Topics include montage theory, realism, structuralism, post-structuralism, semiotics, psychoanalysis, phenomenology, and cultural studies. The course includes screenings of films that have contributed to critical debate and those that challenge theoretical presuppositions.
  • COM FT 544: Documentary Production
    Undergraduate Prerequisites: COM FT 353 and COM FT 351; and/or permission from instructor
    Graduate Prerequisites: COM FT 707.
    This course is designed to develop skills necessary for producing long-form documentaries. There is an emphasis on exploring new, more engaging forms of storytelling and a broad range of stylistic approaches. It covers the entire process: finding a topic, developing a story structure, conceiving a style, shooting, editing, and post-production. Students develop their own ideas and form small groups to produce them.
  • COM FT 546: New German Cine
  • COM FT 548: Antonioni and Bergman
    This course will view and discuss the work of two of the most important and influential filmmakers of the second half of the twentieth century, Michelangelo Antonioni and Ingmar Bergman. We will take up such crucial films as Antonioni's L'Avventura, Red Desert, and Blow-Up and Bergman's The Seventh Seal, Wild Strawberries, Persona, and Scenes from a Marriage. In their very different ways these two filmmakers developed new and powerful narrative and visual approaches for film and opened new terrain in human sexuality and personal interaction, ecological and political concerns, and philosophical issues. These films--even now--push boundaries.