Courses

  • COM FT 713: Screenwriting II
    Graduate Prerequisites: COM FT 711.
    Students compose a feature-length film and a set of revisions based upon the film outline created in COM FT 711. Further examples of dramatic structure are analyzed from the library of world cinema.
  • COM FT 721: International Masterworks
    An eclectic and unsystematic survey of a small number of the supreme masterworks of international film created by some of the greatest artists of the past eighty years. The focus in on cinematic style. What does style do? Why are certain cinematic presentations highly stylized? What is the difference from realistic, representational work? We will consider the special ways of knowing, thinking, and feeling that highly stylized works of art create and devote all of our attention to the function of artistic style and form to create new experiences and ways of thinking and feeling.
  • COM FT 722: American Masterworks
    Subjects vary with instructor. Directors include: D.W.Griffith, Charlie Chaplin, Buster Keaton, King Vidor, Frank Borzage, Victor Fleming, Howard Hawks, Frank Capra, Alfred Hitchcock, John Ford, John Huston, Elia Kazan, George Cukor, Orson Welles, Robert Altman, John Cassavetes, and Woody Allen.
  • COM FT 723: Am Indpnd Film
  • COM FT 724: Screenwriting III
    Advanced screenwriting for 2nd year Graduate Screenwriting Students. Based upon lectured material, the feedback received during workshops, and one-on- one consults with the professor, students will write and revise a full feature-length screenplay. Students will be expected to have a firm grasp on narrative structure, character development, and cinematic storytelling. The material covered in the first year of the graduate screenwriting program will be applied to this intense workshop atmosphere.
  • COM FT 727: Creative Producing I
    This course takes students through the process of creating non-fiction TV programming. Think talk shows, reality programs, and documentaries. How to create a concept, write a proposal, cast a program, and develop a marketing reason to do the program. It's all part and parcel of being a creative producer.
  • COM FT 728: Creat New Ideas
    This course description is currently under construction.
  • COM FT 729: Script Analysis
    A detailed and exhaustive analysis of selected screenplays through which we will focus on the cultivation of critical skills leading to a sharpened perception, and a heightened awareness of how a screenplay can be vastly improved. Utilizing these analytical skills, students will provide in-depth analysis for participating production companies who are in need of pre- production revisions. Each student will examine the chosen scripts, write coverage, write a more in-depth report for some of the production companies and meet with representatives from each project. Using the model of our workshops, the class will conduct story meetings with writers, directors and producers involved in each project. Students will be expected to conduct themselves in a professional manner through both their written reports and their verbal consultations. In addition, students will look at how source material, such as short films, stage plays and/or books can be adapted for the screen. Each student will then design a pitch based upon chosen source material and do pitch presentations.
  • COM FT 730: Screen Adaptation I
    Graduate Prerequisites: COM FT 713.
    More than half of Oscar nominated films are literary adaptations. This course analyses the current commercial and artistic reasons behind the surge in adaptations, touches upon adaptation theory, and studies novels and short stories that have been adapted for film. Student's present papers on film adaptations and adapt a short story.
  • COM FT 731: Screenwriting IV
    Graduate Prerequisites: COM FT 730.
    Restricted to Graduate Screenwriting students. Through a rigorous writing schedule, the students complete a feature-length screenplay. A solid first draft of a new feature-length screenplay and two sets of revision.
  • COM FT 801: Avid Film Composer
    Undergraduate Prerequisites: COM FT 565.
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  • COM FT 808: Line Producing
    Graduate Prerequisites: COM FT 849 and COM FT 850.
    CMP students only. This course will focus on the steps and procedures involved in the physical production of a project from development to wrap. We will review general production management tools and techniques; staffing the production; working with directors, cast and crew; choosing and managing locations; and dealing with the unexpected. We will use software to breakdown a script, schedule and budget the project and create a production binder. We will review contracts, union basic agreements, ethics, safety and risk management.
  • COM FT 810: Web Promotion and Development
    The course introduces students to entrepreneurial concepts and provides the practical tools needed to take a creative work to market. Students will learn about online funding sources, Web distribution platforms, social media marketing, legal issues relating to protecting creative work and the business side of the industry.
  • COM FT 812: CORE 1
    CMP students only. This section of Core 1 is an intensive workshop that will focus on Script Analysis, Performance, and Visual Story Telling. It is comprised of demonstrations, workshops, and a scripted project shot outside of class. It is attended by Directors, Producers, Cinematographers, and by invitation, Screenwriters who work with the program. Midway through the semester the class will be joined by a group of professional actors who will perform in the filmed exercise. Working together, this workshop seeks to foster a truly collaborative spirit of filmmaking.
  • COM FT 813: Core 2
    This course is designed for student preparing to shoot their thesis projects. There are many elements that go into preparing to shoot an award- winning film or media production. This course will cover all pre-production elements, including the casting process, rehearsing with actors, scene preparation, location scouting, production scheduling, conducting test shoots, equipment preparation, blocking and lighting diagrams, and a variety of pre-visualization techniques. Guest speakers will join the class to discuss topics such as production design, sound design and color grading. By the end of the class, students will have all the elements in place to begin production of their thesis film.
  • COM FT 814: Production Lab 1
    CMP students only. Production Lab 1 is a workshop-driven section of the CMP program that addresses the artistic and technical challenges of working in the modern filmmaking landscape. Students will work on developing 6 non- dialogue visual short films. In additional, they will be given weekly tasks and real on-set problems to solve as a team. These tasks will add up to a list of advanced technical skill sets that they will be able to employ on their short films. Students will also be able to tap into the Advanced Cinematography class as a crew resource.
  • COM FT 815: Production Lab 2
    CMP students only. Students will start to workshop the potential technical problems that they will face in their thesis projects. Each week, students will bring their ideas and issues of their thesis projects to the table and the class will work together to solve them. The Cinematographers will be given the additional tasks of doing the in-depth technical tests to achieve the look and quality of the thesis film.
  • COM FT 816: Weekly Review & Critique
    A vital part of exploring and developing as a filmmaker is to look critically at your work and the work of others. In the first semester of the program, there will be weekly screenings where all of the students and key faculty members will gather to view the results of the targeted filmmaking exercises. In the second semester, the weekly screenings will focus on practice segments from the thesis films in progress. The weekly critiques are designed to allow all students to share the process of solving cinematic story problems, and to allow them to directly or vicariously explore different strategies and styles. Both students and faculty will also take turns introducing scenes from notable films to demonstrate effective, inspiring or innovative filmmaking.
  • COM FT 817: Weekly Review & Critique 2
    A vital part of exploring and developing as a filmmaker is to look critically at your work and the work of others. In the first semester of the program, there will be weekly screenings where all of the students and key faculty members will gather to view the results of the targeted filmmaking exercises. In the second semester, the weekly screenings will focus on practice segments from the thesis films in progress. The weekly critiques are designed to allow all students to share the process of solving cinematic story problems, and to allow them to directly or vicariously explore different strategies and styles. Both students and faculty will also take turns introducing scenes from notable films to demonstrate effective, inspiring or innovative filmmaking.
  • COM FT 825: Thesis Project
    Creation of an original work in any one of four areas: producing; scriptwriting; directing/production; or a research paper. One-on-one advisor supervision throughout the entire process.