Courses
The listing of a course description here does not guarantee a course’s being offered in a particular semester. Please refer to the published schedule of classes on the MyBU Student Portal for confirmation a class is actually being taught and for specific course meeting dates and times.
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COM FT 552: Special Topics
Special Topics for Fall 2022. Course descriptions and more info sent out in the FTV newsletter. Email filmtv@bu.edu for more info. | FT 552 A1: Writing the Producible Short (Thompson) Pre-req | FT 310 FT 552 B1: Crowdfunding & Distribution (Geller) Pre-req FT 201. Students encouraged to come in with a script or concept that is already in production | FT 552 C1: Social Purpose Short (Zelnick/Egleson) Application only course | FT 552 B1: Late Nite Laughs pre-req FT 512 or FT 522 -
COM FT 553: Film Analytics
Navigating the line between artistry and analytics takes training and experience. In this course, we are going talk about different roles quantitative research plays in film and television. The knowledge and skills practiced throughout the course will enable you to better understand audiences' characteristics, behaviors, and responses. Furthermore, they will empower you to be able to decide what research (if any) should be trusted. You will learn how to assess the quality of research and conclusions, consider your own research, and analyze and interpret conclusions from existing data. -
COM FT 554: Special Topics
Full course descriptions and addt'l information on Spring 22 Special Topics in Studies in FTV newsletter. Email filmtv@bu.edu for more information. | FT 554 A1 International Seminar (Youth and Childhood in World Cinema) (Guarana)--fulfills foreign cinema requirement. Pre-req FT 250. | FT 554 B1 Gangster Film (Hall) | FT 554 C1 (Burr) Stardom | FT 554 D1 True Crime (Jaramillo) fulfills TV studies requirement. pre-req FT 303 | FT 554 E1 The Musical (Roy Grundmann). -
COM FT 555: The Narrative Documentary Practicum
This practicum, designed for advanced film and television production students, focuses on the highly specialized filmmaking techniques used for the narrative documentary; that is, character-driven films about real people. The course also explores this tradition's rich legacy: from the Russians of the 1920s, through the CV movement of the 1960s, and on to the present day host of new films spawned by digital filmmaking technology.Course Prerequisites: FT 402 B+ or Better. Or by permission of Instructor. -
COM FT 556: American Independent Film-Part 1 The Foundational Masterworks
The course comprises one unit of a four-semester survey (each part of which is free-standing and may be taken separately and independently of each other and in any order, with no prerequisites) of the major achievements of the most important artistic movement of the last sixty years in American film--the independent feature filmmaking movement, in which American narrative filmmakers broke away from the financial, bureaucratic, and (most importantly) imaginative influence of Hollywood values and entertainment story-telling methods to create the most important works in American film--a series of generally low-tech, low-budget, DIY, personal-expression films, made and distributed more or less outside the mainstream exhibition system. This section of the survey focuses on the foundational masterworks created by the first generation of American independent feature filmmakers. These are the works that not only changed film history at the point they were made but that continue to inspire generations of independent filmmakers with their example. Since women have made some of the best and most important works in this area, as many female filmmakers as possible are being included. Offered in the fall of odd numbered years. The course comprises one unit of a four-semester survey (each part of which is free-standing and may be taken separately and independently of each other and in any order, with no prerequisites) of the major achievements of the most important artistic movement of the last sixty years in American film--the independent feature filmmaking movement, in which American narrative filmmakers broke away from the financial, bureaucratic, and (most importantly) imaginative influence of Hollywood values and entertainment story-telling methods to create the most important works in American film--a series of generally low-tech, low-budget, DIY, personal-expression films, made and distributed more or less outside the mainstream exhibition system. This section of the survey focuses on the foundational masterworks created by the first generation of American independent feature filmmakers. These are the works that not only changed film history at the point they were made but that continue to inspire generations of independent filmmakers with their example. Since women have made some of the best and most important works in this area, as many female filmmakers as possible are being included. Offered in the fall of odd numbered years. -
COM FT 557: American Independent Film-Part 2 The Second Generation
The course comprises one unit of a four-semester survey (each part of which is free-standing and may be taken separately and independently of each other and in any order, with no prerequisites) of the major achievements of the most important artistic movement of the last sixty years in American film--the independent feature filmmaking movement, in which American narrative filmmakers broke away from the financial, bureaucratic, and (most importantly) imaginative influence of Hollywood values and entertainment story-telling methods to create the most important works in American film--a series of generally low-tech, low-budget, DIY, personal-expression films, made and distributed more or less outside the mainstream exhibition system. This section of the survey focuses on the second generation of American independent feature filmmaking. Since women have made some of the best and most important works in this area, as many female filmmakers as possible are being included. Offered in the spring of even numbered years. -
COM FT 561: Contemporary East 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 burgeoning, new and compelling filmmaking that comes from this part of the world. -
COM FT 565: Motion Picture Editing
Given its central role in the filmmaking process, examining the way films are edited can reveal a lot about the inner workings of film and help students understand the art of filmmaking. Editing scenes from films, television shows, and other material in a classroom setting and then examining different versions of those scenes can help students become better editors and will help them evaluate/critique their future film and television work. The course is designed for students who have edited a number of exercises and films in previous classes. It provides an opportunity for students to develop advanced editing skills, while learning advanced digital editing techniques on the Adobe Premier. This is an advanced editing class, and not a course on how to use Premier. By editing scenes from episodic television shows, and other professionally shot footage, students will learn how to select (and reject) material, where and when to cut, how to create pace, how to control what the audience sees and does not see, how to add music and effects to increase the emotional content, and how to use visual effects to enhance the impact of the material. -
COM FT 570: Uncensored TV: The rise of Original Scripted Series on Cable TV
Using series like The Sopranos, Weeds, and Breaking Bad as case studies, this course will examine the current state of cable TV with regard to industry, "quality," genres, auteurs, and the so-called "post-network" era. Students will approach these cable series with a critical eye as they work to connect industry, political economy, and government regulation to issues of social class, television hierarchies, and artistry. Students will also emerge from the course with a thorough understanding of how to perform television-focused research and analysis. -
COM FT 571: Religion and TV
Religion and Television critically engages with religious representation on television, focusing especially on American fictional television since the 1980s. The course examines both the representation of specific religious traditions as well as generalized and abstracted religion and spirituality. Using the framework of television studies in conversation with religious studies, Religion and Television analyzes religion as: a tradition, as a grouping of tropes and stories, a functional part of lived experience, a component of identity, a structure of sociocultural power, and a discourse with specific cultural assumptions attached to it. These televisual articulations of religion are shaped by television's history, ideology, industry, culture, and reception. Thus, this course critically analyzes and maps the relationships among television, religion, and American culture. -
COM FT 572: Streaming TV
This course focuses on the variety of ways we watch television beyond the cable subscription and/or broadcast antenna. Starting with VHS distribution and continuing through DVD distribution and eventually streaming and digital on-demand, the course will critically examine if and how these distribution shifts are changing television as we know it. This course will also make connections between these new distribution outlets and practices with antecedents and legacy industrial practices to historicize these shifts. In this class, we will explore ideas of on-demand television and its effects on how television is made and marketed, paying particular attention to narrative structures and assumptions about viewer attention and practices. Additionally, we will look at how taste, class, race, and gender are inflected through which audiences are targeted as cord-cutters or additional subscribers and which audiences and genres are left out of the streaming TV discourse. This course fulfills the additional TV Studies course requirement. Pre-req: FT303. -
COM FT 573: BUTV
BUTV1 is a credit-earning opportunity for members of BUTV10 & BUTV10.com, BU's student campus channel and website. Students work with at least one of the organization's productions or administrative departments. For undergraduates, one previous, not for credit, a semester in the organization is required, except with Faculty Advisor consent. This requirement does not apply to graduate students. All students must coordinate participation and be approved by the faculty advisor. 2 credits pass/fail, either semester. -
COM FT 574: BUTV2
BUTV2 is a credit-earning opportunity for contributing members of BUTV10 & BUTV10.com, who have previously earned credit by successfully completing FT573: BUTV1. Students work with one of the organization's productions or administrative departments. All students must coordinate participation and be approved by the faculty advisor. 2 credits pass/fail, either semester. -
COM FT 576: Global New Wave
Explores the interconnected production and reception of selected European, African, and Asian New Wave cinemas of the mid-1940s through the early 1970s. These films experimented with form and style to challenge classical Hollywood norms. -
COM FT 589: Advanced Directing
The focus of this class will be on story creation, performance, and filming strategies using small crews and lightweight equipment, culminating in the production of six short films. Working from approved scenarios with a core group of actors, directors will explore character and story development through an in-class workshop process of improvisation. Once committed to script form, these short films will be shot with a small crew made up of fellow class members in pods of three; Director, Cinematographer, and Editor. The class will be limited to 6 Directors and 4 to 6 Cinematographer/Editors. -
COM FT 590: 2D Animation Basics
Prereq:(COMFT201) From Hollywood movies to TV shows, the web, and more, 2D animation is more popular than ever, but how is it created? This fun yet intensive hands-on beginner course teaches all the fundamental skills needed to create great 2D character animation - the way it is done in the industry. Through progressive lessons you'll learn basic drawing, character design, visual storytelling, how to use Adobe Animate, and make characters walk, talk, and come to life. We also cover acting, timing, facial expressions, color, keying, tweening, and discuss animation history and industry trends. Many valuable skills learned in this class can also be applied to 3D and experimental animation, filmmaking, art, and broadcast design. Your final project is a show reel quality animated short film that will be shown in the FTV End of Term Screening. 4 cr. Either sem. -
COM FT 591: Media Business Entrepreneurship
We are living in the golden age of entrepreneurship. With the never-ending march of new technology and a global media marketplace constantly at our fingertips, there has never been a better time for media business entrepreneurship. Media Business Entrepreneurship (FT591) provides students with an inside look at how the world's leading media innovators are changing the way the world connects, shares information, and conducts business. Students will learn the skills and strategies needed to heed the call of entrepreneurship and take an idea from seed to fruition. Please join us if you are interested in learning about emerging distribution platforms, want to create new ways to inform and entertain, and maybe even have an idea you are interested in validating and bringing to market. Come create media's - and your own - future! -
COM FT 592: Production Design
The Production Designer, along with the Director and the Director of Photography, is one of the top three creative decision makers on any film. Of the three, Production Designers are the least heralded; their work is so intrinsic to the storytelling as to be virtually invisible to the lay audience. In this course, we explore this quiet yet powerful source of creative power through collaborative projects, studio tours, presentations and individual design concepts. -
COM FT 593: Introduction to Cinematography
FT593 is an introduction course to the key fundamentals of Cinematography: Composition, Optics and Lighting. This course also emphasizes on applying those fundamentals in a storytelling context and as tools of on-set communications. This is the gateway course to Intermediate Cinematography. -
COM FT 595: Intermediate Cinematography
Intermediate Cinematography is focused on the required technical skillsets needed to work on a motion picture film set. Here, the concentration will be on training students to be proficient in working with the Steadicam, Gimbal,Dolly, Jib, Wireless Follow Focus, Wireless HD Transmitters and the various Lighting Fixtures. There will also be a class trip to local equipment rental houses to familiarize them with the industry equipment rental protocol as well as an introduction to the professional crew who work there. While it might come across as overly technical, the aim of the course is, in fact, to help students overcome all the technical handling and use them to heighten their visual storytelling capabilities. The course is designed to address the practical challenges when trying to achieve the best possible cinematic images through the design of advanced camera movement, camera techniques and lighting techniques.
