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FIBR 772 Studio Issues in Fibers II In this course, students continue to explore issues related to fibers. Emphasis is on further development of personal vision through individual instruction. Prerequisite(s): FIBR 745.


FIBR 775 Studio Issues in Fibers III Students continue to explore issues related to fibers. Emphasis is on further development of personal vision through individual instruction. Prerequisite(s): FIBR 772.


FIBR 779F Graduate Field Internship Students in this course undertake a field assign- ment under the supervision of a faculty member. Prerequisite(s): 15 graduate credit hours, good aca- demic standing.


FIBR 779T Graduate Teaching Internship Students in this course undertake a teaching assign- ment under the supervision of a faculty member. Prerequisite(s): 15 graduate credit hours, good aca- demic standing.


FIBR 790 Fibers M.F.A. Thesis All fibers M.F.A. students are required to develop and prepare an original exhibition, accompanied by a writ- ten component.


Film and Television (Undergraduate)


FILM 100 Introduction to Film and Video Production This course is an introduction to both 16mm and digital camera systems, and how these tools are used to tell a story visually. Students learn basic lighting, editing and field sound recording while developing an expressive use of the medium.


FILM 101 Introduction to Video Production This course introduces students to basic video produc- tion techniques and provides an overview of film and television theory and criticism. By combining theory and hands-on exercises, students are expected to develop the technical, analytical and critical founda- tions necessary in the video preproduction, production and postproduction phases. Students may acquire the conceptual abilities needed to plan and execute a variety of video projects.


FILM 105 Preproduction This course explores all aspects of preproduction plan- ning for both film and television. Students assume the role of producer, developing production companies to take the concept from inception to completion through the development phase of the video and filmmaking process. Prerequisite(s): ENGL 123, and FILM 100 or MPRA 103.


FILM 106 Introduction to Screenwriting In every facet of filmmaking, storytelling skills are critical. This class explores the elements essential to developing those skills, from concept development to story structure and character development. Special emphasis is placed on the use of visual imagery in the storytelling process. Prerequisite(s): ENGL 123.


FILM 132 Lighting and Field Production Techniques This course examines the theoretical and practical application of the production process. Students gain field production experience in lighting, filming and audio recording and also assume various roles on the production team. Field trips are conducted to a variety of locations, encompassing as many different environments as possible. Prerequisite(s): FILM 100 or FILM 101, FILM 105.


FILM 205 Language of Cinema In this course, students study films in order to com- prehend the language of image and montage, the relationship between form and content, text and sub- text. Students participate in screenings and discussion of the works of master filmmakers and innovators like D.W. Griffith, Jean Renoir, Alfred Hitchcock, Akira Kuro- sawa, Francis Ford Coppola, Martin Scorsese, von Trier and many others, including less well-known filmmak- ers. Screenings and discussion of scenes from seminal documentaries and works that were created from a


fusion of cinematic techniques and/or a mix of genres foster an examination of contrasting styles through a range of analytical approaches and cultural influences.


FILM 210 Postproduction Techniques This course emphasizes both the technical and theo- retical aspects of videotape editing. Students are provided with hands-on training and are required to produce various editing exercises, exploring many editing techniques in both narrative and nonlinear narrative contexts. Prerequisite(s): FILM 105, FILM 132.


FILM 215 Screenwriting Students in this course are exposed to the core ele- ments in screenwriting such as dramatic structure, film language, story and character development, and techniques for writing effective dialogue for the screen. Additionally students analyze and discuss success- ful screenplay mechanics as well as write their own series of short screenplays. Prerequisite(s): DWRI 101 or FILM 106.


FILM 224 Survey of Film A survey of classic cinematic offerings to demonstrate how aesthetic choices (narrative structure, editing, act- ing performances, lighting, set design, etc.) give films meaning. This course not only examines how these classic films were made, but why and to what effect. Prerequisite(s): ARTH 110.


FILM 302 Production Practicum A hands-on studio workshop designed to expose students to the daily preproduction operation and expectations of the producer for a small scale film and television project from its inception to its completion. The Production Practicum course functions as a tan- gible production office where each student will have the opportunity to take on the role as producer for senior level student projects. Prerequisite(s): FILM 105.


FILM 304 Commercial Production This course is designed to help students understand the art of advertising and the television commercial production process. Students are introduced to writ- ing, producing and directing both local and national television spots. Prerequisite(s): SNDS 201, FILM 210.


FILM 310 Television Comedy Writing An analysis of historic and current trends in network and cable television comedy serves as a foundation for students to create original material, either in the com- edy sketch format, the hour, or the half-hour situation comedy format. Prerequisite(s): ENGL 180, FILM 215.


FILM 312 Panther Dolly Seminar This course experiments with basic camera moves inherent in the Panther Dolly system and introduces students to how the choreography of the camera and actors can be integrated. The ultimate goal is to encourage and facilitate a varied use of space, cam- era angles and composition, thereby stretching the limits of the film and television frame. Prerequisite(s): FILM 132.


FILM 313 Advanced Lighting This course advances and expands on basic video and film lighting techniques and establishes a correlation between lighting for film and television. Also covered are the technical considerations and aesthetics of lighting in both media. Students are introduced to the collabora- tive role of the director of photography through ana- lytical and hands-on applications of lighting and film/ electronic cinematography. Prerequisite(s): FILM 132.


FILM 315 Advanced Screenwriting This course explores longer narrative forms, the docu- mentary, and experimental story structure. Emphasis is placed on understanding commercial viability, charac- ter development, alternative concepts and treatments for narrative, shooting and revision of scripts, shot analysis, and molding an artistic vision for feature film and television productions. Prerequisite(s): FILM 215.


FILM 316 Stereoscopic Filmmaking Students are introduced to the conceptual, theoreti- cal, and technical elements of stereoscopic filmmak- ing. Issues addressed include how this technology is used to successfully enrich the filmic experience, rigs,


camera set-ups, technical, aesthetic and conceptual parameters, and the principle methods of achieving the stereoscopic image. Prerequisite(s): FILM 210.


FILM 320 Directing the Narrative This course combines hands-on exercises, screenings and demonstrations of the fundamental directing skills required for visual storytelling. Students are introduced to plot development, scene continuity, dramatic moti- vation of talent, the main narrative models and the lan- guage of various narrative structures. Prerequisite(s): FILM 106, FILM 210, MPRA 314, SNDS 201.


FILM 322 Advanced Postproduction This course explores current postproduction tech- niques, analyzing various editing styles and examining current video technology. The philosophy of edit deci- sions and the management of edit decision lists are developed through exercises and assignments. Specific issues relating to the aesthetics of editing, such as edit- ing dialogue, parallel editing, and Brechtian distancia- tion and reflexivity, are also discussed. Prerequisite(s): FILM 210, SNDS 201.


FILM 323 Art Video The technological and conceptual concerns of video art reflect, and are incorporated into, contemporary culture. This course introduces students to a vast range of video artists and explores the theoretical and/or political underpinnings of their work. Prerequisite(s): SNDS 201, FILM 210.


FILM 330 Aesthetics of Film Editing This course addresses the discipline as an art that requires a historical perspective, a knowledge of contem- porary aesthetic trends, and practical experience. It also covers the technical aspects of industry standard hard- ware and software. This course addresses these issues in a studio setting where students screen and analyze scenes from seminal works as well as scenes of their own choosing. Scenes from an Oscar-winning film are sup- plied for the editing projects. Prerequisite(s): FILM 210.


FILM 337 Directing the Documentary Through critical analysis and hands-on experience, students are expected to grapple with the art of documentary production. The class examines the techniques and conceptualizations of established and self-made directors. Production assignments explore documentary techniques so that students develop an understanding of nonfiction objectivity with a critical eye for and appreciation of a genre’s implicit subjec- tivity. Prerequisite(s): ENGL 180, FILM 210, SNDS 201.


FILM 361 Theory and Application in Film The course provides an overview of the major theoreti- cal and critical approaches involved in the production of time-based media and the relationship of these movements to the students’ own work. Students are introduced to rudimentary critical theory and asked to apply it to their own artistic interests through a series of video “sketches.” This course is designed for undergraduate students to develop an understanding of the content of their work through practical studio application of the themes addressed. Prerequisite(s): ENGL 180, FILM 210.


FILM 365 Experimental Film and Installation The course is an investigation of alternative processes in the conceptualization, production and exhibition of time-based media. By experimenting with both traditional and innovative methods, students approach working with the moving image as a means of artistic expression. Conceptual and theoretical issues, aes- thetics, and installation-based venues of presentation are realized through the production of student work. Prerequisite(s): ENGL 180, FILM 210.


FILM 366 Production for Alternative Distribution Students in this course will create original work for methods of distribution other than those traditionally used by cinema and television. Special attention is given to analyzing new trends in time-based media distribution via the Internet, mobile hand held devices such as cell phones and the iPod, and other emerging technologies. Prerequisite(s): FILM 210.


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