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Course Criteria
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4.00 Credits
The second half of the senior year capstone. Students will focus on rewriting as an essential part of the writing process, as they rewrite and polish the first drafts of their feature scripts developed in Screenwriting Master Class I. They will be expected to cultivate their ability to give and receive a high level of criticism.
Prerequisite:
Completion of FMA core and FMA 4397 [4365 (0385)]: Screenwriting Master Class I; or permission of the instructor. Special authorization required for non-majors
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4.00 Credits
A workshop in film, video, audio, or emerging new technologies. The course will address a particular production issue (an aspect of technology or an aesthetic approach) each time it is offered, such as color correction, 3-D computer animation, special effects, digital audio applications, and multimedia.
Prerequisite:
Permission of instructor
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4.00 Credits
Physical computing provides an introduction to applied robotics and basic electronics with a focus on creating interactive electronic devices for visual art, theater, and performance. Physical Computing allows students to experiment with how media can respond to physical and environmental input, and how generative behaviors, mingling live events and synthetic responses, can become part of our media expression.
Prerequisite:
FMA 1142 or 1143, 1171, and 1172
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4.00 Credits
Animation, image compositing and object modeling have facilitated the crossover between animation and photographic imaging, mingling the fictive and the realistic image in digital film and videomaking. This workshop explores the techniques and effects of processing and layering the moving image within film/video language and within non-linear structures. Primary focus is on 2D animation and compositing using Adobe AfterEffects with other software packages introduced as time permits.
Prerequisite:
FMA 2452 (0245) or 3551 (0357), proficiency in Final Cut Pro
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4.00 Credits
A creative course within a critical frame in which students make and study interactive worlds; textual, audio, graphical and video based stories, environments and games that incorporate explicit user choice. The course will be structured around a series of weekly exercises and readings, followed by a substantial final project. Students will learn necessary software. Note: An emphasis on interactive environments and games.
Prerequisite:
One of the following FMA courses is required: FMA 2241, 2242, 2396, 2451 or 2452, OR permission of the instructor
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4.00 Credits
Lectures and screenings on a special topic arranged each semester. Topics may include: Advanced Film Theory, Third Cinema, Soundtracks, Exile Cinema, The Idea of Art Cinema, Hollywood Cinematographers, Hybrid Cinema, Gender and Sexuality. Please consult with the instructor.
Prerequisite:
Completion of the basic FMA core and permission of instructor
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4.00 Credits
The planning, conceptualization, and design of a written research project that combines skills in theory, criticism, and historiography, or a producible script based on research.
Prerequisite:
Grade of B or better in FMA core courses, plus FMA 3671 (0203), senior status and permission of instructor
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4.00 Credits
The course will survey and examine the various cultural determinants of international film forms through screenings, lectures, and readings. It will attempt to define the differences and similarities between mainstream Hollywood cinema and the range of international film forms from Africa, Latin America, Asia, Europe, and the Middle East.
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3.00 Credits
Anthropological perspectives on media studies in terms of both cultural organization and anthropological research tools; includes anthropological and communication theory, history of ethnography, and research methods with special emphasis on visual recording modes.
Prerequisite:
Completion of the basic FMA core and junior or senior standing
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3.00 Credits
This seminar will examine closely the work of women filmmakers and video artists and their dialogue with theories of gender representation. Working outside or against the currents of mainstream commercial practices, these media artists have taken up alternate cinematic forms, whether the independently produced feature film to experimental film and video art. Readings, screenings, and writing assignments will explore the historical, theoretical and aesthetic concerns that inform and respond to groundbreaking work by women such as Martha Rosler, Mira Nair, Trinh T. Minh-Ha, Chantal Akerman, Julie Dash, Claire Denis, Ngozi Onworah, Sadie Benning, Samira Makmalbaf, and Miranda July, among others.
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