• COM FT 512: Writing Episodic Drama
    Undergraduate Prerequisites: COM FT 310.
    Deals with the process and techniques of writing a dramatic series for commercial network and cable television. Students will select a current prime-time drama, develop A, B, and (possibly) C stories for an episode, and complete a Writer's Draft and polished First Draft, suitable for a Writer Portfolio. Lectures will include the life of a working television writer, one-hour story, structure, genres, and character development. We will view and analyze TV series from the past and present, and focus on proper drama script format, character development and voice.
  • COM FT 513: Polish Cinema
  • COM FT 514: Advanced Writing for Television
    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 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 520: Tv Theor & Crit
    Undergraduate Prerequisites: COM 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 523: Understanding Marketing and Sales
    A comprehensive look into the business of television and radio sales and marketing. Respected professionals occasionally guest-lecture on this important and ever changing area.
  • 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: Advanced 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 537: Third Wrld Cnma
  • COM FT 540: Screenplay as Dramatic Literature
    Screenplays may be read as literature as well as be produced as films. In this course the literary and dramatic art of the screenplay is analyzed, and the screenplay as a form is perceived to be nothing less than a little brother to stage play.
  • COM FT 543: Television Situational Comedy
    Undergraduate Prerequisites: COM FT 310.
    The American television situation comedy has been an enormously popular and powerful art form. This course traces the growth of the sitcom genre from the beginnings in the early 1950's up to the present time and analyzes how American life has been influenced by it. We look at how sitcoms affected popular perception of working class, race, ethnicity, idealized family life and then the growth of different family structures, fantasy and war. We study how sitcoms initially portrayed women and then the emerging changes in response to the feminist movement. We analyze Norman Lear's series which talked about the real things Americans were saying but in the privacy of their homes and the revolution that his series created. Finally we examine anti-family satire and take a close look at contemporary single life, both straight and gay.
  • 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.