ENROLL

Laska Jimsen

Held for new first year students. Extra Time required.

Paul Hager

In this hands-on studio television production course, students learn professional studio methods and techniques for creating both fiction and nonfiction television programs. Concepts include lighting and set design, blocking actors, directing cameras, composition, switching, sound recording and scripting. Students work in teams to produce four assignments, crewing for each other's productions in front of and behind the camera, in the control room, and in post-production.

Extra Time Required

Dimitrios Pavlounis

Extra Time Evening Screenings

Carol Donelan

After Americans grasped the enormity of the Depression and World War II, the glossy fantasies of 1930s cinema seemed hollow indeed. During the 1940s, the movies, our true national pastime, took a nosedive into pessimism. The result? A collection of exceptional films chocked full of tough guys and bad women lurking in the shadows of nasty urban landscapes. This course focuses on classic as well as neo-noir from a variety of perspectives, including genre and mode, visual style and narrative structure, postwar culture and politics, and gender and race.

Extra Time required. Evening Screenings.

Dimitrios Pavlounis

The phrase “going to the movies” is perhaps more meaningless than ever. Not only do the proliferation of screens, ubiquity of cinematic conventions, and ease of media access make it seem as though we are always-already at the movies, but the definition of what a movie is seems to be in constant flux. This course addresses the issue of twenty-first century film culture by exploring how emerging media technologies have reconfigured the meaning and function of cinema in the “digital age.” Topics include media convergence, digital bodies, video games and VR, digital exhibition and distribution, social media, cinephilia, and fandom.

Extra Time Required

Laska Jimsen

This course addresses nonfiction media as both art form and historical practice by exploring the expressive, rhetorical, and political possibilities of nonfiction production. A focus on relationships between form and content and between makers, subjects, and viewers will inform our approach. Throughout the course we will pay special attention to the ethical concerns that arise from making media about others' lives. We will engage with diverse modes of nonfiction production including essayistic, experimental, and participatory forms and create community videos in partnership with CCCE and local organizations. The class culminates in the production of a significant independent nonfiction media project.

Prerequisite: Cinema and Media Studies 111 or instructor permission

Extra Time Required

Michael Elyanow

This course teaches students the fundamentals of screenwriting. Topics include understanding film structure, writing solid dialogue, creating dimensional characters, and establishing dramatic situations. Art, craft, theory, form, content, concept, genre, narrative strategies and storytelling tools are discussed. Students turn in weekly assignments, starting with short scenes and problems and then moving on to character work, synopses, outlines, pitches and more. The goal is for each student to write a 15 to 25 page script for a short film by the end of the term.

Prerequisite: Cinema and Media Studies 110