Courses

• COM FT 402: Production II-Digital
  Continuation of the study of digital field production and postproduction editing. Students develop, produce, direct, shoot, record, and edit longer-form, single-camera, location productions. Emphasis on the development of storytelling in narrative and nonfiction production.
• COM FT 404: Asian Cinema
  Surveys important and influential films from India, Japan, mainland China, Hong Kong, Taiwan, and elsewhere in East Asia from the 1950s to the present, taking in the work of such directors as Satyajit Ray, Ozu, Mizoguchi, Kurosawa, Zhang Yimou, Tsai Ming-liang, and Wong Kar-wai. The course is designed to make students familiar with foundational styles of realism and fantasy in Asian film and with ways Asian films address changes and evolution in Asian culture and society. The course should help students understand certain traditions in Asian film, and prepare them to engage critically with the ever burgeoning, new, and compelling filmmaking that comes from this part of the world.
• COM FT 411: Screenwriting II
  Writing the feature-length narrative film; creation of characters, narrative outline; writing the first draft of an original screenplay.
• COM FT 412: Screenwriting III
  Writing an original (second) feature-length screenplay (a first draft and set of revisions required). Further study of dramatic structure: tone and rhythm.
• COM FT 456: Acting for Directors and Writers
  Develops the director's knowledge and understanding of actors --the "human equipment" of filmmaking--through direct acting experience. Students learn the language and tools of the craft through sensory exercises, improvisation, text analysis, and scene study.
• COM FT 457: American Masterworks
  Subjects vary with the instructor. Directors discussed 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 458: International Masterworks
  Subjects vary with the instructor. Directors discussed include Carl Dreyer, Satyajit Ray, Sergei Eisenstein, V. I. Pudovkin, Jean Renoir, Rene Clair, Andrzej Wajda, Jean-Luc Godard, Michelangelo Antonioni, Federico Fellini, Ingmar Bergman, Akira Kurosawa, Bernardo Bertolucci, and Luis Buñuel.
• COM FT 465: Hi-Def Production
  This course allows students to write, shoot, edit and complete a short "film" entirely in the High Definition digital video format. Students use state-of-the-art High Definition cameras and complete the post-production process in the new Ezratti HD Lab created for High Definition editing and screening. The "films" are produced using professional actors and are targeted for film festival entry. A previous project from this class won the First Place prize at the 2009 Redstone Film Festival. 2nd Sem
• COM FT 468: Production III - Film
  Students apply to the class as director, producer, cinematographer, editor or sound designer. Directors submit scripts for consideration. The film production faculty then selects eight directors, based on the scripts and the student?s previous work. Faculty then selects the producers, cinematographers, editors and sound designers based on their work in FT 403, their ability to work as a team, and their performance in other related classes. The eight directors form production teams to make eight thesis-quality films. Maximum running time for each film is fifteen minutes.
• COM FT 491: Directed Studies
  Individual projects; opportunity for advanced students who have completed a major portion of their degree requirements to engage in-depth tutorial study with specific faculty in an area not normally covered by regular curriculum offerings.
• COM FT 492: Directed Studies
  Individual projects; opportunity for advanced students who have completed a major portion of their degree requirements to engage in-depth tutorial study with specific faculty in an area not normally covered by regular curriculum offerings.
• COM FT 493: Internship
  Opportunity for students to gain professional experience at television and radio stations, film and video production houses, and other media institutions. Responsibilities vary. Availability depends on market needs.
• COM FT 494: Internship
  Opportunity for students to gain professional experience at television and radio stations, film and video production houses, and other media institutions. Responsibilities vary. Availability depends on market needs.
• COM FT 502: Sound Design for Film and Television
  A comprehensive technical examination of the role of sound as an emotional motivator and major storytelling component in both fiction and nonfiction films. Covers location sound recording, acoustic theory, track building, foley and dialog replacement, and mix preparation, as well as music editing and composition. Introduces a variety of postproduction pathways and technologies, including current digital innovations in the field and in audio postproduction, and provides an ongoing workshop for solving editing and track building problems.
• COM FT 504: Post production FX Editing
  This course teaches all aspects of video post production including window dubbing, rough cuts, A/B editing, non-linear editing, digital graphics, digital sound, and the integration of all of these processes and technologies that apply to the postproduction completion of video projects. Familiarity with Macintosh computers is desirable. Experience with video timecode editing is a necessity.
• COM FT 505: Television Production Hothouse
  This is a class that operates as a student-run, client-driven production company. Projects include PSA's and web videos for local, national, and international non- profits. An application letter, due the week after fall and spring registration is required. GPA of 3.0 or higher. 4 credits only.
• COM FT 507: Television Studio Production
  Continuation of television studio production and the development of those formats that are best suited to it. Emphasizes the creative use of studio technology. 4 cr, either sem.
• COM FT 508: Line Producing for Undergrads
  Any film- even a very short one- requires the making of thousands of decisions. How long do we shoot? How many mouths do we feed? How much will the props cost? This course offers systems for arriving at intelligent answers to these myriad questions. In covering logistics of getting a media production made, the course addressed how to catalog all the practical considerations that go into a production, how to schedule a shoot, how to budget a production and how to plan for distribution of the final product.
• COM FT 509: Joseph Losey
  
• COM FT 511: Davidcronenberg
  

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