NEW YORK UNIVERSITY TISCH SCHOOL OF THE ARTS THE MAURICE KANBAR INSTITUTE OF FILM & TELEVISION UNDERGRADUATE

FILM & TELEVISION

2011-2012

Academic Handbook
Revised August 9, 2011

TABLE OF CONTENTS
Mission Statement Letter from the Chair Program Overview Planning a Program of Study Policies and Procedures Program Description and Degree Requirements UGFTV Advisement Tool for CAS & TSOA Departments Course Descriptions History and Criticism Freshman, American Film, Animation History, Cinematography, Craft Histories, Documentary History, Experimental Film History, Film Aesthetics, General Education or History and Criticism, Individual Topics, International Cinema, Television Film Production: Cores Beginning Basics, Animation, Narrative, Television & Video, Documentary, Experimental Study Abroad: London, Dublin, Havana, Johannesburg, Prague Film Production: Crafts Colloquia, Techs, Animation, Acting & Directing, Camera, Art Direction, New Media, Editing (Post-production), Producing, Sound Production, Internships & Independent Study Scriptwriting Freshman Program Summer School TSOA Study Abroad Course Allocations & FAQ Faculty Recommended Books Faculty Recommended Films, Video and Television Contact Numbers: Film & TV Offices TSOA Offices NYU - Important Offices page 2 page 3 page 4 page 5 page 9 page 16 page 17 page 23

page 33

page 41

page 59 page 64 page 67 page 68 page 76 page 78 page 81 page 83 page 83

Copies of this handbook can be downloaded from the Film and Television Registration Office Blackboard website. Log on to NYUHome at http://home.nyu.edu and choose the Academics tab. Under Blackboard Classes, Other Courses, choose the link for UGFTV Registration Information (ugftvreginfo). The Academic Handbook is in the Documents section.

UGFTV MISSION STATEMENT

The mission of the Undergraduate Film and Television Department is to educate our students in the art, craft, and technology of film, television, video, animation and sound production. Our program offers intensive hands-on production experience coupled with a broad exposure to the liberal arts. We nurture individual talent and skills, and encourage students to become creative and thoughtful practitioners in the world of media.

Goals and Objectives

To develop individual talent and skills within a collaborative working environment. To provide the highest standard of education and training with professionally active faculty and a broad spectrum of visiting professionals. To provide an integrated liberal arts education program. To encourage artistic, social and cultural diversity. To develop an international perspective through student exchange and study abroad programs. To support a strong internship program offering a wide range of options for pre-professional experience. To provide venues for the presentation and promotion of student work and to advise and assist students regarding national and international festivals and opportunities. To provide access to the vibrant and creative community of Tisch School of the Arts and the unparalleled cultural diversity of New York City.

PROGRAM OVERVIEW
Students in the Undergraduate Film and Television program at New York University's Tisch School of the Arts take a total of 128 points distributed between the major and the liberal arts. Together, the above components represent the requirements for an undergraduate degree (Bachelor of Fine Arts). In the UGFTV major, students are offered a vast array of classes in film, television, camera, sound, animation, acting/directing, producing, post-production, and scriptwriting. UGFTV majors are required to take a minimum of four core production classes (core production classes are project-based), three history and criticism classes, and three scriptwriting classes (to total a 54 point minimum in the F&TV major, made up of additional craft, core, writing, and history and criticism classes of the student's choice). In addition, UGFTV students are required to take a minimum of 44 points of liberal arts classes to satisfy the General Education requirement. Distribution minimums must be met for the three areas making up the General Education requirement. The three areas are: Expository Writing, Humanities, and Sciences. General Education courses can be selected from the College of Arts and Science, and occasionally from selections within the Tisch School of the Arts. (The General Education Requirement Guide begins on page 16 and on-line at http://filmtv.tisch.nyu.edu/object/UFTV_genedAdvise.html.) Elective credits can be used to make up the total of 128 points for an undergraduate degree. There is no "minimum" in Electives. If the student takes the 54 credits minimum in F&TV and the 44 credits minimum in General Education, then there are 30 credits left of choice - these 30 credits of choice can be taken within the major, as extra general education courses for a double major or minor, or as credits that are neither in the major nor general education. UGFTV is primarily a production department. We teach students how to conceptualize, produce and complete short films, videos, television programs and new media. This is accomplished through classroom lecture, hands-on technical training, fieldwork, papers, production reports, and in-class critiques/discussions. Collaboration, learning by doing, and respect for a student's creativity are the essential educational values in our department.

PLANNING A PROGRAM OF STUDY

The key to course selection is to work out a plan with your advisor that is solid (taking care of degree requirements), logical (honors your interest and progresses developmentally) and is flexible (open to change and circumstance). Working with your advisor and doing research on the courses you are interested in will help ensure your success in choosing the right classes in the most advantageous progression for your educational objectives.

Year By Year Overview

The freshman and sophomore curriculum is rather straightforward. A collective body of information (technical and aesthetic), processes (production and post production) and ideas (theory and history) provides the foundation for your four-year program of study. The faculty makes certain curricular demands on the students in the first two years with mandatory classes and prerequisites. As you begin to identify specialized areas of interest and study in your junior and senior years, more curricular options become available to you. However, this is contingent upon completion of prerequisites and degree requirements. Freshman Year: The Freshman year lays down a foundation in storytelling strategies, visual and audio styles. Sophomore Year: The Sophomore year concentrates primarily on dramatic structure in craft issues and production processes. Junior Year: The Junior year concentrates on aesthetics and the development of individual projects. Senior Year: The Senior year concentrates on the process of bridging academic training with professional practices.

To plan a four-year course of study one must take into consideration aspects of the two main requirements of the degree. One element involves the progression of film production classes from a fundamental to an advanced level (for example: a fundamental level course such as Sound Image forms a foundation for progression to Sight and Sound Film, Studio and Documentary Production). The other consideration involves creating an even distribution of your General Education (liberal arts) courses throughout your four years of study. Once these two aspects of your education have been sketched out, scriptwriting, cinema studies, craft and elective classes can be combined with your schedule in a logical way. We say sketched" because, like working in pencil, your program of study needs to be flexible enough so that it can be altered and changed to accomplish degree requirements even if your academic priorities within the department change. Discuss any changes in the focus of your studies with your advisor in order to maintain degree progress.

Production Classes
Production Classes in the freshman year include: Sound Image, and a choice of Frame and Sequence or Intro to Animation Techniques. During the sophomore (Fundamentals) year students take two of three Fundamentals of Sight and Sound production courses (Sight and Sound: Film, Sight and Sound: Studio and Sight and Sound: Documentary). The Fundamentals production courses further provide a foundation for all future core production courses. Additionally, each year of study provides the necessary prerequisites for subsequent years. Only four core production classes are required for a UGFTV major. If a student has come in as a freshman and at the end of their sophomore year has finished their required core classes, they can then choose to not take any more core production classes and focus on other areas instead. Students who understand the flexibility of the program will have the ability to place the emphasis of their film credits in the other areas of the major (writing, history & criticism and craft production) to satisfy their degree.

In the junior year, students can select from several core production classes, which can be taken either in the fall or spring. These intermediate production classes afford each student the opportunity to make a short film or video project. Because only so many sections of each class are offered (12 in the fall and 10 in the spring), a portion of the junior class may have to wait until the spring semester to continue with their core production class work. Those students not able to take a production class of their choice in the Fall semester should concentrate on preparing a script, taking craft classes, starting an internship or using the Fall semester to fulfill general education requirements. In the senior year, advanced level production classes may be taken in Advanced Film Production, and Advanced Animation (full year production classes), Advanced Experimental Production, Advanced Television Production, Broadcast Documentary, Childrens Television Production, Narrative Workshop, and Narrative Television (all one semester classes). Some of the advanced classes and narrative classes have a cut system whereby only so many projects are approved for production (allotments are as follows: 12 per Advanced Film Production class; 10 per Narrative class; and 10 per Advanced Experimental Production class). Students who do not seek production approval, or are not granted approval, are always free to work in key crew capacities such as cinematographer, producer, sound mixer, editor, etc. in those classes. Please note that students are not allowed to take 2 Core Production courses in the same semester. (Core Production classes are very time-consuming AND it is not fair to deprive a fellow student of registering for a Core Production class because someone took two at one time. A Registrars report is ordered before the start of each Fall and Spring semester to check for this.)

General Education Classes

It is suggested that you complete the majority of your General Education requirements before your senior year. Presumably, you will be working intensely on advanced level films and videos and will need greater time and freedom to concentrate on that level of work. In addition, many faculty members advise students to register for no more than 15 points when enrolled in an intermediate-level production class such as Intermediate Narrative Production (normally taken during your junior year). Therefore, your freshman year, in addition to summer semesters, are excellent times in which to complete a significant amount of this academic requirement. Film and television production is time-intensive and demanding; yet, it is always your responsibility to keep up with your other classes. Liberal Arts classes (General Education) should not be given less priority than production classes. Choosing your General Education courses wisely is the best way to create successful semesters of study. Your General Education courses are opportunities to expand your education outside of the confines of the Film Department. Perhaps you should continue studying a foreign language to prepare for a semester abroad, or feed your passion of modern politics by taking a course on Political Theory. You may wish to choose a course that directly relates to your major interest within Film and Television. For example, if your interest is in cinematography, physics classes on the nature of light can help you while you are registered in a camera craft class. A Psychology course taken during the same semester as Actor-Director Workshop may help illuminate the connections between behavior and acting technique. Discuss your interests with your advisor and access course evaluations on the web at http://www.nyu.edu/cas/ceg/. An informed and educated visual storyteller is always more interesting than a storyteller with no sense of what exists beyond the medium. The chart below presents a sample distribution of courses to achieve satisfactory degree progress. After completing the freshman year, Craft production, History & Criticism and Scriptwriting courses may be exchanged between semesters, as long as distribution minimums are maintained. Note that one General Education course is taken each semester AND 3 semesters still require doubling up to two Gen Ed courses to total the 11 course Gen Ed minimum.

TYPICAL SCHEDULES FOR FILM & TV STUDENTS (who began as Freshmen)

(Typical TRANSFER schedules begin with sophomore year and differ according to what courses they took at previous schools) PLEASE NOTE THAT ALL GENERAL EDUCATION COURSES ARE IN BOLD.
CREDIT TOTAL CORE PROD. TOTAL GENERAL EDUCTION TOTAL

FALL SEMESTER

SPRING SEMESTER Audio Core production, 4 pts (Sound Image) Performance Strategies Colloquium, 2 pts Scriptwriting, (Storytelling Strategies), 4 pts The World Through Art 4 pts with Writing the Essay 0 pts Gen Ed of choice, 4 pts Sight & Sound: Film, Studio or Doc, 6pts Pre-Prod. Colloquium, 1 pt (taken once; in fall or spring) History & Criticism, 3 pts Scriptwriting choice, 4pts Gen Ed of choice, 4 pts Intermediate Core prod., 4-6 pts Craft production, 3 pts Craft production, 3 pts Post-Prod. Colloquium, 1 pt Gen Ed of choice, 4 pts Advanced Core production, 4 pts Senior Colloquium, 1 pt (taken once; in fall or spring) Craft production, 3 pts Gen Ed of choice, 4 pts Internship, 2pts

FRESHMAN

Visual Core production, 4 pts (Intro to Animation or Frame & Sequence) Visual Colloquium, 2 pts Language of Film, 4pts Art and the World 4 pts with Writing The Essay 0 pts Gen Ed of choice, 4 pts Sight & Sound: Film, Studio or Doc, 6 pts Pre-Prod. Colloquium, 1 pt (taken once; in fall or spring) Craft Production, 3 pts Scriptwriting (D&V), 4pts Gen Ed of Choice, 4 pts History & Criticism, 3 pts History & Criticism, 3 pts Craft Production, 3 pts Gen Ed of choice, 4 pts Gen Ed of choice, 4 pts Advanced Core production, 4 pts Senior Colloquium, 1 pt (taken once; in fall or spring) Craft production, 3 pts Gen Ed of choice, 4 pts Internship, 2pts

36 pts 92 pts remain for BFA 8 pts 16 pts 28 pts remain

36 pts 56pts remain for BFA 33 pts 23pts remain for BFA 28 points 0 pts remain for BFA 20 pts 24 pts 20 pts remain

SOPHOMORE

JUNIOR

+4pts (above the minimu m 20pts req.) +12pts (above the minimu m 20pts req.)

36 pts 8 pts remain

SENIOR

44 pts GEN EDS DONE!

POLICIES AND PROCEDURES

Advising
Advisement takes place during both the fall and spring semesters. Students are required to sign up for one 20-minute advising session in each semester. At that time, your advisor will review the course selections you listed on the Registration Worksheet. The following steps should be taken: Sign up for an advisement appointment with the advisor of your choice. (Teachers signup binders will be posted outside the Film & TV Registration Office, Room 1107, two weeks prior to each semesters advisement period.) Review course selections online, from the UGFTV Schedule of Classes, or from the NYU Directory of Classes. Create a tentative schedule with alternate course selections. Fill out a Registration Worksheet form (available outside the Film & TV Registration Office, Room 1107). Discuss schedule and course options with advisor. Review degree progress. Faculty advisor should approve schedule and sign off on your Registration Worksheet. Take the form and your degree audit (which was provided to your advisor) to Room 1107 for clearance to access Albert, the student registration system. If you need additional advising time, particularly for long-term goals and/or career choices, please make another appointment with your advisor during his/her weekly office hours. Please note that there are two faculty advisors available weekly: Julie Sloane and Gay Abel-Bey in the fall, and John Gurrin and Gay Abel-Bey in the spring. Stop by the Film & TV Registration Office to make an appointment with them.

NORMAL COURSE LOAD

All UGFTV students are expected to maintain full-time student status. Full-time students take between 12 and 18 credits each semester. In order for a student to take fewer than 12 (part-time) or more than 18 credits, he/she must receive permission from the Director of Administration, Wendy Kaplan. Students must pay for credits above 18 (approximately $1,450 plus fees per credit). Please note that students are not allowed to take 2 Core Production courses in the same semester.

GRADES
Letter grades (A,B,C,D,F & W) are final grades. They can be changed only if a clerical error has been made in recording the grade. Once a final grade has been recorded, a proposed change must be in writing and brought before the Dean of Student Affairs by the professor. Grades of A+ and D- ARE NOT recognized by NYU.

GRADES OF C- OR LOWER
For a film area course to count in the UGFTV major, a student must receive a grade of "C" or better. If a student receives a "C-" or lower in a UGFTV course, it will count for Elective credit ONLY. All passing grades are acceptable for General Education credit.

FOREIGN LANGUAGE REQUIREMENT

Students are not required to take a foreign language. However, if they choose to take a foreign language at the beginning level, they should be aware that the first semester course will be credited to the Elective category. The student must then successfully complete the second semester of the SAME elementary-level foreign language in order for the first one to count as a General Education Humanities course. The second semester of a language on the elementary level, individual intermediate and advanced classes in a language will count toward the General

Education Humanities requirement. To have the first semester of the elementary-level language course moved to general education, the student should notify the Film and TV Registration office when he/she has received passing grades in BOTH semesters. Transfer students who have taken only one semester on the beginning level of a foreign language at their previous college must take the second semester of the same language while enrolled at Tisch in order for the credit to be applied to the Humanities area. The student will receive credit in the Elective category for the one semester of prior coursework until a second semester has been completed. When the second semester of the elementary level language is passed, the student must notify the Film & TV Registration Office to prepare the necessary paperwork to retrieve the first semester of the language from electives and place it in General Education.

TRANSFER CREDITS / RE-EVALUATION OF TRANSFER CREDIT

The maximum number of credits a student can transfer into the Undergraduate Film and Television Department is 56. Transfer students have one year from their date of entrance into the Department to request a re-evaluation of transfer credit if they feel their evaluation does not reflect proper distribution of their credits. After that time, no request will be considered, unless there are very extenuating circumstances. To make this request, the student must fill out a Re-Evaluation of Transfer Credit form (available outside Room 1107). This request must be accompanied by relevant course descriptions for a decision to be made. Course descriptions usually appear in the catalogue copy from the institution; this can be either Xeroxed or printed from the institution's Website. In addition, students may provide copies of course syllabi or copies of graded term papers as supplementary material.

INCOMPLETES (I's) AND EXTENSIONS

If students are unable, for good reason, to complete their film and TV course work in the designated period, then he/she must request a grade of Incomplete from the instructor. Assignment of a grade of Incomplete is at the discretion of the instructor. If a student is given an Incomplete in a course, the instructor will give a deadline by which outstanding work must be completed. However, please note that the Incomplete grade must be resolved in no more than a year from when it was given. In addition, all Incomplete grades must be assigned a terminal letter grade (A, B, C, D, or F) before your graduation. YOU ARE UNABLE TO GRADUATE WITH AN INCOMPLETE GRADE ON YOUR TRANSCRIPT.
Important: The Tisch School of the Arts policy stipulates that if a student fails to complete the work within an academic year, the grade will lapse to an "F". (Example: If an "I" from Fall 2011 is not completed before the end of Fall 2012, it will become an "F" in late-December of 2012). If you have good reason (medical, financial, etc.) for not being able to complete the work by that time, you may be granted an extension by the instructor. To obtain an extension, process an Extension of Work Outstanding Form. After the instructor signs off on your request, the form should then be submitted to the Film & TV Registration Office for processing. Ultimately, your request must be approved by the Dean of Student Affairs. Please remember that it is your responsibility to request the grade of Incomplete, and there is no automatic grace period for Incomplete grades. NOTE: Incompletes in CAS courses lapse to an F after one full semester.

PROBATION
Students are required to maintain a GPA of 2.0 to remain in good standing. Any student whose GPA falls below that level may be placed on Academic Probation. Furthermore, students whose records indicate that they are not making normal progress toward their degree (i.e., are completing less than 32 points during the academic year) may be placed on probation, regardless of g.p.a. Students placed on probation will have their records reviewed the following semester. Students whose records fail to meet the departmental requirements for good standing are subject to dismissal. A cumulative GPA of 2.0 is required for Graduation.

ADD/DROP
The Add/Drop procedure permits a student to amend his or her program once the registration period is complete. Students have two weeks after the first day of classes to complete the Add/Drop process via ALBERT. Students are advised that they must consult an academic advisor in the Department regarding any changes in their schedule; changes without advisement can affect degree progress. After the third week of the term, students will receive a "W" on the transcript for classes dropped. The W does not affect the GPA. Drop/Add Procedure after the Second Week of the Term: STEP 1 The student must completely fill out an Add/Drop form (available outside Room 1107), obtain the instructor's signature for an Add, and see a faculty advisor. (We do have advisors available in Room 1105.) STEP 2 The faculty advisor should discuss the change with the student with respect to how it will affect the students degree progress. STEP 3 The student brings the Add/Drop form to Room 1107 for Departmental approval and stamp. STEP 4 The student brings stamped Add/Drop form to the Office of Student Affairs (726 nd Broadway, 2 Floor) for approval of refund within the published refund schedule. Refund does not apply if credits remain within 12-18 range defining full-time. STEP 5 The student brings the form to the Registrar at the Student Services Center located at 25 West 4th Street. NOTE: This process is required whether the courses are Departmental courses or not. ALSO, after the Third Week of the Term, students must obtain an additional signature from the Director of Academic Services in Tisch Student Affairs for adds or drops.

LEAVES OF ABSENCE/(LOA) FORMS

An official leave of absence means that a student has been granted permission by the Department and by the Dean of Student Affairs to be absent from school (unregistered) for a specified period of time. Because a leave interrupts your progress toward your degree, it is granted only for good cause. To request a leave of absence, students must fill out a Request for nd Leave of Absence Form, available in the TSOA Student Affairs Office (726 Broadway, 2 Floor) and from the forms kiosk outside the Film & TV registration office, 721 Broadway, Room 1107. The two page form can also be printed from the Tisch School of the Arts web site, http://undergraduate.tisch.nyu.edu/object/loa_request.html. The form is then submitted, along with a letter requesting leave, to the UGFTV Director of Administration Wendy Kaplan (Room 902, fax# 212/995-4062) stating the length of time you wish to be on leave and your reasons. Your leave is official only when you receive a letter from the Dean of Student Affairs granting the leave. All requests for a Medical Leave must be supported by a Physician's note and will be reviewed by the Dean of Student Affairs. An official leave of absence does not permit you to take course work elsewhere. For more information on permission to register elsewhere, please refer to the TSOA Policies and Procedures Handbook.

PERMISSION TO REGISTER OFF-CAMPUS

Once you have matriculated at New York University, you are expected to complete all of your coursework at this institution. Permission to register at another college or university, whether it is in the summer or the academic year, will be granted only for compelling educational reasons. Please note that any course(es) you are seeking permission for should not be available at NYU. For example, a student seeking to take an American History course at his or her local college over the summer between academic years would not generally be allowed to have those credits transfer, as a full range of American History courses are offered here at NYU. To seek permission, first consult your departmental advisor. You must process a Permission to Register Off-Campus Leave of Absence Form, and you must also satisfy a number of conditions listed in the TSOA Handbook. Approval of the Permission to Register Off-Campus Form is subject to the

authorization of Anita R. Gupta, Director of Academic Services in the TSOA Office of Student nd Affairs (726 Broadway, 2 Floor).

RESIDENCY REQUIREMENTS
Students must register for their final thirty-two (32) credits at New York University. These credits must be registered through UGFTV if the student is to receive a Bachelor of Fine Arts degree from the Tisch Film and Television Department. In Undergraduate Film & Television, transfer students should note the Five-Semester Residency Requirement at the top of the Evaluation of Transfer Credits form which states that students must spend a minimum of five semesters in the Department. For a summer semester to "count" toward this Requirement, the student must take 6 credits of Core production coursework, or any 8 Film and Television (FMTV-UT) credits. Please note that internship placement requires at least one year of residency at NYU; refer to Media Internships, next page.

ADVANCED PLACEMENT (AP) CREDITS

Students may have up to 8 points of Advanced Placement credit count towards the General Education Requirement. AP credits beyond these 8 will be placed in the electives category of degree audit, up to a maximum of 24 credits (8 in Gen. Ed. and 24 in electives). Evaluation is done by the Undergraduate Admissions Office and is only for students who had their AP scores sent to the Admissions Office upon initial application. A score of 4 or 5 is required for credit. You have one year from the time you enter NYU to decide whether to transfer all or part of your AP credit. If you have not yet requested your AP scores be sent to NYU, you can call 888-CALL-4AP or e-mail: apexams@ets.org. Please note that accepting AP credits beyond the 8 allowed in General Education can result in the loss of financial aid in the senior year if the student is entering the summer prior to their last year with more than 113 credits. Please contact the TSOA Office of Financial Aid (212-998-1911) with questions.

GRADUATION
Students must apply to graduate via Albert NO LATER than the beginning of the semester in which they intend to graduate. Students applying for a particular graduation period on Albert after the published application dates listed below will not be considered for graduation during that period. You should make an appointment with your advisor the semester before you intend to graduate to confirm that you will fulfill all degree requirements. Please remember that all incomplete grades must be changed to a terminal letter grade before graduation. (Dates below from:
http://www.nyu.edu/registrar; click on Graduation, go to the website for dates listed through January 2013.) Apply to graduate Graduate!

January 2012 May 2012 Sept 2012 January 2013

6/13/11 to 9/30/11 10/3/11 to 2/3/12 2/6/12 to 6/8/12 6/11/12 to 10/5/12

1/23/12 5/10/12 9/24/12 1/28/13

SOLVING PROBLEMS
Although the department may seem large and sometimes daunting, an eager staff of administrators and faculty is here to assist you. When problems, questions or concerns arise, we encourage you to first seek means of solving things on your own. Following the chain of command as outlined in the examples below, will help you to quickly resolve any problems that might occur:
If the concern is of an academic nature, please first see the TA, then the instructor in the class. If that proves unsuccessful, then meet with the Faculty Director of Studies for that area, then see Joe Pichirallo, the Department Chair (Room 1103). Need contact information? Please see the contact pages near the end of this document or http://filmtv.tisch.nyu.edu/page/faculty.html. Staff people are ready to assist you with questions that may arise within the production areas. If there is an unresolved problem, question or concern, you can then go to the Area Manager and then finally to Rosanne Limoncelli, the Director of Production (Room 939).

10

Within the administrative areas (Registration, Internship, etc.), if a staff member can't solve a problem directly, please feel free to see Wendy Kaplan, the Director of Administration (Room 902). Your liaison for NYU services and functions is the TSOA Dean's Office for Student Affairs. Dean Robert Cameron is Tischs Student Affairs Dean. Located on the 2nd floor of 726 Broadway, this office should be your first stop for questions about housing, financial aid, international student concerns, commencement activities, etc. The department is happy to intervene with the TSOA Student Affairs Office on your behalf after you have first made an attempt on your own. Please see Wendy Kaplan, the Director of Administration, for such assistance if necessary.

Once you have exhausted these options, you can request a meeting with the Associate Dean for Film & Television, Sheril Antonio (9th floor). If a matter is still unresolved, you may also request a meeting with any of the other Deans in the school, including Mary Schmidt Campbell, the Dean of th the School (12 floor). Dean Antonio and Dean Campbell will want to know that you attempted to resolve matters at the classroom or departmental level first.

MEDIA INTERNSHIPS
Students interested in doing an internship should contact the Internship Coordinator, Adam Underhill. Only students who have completed 2 semesters of Sight and Sound and are in good academic standing may register for a Media Internship during the academic year. Internships may be taken for 1-12 points per semester, with a recommended maximum of 8 points in the Junior year and 16 points in the Senior year. These will count as Production Craft credits. No more than 24 points of internship credit may be taken toward the completion of degree requirements. Any student may register for an Internship during one or both of the two summer sessions. http://filmtv.tisch.nyu.edu/page/intern.html.

PREREQUISITES
Students are expected to fulfill all prerequisites for Departmental courses. In rare circumstances prerequisites can be waived by petitioning the Faculty Director of Studies who oversees a particular course (a list of Directors of Studies appears at the end of this Handbook). To have a prerequisite waived, students must complete the Prerequisite Waiver Form (available in the Forms Kiosk outside Room 1107), and return the form to the Film & TV Registration Office in Room 1107. The Department retains the right to drop any student from a course if they have not fulfilled the necessary prerequisites. Prerequisites are not waived lightly.

COURSE EVALUATIONS
At the conclusion of each semester, students are requested to anonymously fill out an evaluation form for each class. This is an ideal opportunity to express an honest opinion about the program. We ask that you take your responsibility in this matter seriously. You may access course evaluations for the College of Arts and Science (Gen. Eds.) at the Student Councils web site (http://www.nyu.edu/cas/ceg). The informative site may be searched by course number, title, or instructor; and includes written comments about classes and teachers. This site is invaluable for selecting well-regarded classes to fulfill your general education requirements.

EXPOSITORY WRITING
Expository Writing is required of all undergraduate students. The courses that fulfill this requirement are part of a Core Curriculum sequence at the Tisch School of the Arts required of all freshmen. The expository writing and core curriculum requirement cannot be waived, although transfer students may be able to substitute equivalent course work taken elsewhere, and students for whom English is a second language may be required to take a separate sequence of writing courses. The TSOA policies in regard to Expository Writing and the Core Curriculum are set forth below. The Core* Curriculum Description

11

The Tisch Core Curriculum consists of a two-course sequence with a writing workshop section constituting an integral part of each course. Art in the World/Writing the Essay (EXPOS-UA 5) is offered during the fall term, followed by The World through Art/Writing the Essay (ASPP-UT 2) in the spring. The fall semester course is comprised of four lectures throughout the term, with a workshop that meets twice weekly. The spring semester course is comprised of a weekly plenary lecture given by a Tisch senior faculty member and a workshop that meets twice a week. The courses mix different artistic media so as to integrate students various professional interests, and combine practical and theoretical approaches to achieve a comprehensive grasp of the work that art can do in the world. These writing courses are intensive, interdisciplinary and collaborative. Lectures and workshops focus on how to read complex texts for an understanding of their arguments, and how to write well-reasoned essays supported by evidence. These courses are designed to foster an appreciation of how the arts relate to each other and to society in a changing world. These courses will allow students to reflect on a range of social and ethical issues as they pertain to their own creativity.
*Please do not confuse core used here with the Film core, which refers to a production course.

Requirement for Students Admitted as Freshmen Completion of both semesters of the core curriculum sequence (8.0 credits) is required of all students admitted as freshmen, regardless of whether or not the student has taken a college writing course in high school. College-level expository writing courses taken while in high school are not transferable for credit towards the BFA degree. Advanced Placement credits in English Composition are not accepted and a student admitted as a freshman cannot place out of the requirement. In addition to fulfilling the core curriculum requirement, registering for the twocourse sequence and the linked section in the Fall fulfills the two-semester Expository Writing requirement. The requirement is for a total of eight credits (four credits per semester). Transfer Requirements To fulfill the expository writing requirement, transfer students must have completed a minimum of one semester of the equivalent of Art in the World/Writing the Essay (V40.0105) before entering the Tisch School of the Arts. Transfer students who do not have transferable credits will be required to take V40.0105 in the Fall term. This four credit course will then satisfy the minimum requirement in the Expository Writing area of General Education. Transfer students will be evaluated as to whether or not they have previously fulfilled their writing requirement upon receipt of their final transcript. International Students and Students for whom English is a Second Language (ESL) International students who are native speakers of English have the same Core Curriculum and expository writing requirements as domestic native speakers of English. English as a Second Language (ESL) students at Tisch, however, have requirements differing from those listed above. English as a Second Language (ESL) students must satisfy standards set by NYUs American Language Institute (ALI) and Expository Writing Program (EWP) for university-level English proficiency. Based upon the departments recommendation, students may be required to be tested at ALI upon arrival to determine proficiency, which will in turn determine placement by EWP in either the two-course International Writing sequence or the two-course Tisch Core Curriculum sequence (described above), or a combination of the two sequences. The requirement for all ESL students, both freshmen and transfers, is 8.0 credits or the equivalent in writing courses. The International Writing sequence is a two-course sequence (V41.0004 and V41.0009). Successful completion of both courses is the equivalent of completing Art and the World/Writing the Essay (V40.0105) and The World Through Art/Writing the World (H48.0002). Prerequisite work may be required prior to enrollment in the two-course sequence. An ESL student required by placement test results to complete a prerequisite course must do so prior to enrollment in the two-course International Writing sequence.

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Transfer ESL students may have up to 4.0 credits of the 8.0 credit requirement waived by the NYU Expository Writing Program, based on a determination of the writing proficiency of the student. ESL transfer students who have successfully completed an English composition course at a U.S. college or university will be evaluated as to whether or not they have previously fulfilled the expository writing requirement upon receipt of their final transcript. English composition courses taken at foreign universities do not transfer to NYU for credit. International or ESL students with any questions concerning the expository writing and core curriculum requirement are encouraged to see Anita Gupta, Director of Student and Academic Services and advisor to Tisch undergraduate international students, in the TSOA Office of nd Student Affairs (726 Broadway, 2 Floor). Additional Notes:
For students admitted as freshmen, the Expository Writing requirement and the Core Curriculum requirement are only satisfied by successful completion of the two-semester core curriculum sequence as outlined above. There are no exemptions based on advanced standing or level of writing skill. Students admitted as transfers may satisfy the requirement either by transfer credit or by completing the first semester of the core curriculum sequence. Transfers who do not receive transfer credit in expository writing may petition for a waiver of the requirement based on the quality of written work and research accomplished in prior coursework. For details on the petition procedure and for the application form transfers should see Anita Gupta, Director of Academic Services in Tisch Student Affairs. (The form and a page describing the petition to waive Expository Writing can be picked up from the Film & TV Registration Office, room 1107.) Transfers should be aware that waivers are granted only after a rigorous review by the NYU Expository Writing Program. NYUs Writing Center offers assistance to writers of every level. Students can expect help with a wide range of writing needs from planning and revising essays for courses to writing a rsum. The Center conducts tutorials in private study areas; the service is available, free of charge, to all members of the University community. The tutorials generally last about half an hour. The Center is th located on the third floor of 411 Lafayette, between Astor and 4 . For further information or to make an appointment, call the Center at 212/998-8866.

ATTENDANCE POLICY
Punctual attendance at all classes is mandatory, with exceptions made only in the case of illness or serious emergency. Students arriving more than ten (10) minutes late for class will be considered absent for that day. In the event that a student has more than two unexcused absences in a class during a semester, such absences may be reflected in the final course grade for that term. It is within the instructor's discretion to fail a student for missing classes. The Department reserves the right to drop any student who is not present for the FIRST scheduled meeting of any UGFTV class, and who has not notified the instructor in writing BY THAT MEETING of his/her intention to be in the class. If there is a waitlist for that class, you will be replaced by the first student from the waitlist. Students are required to contact the instructor or leave a message at the UGFTV front desk - (212/998-1700). The reason for missing a first class must be of a serious nature to be valid.

TSOA STUDENT HANDBOOK

For a complete outline of the policies and procedures applicable to the academics here at Tisch, students are advised to read and consult the TSOA Policies & Procedures Student Handbook. Published by the Office of Academic Affairs, it is an invaluable companion to the Academic Handbook, and covers such topics as grading policies and honors, the TSOA Dean's List, Permission to Register Off-Campus, and Drop/Add and Refund Schedule for the academic year. There are also sections on counseling and student services. Distributed at freshman and transfer

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orientations, copies of the TSOA Policies and Procedures Student Handbook are also available from the Office of Student Affairs, located at 726 Broadway, 2nd Floor. It is also available online at http://undergraduate.tisch.nyu.edu/page/download; choose the related link on the right for Tisch Handbook of Policies and Procedures.

AUDITING
There is no auditing of classes in the Undergraduate Film & TV program.

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PROGRAM DESCRIPTION DEGREE REQUIREMENTS

The Undergraduate program of the Kanbar Institute of Film and Television offers the degree of Bachelor of Fine Arts. Candidates for the BFA must fulfill the following requirements: 1. A minimum of 54 points in Area I (UGFTV). 2. A minimum of 44 points in Area II (General Education). 3. Enough credits in Areas I and II to total 128 points, or enough credits in Areas I, II, and Electives to total 128 points.

DISTRIBUTION REQUIREMENTS
Area I: Film and Television Arts (minimum of 54 points): Group A: History and Criticism (3 courses for not less than 9 points). Group B: Production (4 Core production courses for not less than 20 points). Group C: Writing (3 courses for not less than 12 points). Area II: General Education Requirement (minimum of 44 points) All students are required to take at least 44 points in courses to be distributed among the following three categories in General Education. General Education classes are generally taken in the College of Arts and Science. (Please Note: All Stern, Gallatin, Steinhardt, and most Journalism Department courses are Elective credit only. School of Continuing and Professional Studies classes, taken after entrance to the Film & TV Department, will not be credited at all towards your degree). Group 1: TSOA Department of Art & Public Policy Core CurriculumV40.0105, Art and The World, with its corresponding Writing the Essay section in the Fall, plus H48.0002, The World through Art plus its corresponding recitation section in the Spring, for Freshmen (8 total credits); V40.0105, Art and The World, with its corresponding Writing the Essay section in the Fall for Transfer students (4credits), or the two-course International Writing Sequence for international students. (Please see previous section, Policies and Procedures, for detailed information regarding this requirement). The Humanities--Minimum of 8 credits required for Freshman; 2 courses for not less than 6 points for Transfers - Choices: foreign languages (if at the elementary level, 2 semesters of the same language required, see page 9), literature (comparative and dramatic), classics (ancient history and literature), English, fine arts, history (including theater history), music (history), or philosophy. The SciencesMinimum of 8 credits required for Freshman; 2 courses for not less than 6 points for Transfers choices of social sciences, politics, sociology, economics, psychology, anthropology, natural sciences, mathematics, biology, chemistry, geology, or physics.

Group 2:

Group 3:

NOTE ON GENERAL EDUCATION CLASSES

In order for a course to fulfill a General Education requirement, it must be significantly different from courses offered within the major. To this end, a course must meet certain criteria, best remembered by the acronym CHAT: Critical, Historical, Analytical, and Theoretical. Courses that are practical (how to...) do not fulfill the GE requirement. Please note exceptions to courses eligible for general education credit in the various CAS Department listings on pages 17-21.

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UNDERGRADUATE GENERAL EDUCATION ADVISEMENT TOOL

Most of the courses you will take to complete your General Education requirements are offered through NYU's College of Arts and Sciences (CAS). The UGFTV Advisement Tool is designed to help you determine if a course fulfills the General Education requirement or if it falls into Electives. Please scroll to the bottom of the page for a similar tool for the Tisch School of the Arts. Courses that count toward the 44 points of General Education credit are those which the Department feels will broaden the students perspectives through: research analysis historical overview critical thinking Courses that do NOT count toward this requirement are professional in nature or duplicate TSOA Cinema Studies Department courses, production craft courses, writing courses, or skills (nonanalytical and/or non-critical) courses. NOTE: THIS LIST IS AS COMPREHENSIVE AS POSSIBLE. BECAUSE CAS DEPARTMENTS ADD COURSES OR CHOOSE TO CROSS-LIST COURSES WITHOUT OUR BEING NOTIFIED, A FEW COURSES MAY APPEAR TO BE OKAY AS GEN EDS BUT ARE ACTUALLY ELECTIVES. CHECK WITH YOUR ADVISOR OR THE REGISTRATION OFFICE (ROOM 1107) WITH SPECIFIC QUESTIONS. ANOTHER NOTE: ALL COURSES IN THE STEINHARDT SCHOOL OF EDUCATION (UE suffix), STERN SCHOOL OF BUSINESS (UB suffix), THE WAGNER GRADUATE SCHOOL OF PUBLIC SERVICE (GP suffix), and THE GALLATIN SCHOOL OF INDIVIDUALIZED STUDY (UG suffix) OR ANY OTHER DIVISION OF NYU BESIDES CAS WILL COUNT TOWARDS ELECTIVE CREDIT ONLY. NO CREDIT AT ALL WILL BE GIVEN FOR COURSES TAKEN AT THE SCHOOL OF CONTINUING AND PROFESSIONAL STUDIES (DC, GC or CE suffix). To determine what area of distribution a course fulfills, do the following: o Look down the list and locate the subject area. For a course numbered ENGL-UA 30, "ENGL" is the subject area and "UA" is the suffix. o Look across the chart. You will see that ENGL 1 is offered by the English Department and fulfills the Humanities requirement. o Also note the "Known Exceptions". The "Known Exceptions" for the English Department count only as Elective credits and NOT Gen. Ed. credit. SPECIAL ATTENTION! o If any course within these departments lists "film", "cinema" or "television" in its title, it is NOT a general education course (with the rare exception). o No INTERNSHIP within CAS can be used for Gen Ed credit. Any Independent Study in CAS needs PRIOR approval from the TSOA Academic Dean. o If a course is noted as "cross-listed" with another Department, then its General Education or Elective distribution in your Degree Audit is that of the sponsoring department. FOREIGN LANGUAGE NOTE Please note that students must successfully complete TWO semesters of the SAME foreign language in order for it to count in the Humanities portion of General Education area of the degree requirements. A language course taken past the Elementary Language I will automatically count toward Humanities. When a student successfully completes the second semester of the foreign language, they should inform Room 1107 to move their first semester from electives to Humanities.

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COLLEGE OF ARTS AND SCIENCES DEPARTMENTS

PREFIX ANST-UA ANTH-UA/GA DEPARTMENT ANIMAL STUDIES ANTHROPOLOGY Known Exceptions: 122, 1215-1216, 1630 ARTH-UA BIOL-UA/GA CAMHS-UA ART HISTORY BIOLOGY CHILD AND ADOLESCENT MENTAL HEALTH STUDIES Known Exceptions: 131, 132 CHE CHEM-UA/GA CLASS-UA/GA COLIT-UA/GA CHEM/POLY ENGINEERING CHEMISTRY CLASSICS COMPARATIVE LITERATURE Known Exceptions: 253, 255, 300 CRWRI-UA/GA CSCI-UA/GA DRLIT-UA CREATIVE WRITING COMPUTER SCIENCE DRAMATIC LITERATURE Known Exceptions: 33, 135, 233, 305-306, 310, 500-502, 504-505, 507-599, 635-650, 840-841, 980-981 EAST-UA/GA EAST ASIAN STUDIES Known Exceptions: 613, 614, 616, 709, 8314, 9314 Known Exceptions: 708 ECON-UA/GA ENGL-UA/GA ECONOMICS ENGLISH Known Exceptions: 30, 33, 170-171, 800-840, 970, 972, 980, and 997 ENVST-UA/GA ENVIRONMENTAL STUDIES Known Exceptions: 400, 415 EURO-UA/GA EUROPEAN STUDIES Known Exceptions: 100, 102, 135 FREN-UA/GA FRENCH Known Exceptions: 109, 878, 881-883 FRSEM-UA GERM-UA/GA FRESHMAN HONORS SEMINARS GERMAN DISTRIBUTION SCIENCE or HUMANITIES (depending on specific area) SCIENCES Electives HUMANITIES SCIENCES SCIENCES Electives Electives SCIENCES HUMANITIES HUMANITIES Electives Electives SCIENCES HUMANITIES Electives HUMANITIES (See Foreign Language Note) Electives History & Criticism SCIENCES HUMANITIES Electives SCIENCES HUMANITIES SCIENCES HUMANITIES HUMANITIES (See Foreign Language Note) Electives HUMANITIES or SCIENCES (depending on course topic) HUMANITIES (See Foreign

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Language Note) Known Exceptions: 253, 9253 HBRJD-UA/GA HEL-UA HIST-UA/GA HEBREW/JUDAIC STUDIES HELLENIC STUDIES HISTORY Known Exceptions: 13, 536, 691 Known Exceptions: 638 INTRL-UA IRISH-UA/GA INTERNATIONAL RELATIONS IRISH STUDIES Known Exceptions: 514, 1100, 9515, 2518 Known Exceptions: 135, 503 ITAL-UA/GA ITALIAN Known Exceptions: 167, 169, 282, 881 JOUR-UA/GA JOURNALISM Please note: most courses in this Department allocate for ELECTIVE credit -- not GEN ED. See above related link for PDF of new Gen Ed allocations. Known Exceptions: 10, 505, 9505 Known Exceptions: 61, 298, 501, 502, 503, 504, 611, 622, 720, 9503 LING-UA LWSOC-UA LINGUISTICS LAW AND SOCIETY LATIN AMERICAN STUDIES MAP-UA MATH-UA MEDI-UA MEIS-UA/GA MORSE ACADEMIC PLAN (NOTE: Usually restricted to CAS students ONLY!) MATH MEDIEVAL & RENAISSANCE STUDIES MIDDLE EASTERN AND ISLAMIC STUDIES Known Exceptions: 609, 640, 674, 680, 696, 809 MUSIC-UA/GA MUSIC Known Exceptions: 20, 201-205, 207, 209, 307-308, 505508 NEURL-UA/GA PHIL-UA/GA PHYS-UA/GA POL-UA PORT-UA/GA PSYCH-UA/GA RELST-GA NEURAL SCIENCE PHILOSOPHY PHYSICS POLITICS PORTUGUESE PSYCHOLOGY RELIGIOUS STUDIES History & Criticism HUMANITIES (See Foreign Language Note) HUMANITIES (See Foreign Language Note) HUMANITIES SCIENCES Electives SCIENCES HUMANITIES (See Foreign Language Note) SCIENCES Electives HUMANITIES (See Foreign Language Note) Electives Electives HUMANITIES SCIENCES SCIENCES SCIENCES Check sponsoring department number SCIENCES SCIENCES HUMANITIES HUMANITIES (See Foreign Language Note) SCIENCES HUMANITIES Electives SCIENCES HUMANITIES SCIENCES SCIENCES HUMANITIES (See Foreign Language Note) SCIENCES HUMANITIES

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RUSSN-UA/GA

RUSSIAN & SLAVIC STUDIES SOCIAL & CULTURAL ANALYSIS This Department has many different kinds of courses in six Programs that are very diverse. This Department does not tend to allocate as predominantly Humanities or Science. For example, history courses in this Department would be Humanities, while an anthropology course in the same Program would be a Social Science. PROGRAMS IN: AFRICANA STUDIES, AMERICAN STUDIES, ASIAN/PACIFIC/AMERICAN STUDIES, LATINO STUDIES, METROPOLITAN STUDIES, GENDER AND SEXUALITY STUDIES Known Allocations: 105, 166, 224, 313, 371, 482, 501, 534, 540, 541, 572, 608, 680, 721, 726, 755, 757, 812, 815, 816, 822, 828, 831, 833 are Humanities. 1, 154, 156, 232, 301, 307, 314, 363, 401, 481, 536, 545, 623, 680, 715, 719, 733, 740, 743, 776, 807 are Sciences. 90, 314, 310, and 361 are F/TV History & Criticism. 180, 800, 80, 9314, 778, 720, 352 are Electives. SOCIOLOGY SPANISH

HUMANITIES (See Foreign Language Note)

SCA-UA

HUMANITIES OR SCIENCE, depending on the course.

SOC-UA/GA SPAN-UA/GA

SCIENCES HUMANITIES (See Foreign Language Note)

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GENERAL EDUCATION ADVISING TOOL for TSOA DEPARTMENTS While most courses offered through the Tisch School of the Arts are counted as elective credit for Film & TV students, there are several courses within TSOA that will count towards your General Education Requirements. To determine what area of distribution this course fulfills, do the following:

o o

Look down the list and locate the prefix code. Example: For a course numbered H28.0500, "H28" would be the prefix. Look across the chart. You will see that H28.0602 is offered by the Drama Department and fulfills the Humanities requirement.

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TSOA DEGREE AUDIT ALLOCATIONS

PREFIX ACTG-GT DANC-UT DESG-UT THEA-UT GRADUATE ACTING DANCE DESIGN DRAMA Electives Known Exceptions: 602, 605, 608, 618, 623, 624, 625, 631, 632, 650, 661, 662, 700, 705, 711, 717, 718, 719, 721, 723, 725, 727, 731, 732, 741, 744, 748, plus new courses TBD each semester SPECIAL PROGRAMS - Topics courses, Art & Culture (Cuba, South Africa, China, etc. - see specific semester course offerings) Known Exceptions: 11, 1000, 1002, 1500, 2040 ASPP-UT ART & PUBLIC POLICY Check specific listings in Art & Policy Course booklet or at http://app.tisch.nyu.edu. Some courses may be Gen Ed offerings. Please read carefully, because there are TBD and recent additions/changes each semester. CINE-UT ITPG-UT DWPG-UT GMTW-GT CINEMA STUDIES INTERACTIVE COMMUNICATIONS DRAMATIC WRITING GRADUATE MUSICAL THEATER WRITING Known Exceptions: 1002 PHTI-UT PHOTOGRAPHY AND IMAGING Known Exceptions: 1120 REMU-UT CLIVE DAVIS DEPARTMENT OF RECORED MUSIC Known Exceptions: 1107, 1113, 1116, 1130-1132, 1194, 1195, 1199, plus new courses TBD each semester OART-UT OPEN ARTS CURRICULUM (TSOA) Known Exceptions: 826,952,954,955, 1280, 1400, 1500, 1918, 1922 Known Exceptions: 404, 1017 Known Exceptions: 140, 562, 1704 HISTORY & CRITICISM ONLY Electives Electives Electives HUMANITIES MOSTLY Electives HUMANITIES MOSTLY Electives only HUMANITIES MOSTLY Electives only HUMANITIES SCIENCES HISTORY & CRITICISM DEPARTMENT DISTRIBUTION Electives Electives Electives

HUMANITIES

IOART-UT

HUMANITIES Electives Varies by course (see below)

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Film and TV Gen Eds

Yes, there is ONE film course that is a Gen Ed/Science and TWO film history and criticism courses that be taken as Gen Eds instead of history and criticism. See course descriptions and details below:
SCIENCE OF CINEMATOGRAPHY (Gen Ed - Science) FMTV-UT 1063 Course Level: Fundamental offered Spring semester only 4 points. Prerequisites: FMTV-UT 1065 Camera I or FMTV-UT 1165 Cinematographers Workshop This course is a theoretical analysis of the science behind cinematography. The class will assume a basic mathematical background and understanding of physical science. There will be no practical experimentation of lighting, as that is the domain of Camera I and Camera II. The objective is to lay a ground work for color science, physics of light and lens as well as quantitative film and electronic image analysis. The class will also include a survey of camera engineering. The three main components of this course are: 1) Light, Quanta, and Optics, 2) Colorimetry and Electro-magnetic Spectrum, 3) Motion Picture Engineering. TRADITIONS IN NARRATIVE FMTV-UT 1031 Course Level: Intermediate 4 points. For UGFTV students, this course may be used to fulfill only one of the following: Humanities or the Departmental History and Criticism requirement. Note: Degree audit will automatically credit this class to UGFTV - History and Criticism. To have this class credited to Humanities area of General Education instead, please bring this request in writing to the registration office in Room 1107. This course surveys narrative forms and representative works from literature that employ them contributing to a familiarity with the literary tradition inherited by film, television, and radio. It examines the various strategies of narrative structure and its principal components (e.g., plot, theme, character, imagery, symbolism, point of view) with an attempt to connect these with contemporary forms of media expression. The course includes extensive readings, selected from English, American, and world literature, which are examined in discussion. IMAGES OF THE 1930's FMTV-UT 1026 Course Level: Intermediate/Advanced 4 points. Prerequisite: Junior or Senior status. For UGFTV students, this course may be used to fulfill only one of the following: Humanities or

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the Departmental History and Criticism requirement. Note: degree audit will automatically credit this class to UGFTV - History and Criticism. To have this class credited to Humanities area of General Education instead, please bring this request in writing to the registration office in Room 1107. During the Great Depression, American painters, photographers, film-makers, writers, and artists of all varieties played pivotal roles in helping this country grapple with its self-image. What can we learn from a close study of these artists work that can benefit us in our time? In this seminar students will be involved in family history and documentary research, as well as getting to know the films, photographs, journalism, and novels of the 1930's. Students are required to read two texts, make four oral reports on pre-assigned topics and submit a term paper, video or audio tape based on topics or personalities associated with the period under study.

History & Criticism

Students must complete 3 courses for not less than 9 points. GENERAL INFORMATION All courses are arranged by level: Introductory, Fundamental, Intermediate, and Advanced. Some courses may not be offered in a given academic year. Consult each semesters schedule for specific information. Cinema Studies courses for UGFTV students: The Department of Cinema Studies offers a series of courses open to all students. Offerings vary each semester but may include courses in genre, national cinemas and histories of specific crafts. These are listed separately by that Department. A few of these courses are cross-listed with Film and Television. When a Department of Cinema Studies course is cross-listed, Undergraduate Film and Television students are required to take the UGFTV, or "FMTV-UT", cross-listing. Consult the current semester list of classes for offerings from the Cinema Studies Department (courses beginning in the prefix CINE.) on Albert. If you would like to take one of the Cinema Studies courses offerings, please note the following: in order to receive an access code for registration, all students must present a Film and TV Registration Worksheet (signed by their Film & TV advisor) to the Cinema Studies department office on the 6th floor, south elevator of 721 Broadway. General Education and History and Criticism: The two courses below will be automatically credited toward your History & Criticism requirement when you register for them. If you decide to use them as Gen Ed courses instead of History & Criticism courses, you must request this in writing to the Film & TV Registration Office. Images of the 1930's Traditions in Narrative TSOA Special Programs Producing minor and History and Criticism: The following course is offered as part of the TSOA Special Programs Producing minor: Media Moguls of the 20th Century (H95.0562)

UGFTV COURSE OFFERINGS

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REQUIRED OF ALL FRESHMEN Language of Film AMERICAN FILM American Cinema: Origins to 1960 American Cinema: 1960 to present ANIMATION HISTORY History of Animation CINEMATOGRAPHY Cinematography and Mise-en-Scene History of Cinematography CRAFT HISTORIES History of Editing Music for Film and Television The Art of Sound DOCUMENTARY HISTORY Documentary Traditions I & II Images of the 1930's Documentary Fictions Documentary Films Go To the Movies EXPERIMENTAL FILM HISTORY Media Mavericks:A Critical Examination of Film & Video FILM AESTHETICS Film Analysis Language of Film Traditions in Narrative INDIVIDUAL TOPICS Expanding Cinema: New Media, The Movies and Beyond Hollywood Auteurs Hollywood and Its Alternatives Issues in Contemporary African American Cinema Women in the Director's Chair INTERNATIONAL CINEMA International Cinema: Origins to 1960 International Cinema: 1960 to present Italian Cinema TELEVISION History of Children's Television Television Programming and Concepts The Evolution of Television Programming

See below for full course descriptions.

REQUIRED OF ALL FRESHMEN

LANGUAGE OF FILM FMTV-UT 4 Course level: Introductory

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4 points. Students must also register for one recitation. A basic introduction to the study of film, this course gives an overview of the historical development of cinema as an artistic and social force, while at the same time acquaints the students with the aesthetic elements of the cinema, the terminology governing film production, and the lines of critical inquiry that have been developed for the medium. The objective of the course is to equip students, by raising their awareness of the development and complexities of the cinema, to read films as trained and informed viewers. From this base, students can progress to a deeper understanding of film, a greater grasp of the technicalities of film production, and the proper in-depth study of cinema. Readings, screenings, midterm, and final exams.

AMERICAN FILM
AMERICAN CINEMA: ORIGINS TO 1960 FMTV-UT 323 Offered in Fall semester only. Course Level: Intermediate 4 points. No prerequisite. This course offers a broad survey of American cinema from its beginnings (and even its history) up to 1960. While the emphasis will be on the dominant, narrative fiction film, there will be attention to other modes of American cinema such as experimental film, animation, shorts, and non-fiction film. The course will look closely at films themselves -- how do their styles and narrative structures change over time? -- but also at contexts: how do films reflect their times? how does the film industry develop? what are the key institutions that had impact on American film over its history? We will also attend to the role of key figures in film's history: from creative personnel (for example, the director or the screenwriter) to industrialists and administrators, to censors to critics and to audiences themselves. The goal will be to provide an overall understanding of one of the most consequential of modern popular art forms and of its particular contributions to the art and culture of our modernity. AMERICAN CINEMA: 1960 TO THE PRESENT FMTV-UT 324 Offered in Spring semester only. Course Level: Intermediate 4 points. No prerequisite. Over the last 50 years the American Cinema has produced a remarkably rich abundance of entertaining, exciting, and challenging films. This course is designed to provide a survey of the wealth of styles, forms, purposes, and approaches to filmmaking that developed and emerged in this era. While Hollywood has obviously served as the dominant mode of filmmaking in this country, a significant diversity of other filmmaking practices have continued to operate and sometimes thrive outside of it. Beyond the attention paid to Hollywood narrative cinema as it has changed and evolved over this half-century, we will also consider documentaries, avant-garde and experimental works, independent narrative cinema, and cult films. Consequentially, we will be screening a variety of films, including works by such notable American filmmakers as Steven Spielberg, Francis Ford Coppola, Quentin Tarantino, George Romero, John Singleton, and Michael Moore.

ANIMATION HISTORY
HISTORY OF ANIMATION FMTV-UT 1144 Offered in Fall semester only. Course Level: Introductory/Fundamental 3 points. No prerequisite.

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A chronological survey of the art and commerce of the animated film internationally over the last 100 years. Designed to expand students' awareness of the origins of a significant 20th-century art form and to acquaint them with a wide variety of practical techniques and styles, from pre-film influences to computer-generated images; from "Golden Age" studio cartoon factories to today's independent avant-garde animator-filmmakers. Designed to expand student aesthetic sensibilities and sharpen critical perceptions about this unique genre.

CINEMATOGRAPHY
CINEMATOGRAPHY AND MISE EN SCENE FMTV-UT 1202 Previously offered Course Level: Intermediate 3 points. An optional 1-point independent study requires a term paper. This course deals with the concepts of mise-en-scene and cinematography in both narrative and documentary films. Through the comparative work of four directors of photography we will analyze several aspects of the visual aesthetic of a cinematic piece, such as camera movement, lighting or set design. We will also emphasize the narrative power of the pictorial as a fundamental tool to define characters psychology and motivations. In addition, we will study cinematography and mise-en-scene in relation to other artistic practices painting,still photography and comic books. The course will concentrate on the works of several central cinematographers Christopher Doyle, Ellen Kuras, Gordon Willis, Vittorio Storaro, Robby Muller, Gregg Toland and Darius Khondji, among others and utilize their work as a springboard to analyze in depth the work of other directors of photography and production designers/art directors with the purpose of offering students both a historical understanding and a theoretical and practical knowledge of cinematic image-making. This course does not provide technical training in cinematography although it does study the very process behind the visual design of films. Readings range from interviews with cinematographers and production designers to scholarly essays on the concepts of cinematography, mise-en-scene and the featured films. HISTORY OF CINEMATOGRAPHY FMTV-UT 1206 Course Level: Intermediate 3 points. No Prerequisite This course deals with the history of the art and science of cinematography. A working Director of Photography will relate a perspective that is unique and factual to a theoretical discussion, which is traditionally academic. Cinematography has a strong tradition of adapting its tools to enhance the storytelling experience.

CRAFT HISTORIES
HISTORY OF EDITING FMTV-UT 1003 Course Level: Intermediate 3 points. No Prerequisite The theory and practice of editing, from Griffith to Kubrick. The emphasis will be on experiments in narrative clarity and dramatic emphasis in storytelling. For many, editing is the unique source of the art of filmmaking. This course addresses this question. THE ART OF SOUND FMTV-UT 1007 Course Level: Intermediate 3 points. This is a critical studies course exploring the aesthetics and psycho-acoustics of sound: how sound works in art and life; how it affects emotions and stimulates the imagination; and how it is used in film, radio, television and other creative or artistic contexts, particularly its application as a key element in storytelling. This course examines the meaning and character of the soundscape (the acoustic environment) and the ways it has technically and aesthetically evolved throughout film history from the Kinetophone to the iPhone. The course includes reading in the theory of

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sound, and listening to examples of sound work by composers and sound designers. In previous semesters we have looked at the soundtrack in such films as: Playtime; Apocalypse Now, The Conversation, Aliens, The Evil Dead II, Saving Private Ryan, and Monty Python and the Holy Grail. Class meetings will be devoted to: 1) lecture and discussion based on assigned readings and listening and viewing assignments; and 2) screening of selected audio and video works. Students are graded on class participation, journals, a paper, and exams. MUSIC FOR FILM AND TELEVISION FMTV-UT 1008 Course Level: Fundamental/Intermediate 3 points. This course examines the artistic, aesthetic, and technical aspects in composing and creating music for film and television. It provides an inside look into the relationship between composer, director, and music editor, exploring music as a creative tool. Through lectures, analysis, demonstrations, and presentations by guest speakers, students learn and deal with the specifics of the film composer's job, duties, and responsibilities, including the basics of film scoring. As a result, students develop the listening and production skills necessary for creative use of music in films, television, and media. In addition to creative and technical considerations, the business and personal relationship between composer and director/producer will be discussed. MEDIA MOGULS OF THE 20TH CENTURY OART-UT 562 Course Level: Fundamental/Intermediate 4 points. Students register through TSOA Special Programs Office - part of Producing minor. It is important to be aware of the historical context in which any project is created. Building on the history of entrepreneurship, this course concentrates on recent innovations of the 20th century mass media. Landmark works often lay the groundwork for subsequent growth in the field. The producer, entrepreneur, or organizer blazes new trails off established roads. This course will expose today's producers to those interdisciplinary pioneers who created international mainstream and fringe cultures. These innovative men and women include: Louis B. Mayer, George Lucas, Maya Deren, Shirley Clarke, Alan Landsberg, Nam Jun Paik, Lucille Ball Russell Simmons, Robert Stigwood, William Castle, Clive Davis, Julie Taymor, Robert Whitehead, and Steve Jobs.

DOCUMENTARY HISTORY
DOCUMENTARY TRADITIONS I FMTV-UT 1032 Course Level: Intermediate 3 points (same as H72.1400). 14 sessions will be devoted to a comparison of current documentaries with those made in earlier decades to illustrate how the art has responded to social, political, and economic realities and to changes in technology and systems of distribution. The instructor, Professor George Stoney, has directed and produced more than 50 documentaries in a career of work that illustrates these changes since 1948 when he entered the field. Undergraduates who take the course for three points are required to keep journals in which they respond to each session and compare observations with those made when viewing at least one documentary of their choice seen outside class, as well as in response to critical essays provided at each session and references in the text. Those wishing to earn an extra point (register for one point of FMTV-UT 1097 Independent Study) may write a substantial term paper based on a topic approved by the instructor. DOCUMENTARY TRADITIONS II FMTV-UT 1034 Course level: Intermediate 3 points (same as H72.1401). 13 contemporary filmmakers will be present to show their work (often works-in-progress) and discuss the challenges they face as modes of production and distribution continually change. Former guests have included Don Pennebaker and Chris Hegedus, David Grubin, Jim Brown, Susanne Rostock and others whose work is regularly seen on Public Television, H.B.O. and the theaters. Many who appear are TSOA alumni and former students of the instructor, Prof. George Stoney. Undergraduates who take the course for three points are required to keep journals in

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which they respond to each session and compare observations with those made when viewing at least one documentary of their choice seen outside class, as well as in response to critical essays provided at each session and references in the text. Those wishing to earn an extra point (register for one point of FMTV-UT 1097 Independent Study) may write a substantial term paper based on a topic approved by the instructor. IMAGES OF THE 1930's FMTV-UT 1026 Course Level: Intermediate/Advanced 4 points. Prerequisite: Junior or Senior status. For UGFTV students, this course may be used to fulfill only one of the following: Humanities or the Departmental History and Criticism requirement. Note: degree audit will automatically credit this class to UGFTV - History and Criticism. To have this class credited to Humanities area of General Education instead, please bring this request in writing to the registration office in Room 1107. During the Great Depression, American painters, photographers, filmmakers, writers, and artists of all varieties played pivotal roles in helping this country grapple with its self-image. What can we learn from a close study of these artists work that can benefit us in our time? In this seminar students will be involved in family history and documentary research, as well as getting to know the films, photographs, journalism, and novels of the 1930's. Students are required to read two texts, make four oral reports on pre-assigned topics and submit a term paper, video or audio tape based on topics or personalities associated with the period under study. DOCUMENTARY FICTIONS FMTV-UT 1207 Course Level: Intermediate 3 points. This course will explore the blurred boundaries between documentary and fiction filmmaking. Intended to widen the horizons of the creative filmmaker and film student, we will analyze major documentary traditions with a specific focus on the narrative techniques used in the telling of powerful stories. Alongside, we will examine contemporary fiction filmmaking that has broken new grounds by a creative absorption and sometimes exploitation of the documentary method. The course will consist of four components: film analysis, interviews with filmmakers, seminal readings on the subject, and a creative treatment by every student on a film of their choice or a film they would like to make. DOCUMENTARY FILMS GO TO THE MOVIES FMTV-UT 1205 Course Level: Intermediate 3 points. The chronicling and exploration of our artistic processes and pursuits have always had a hold on our collective imagination. Our fascination with the moving picture medium has held us tightly in its grip since the very beginnings of cinema. What are these marvels that move us to tears, rob us of our dreams, and speak to the deepest part of ourselves? How are they made and by whom? What purpose do they serve? This admiration has led to a category of documentary film that uses the film medium itself to intimately observe both the mysteries of the film making process and the players involved in their creation, and in so doing has expanded the possibilities of the medium itself. The course is designed to present those documentaries and not only explore what makes them so worthy of our praise, but what they unearth about the filmmaking process and the filmmakers themselves upon which they are based. Examples to be screened are BURDEN OF DREAMS, LOST IN LaMANCHA, and APOCALYPSE NOW.

EXPERIMENTAL FILM HISTORY

MEDIA MAVERICKS: A CRITICAL EXAMINATION OF FILM AND VIDEO FMTV-UT 1002 3 points. This class is a critical examination of experimental film and video with and emphasis on makers in New York City. There are no criteria for an avant-garde film or video, only the expectation that by watching it a viewer will be introduced to a challenging, refreshingly unfamiliar language that, by

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the end of the piece, he or she will have begun to speak. This new language many be politically confrontational, aesthetically difficult, lyrical, or rhythmical, but no matter what the form, it will express the particular vision of the artist who produced it. Challenging as this work may be for any audience, a close viewing of these avant-garde pieces will expand on your appreciation of their poetry and complexity. Whether you call these films experimental, alternative, independent, personal or poetic, they share very little save for their adventurous desire to reawaken those dormant visual and aural sensibilities that may have been hypnotized into years of sleep by too much commercial, mainstream media.

FILM AESTHETICS
FILM ANALYSIS FMTV-UT 1204 Course Level: Intermediate/Advanced 3 points. What do we respond to when we watch a film? What choices do filmmakers make to create a meaningful experience for their audience? Well attempt to answer these questions through the close examination of Singin in the Rain, Vertigo, Ugestsu, Rules of the Game, Playtime, Spirited Away, and Trainspotting. Some of the topics well discuss and illustrate with clips include: Hitchcock and point of view, the Hollywood musical, the use of the long take and mise-en-scene in Renoir, Mizoguchi and Tati, making visible the invisible in the work of Miyazaki and Boyle. Emphasis will be placed on the creative biographies and working methods of the filmmakers involved. Each student, in consultation with the instructor, will develop an in-depth analysis of a feature film of their choice. LANGUAGE OF FILM FMTV-UT 4 Course level: Introductory 4 points. Students must also register for one recitation. See description above in "Required of All Freshmen." TRADITIONS IN NARRATIVE FMTV-UT 1031 Course Level: Intermediate 4 points. For UGFTV students, this course may be used to fulfill only one of the following: Humanities or the Departmental History and Criticism requirement. Note: Degree audit will automatically credit this class to UGFTV - History and Criticism. To have this class credited to Humanities area of General Education instead, please bring this request in writing to the registration office in Room 1107. This course surveys narrative forms and representative works from literature that employ them contributing to a familiarity with the literary tradition inherited by film, television, and radio. It examines the various strategies of narrative structure and its principal components (e.g., plot, theme, character, imagery, symbolism, point of view) with an attempt to connect these with contemporary forms of media expression. The course includes extensive readings, selected from English, American, and world literature, which are examined in discussion.

GENERAL EDUCATION OR HISTORY & CRITICISM

IMAGES OF THE 1930's FMTV-UT 1026 Course Level: Intermediate/Advanced 4 points (same as H72.0409). Prerequisite: Junior or Senior status. For UGFTV students, this course may be used to fulfill only one of the following: Humanities or the Departmental History and Criticism requirement. Note: Degree audit will automatically credit this class to UGFTV - History and Criticism. To have this class credited to Humanities area of General Education instead, please bring this request in writing to the registration office in Room 1107. See description above in Documentary History.

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TRADITIONS IN NARRATIVE FMTV-UT 1031 Course Level: Intermediate 4 points. For UGFTV students, this course may be used to fulfill only one of the following: Humanities or the Departmental History and Criticism requirement. Note: Degree audit will automatically credit this class to UGFTV - History and Criticism. To have this class credited to Humanities area of General Education instead, please bring this request in writing to the registration office in Room 1107. See description above in Film Aesthetics.

INDIVIDUAL TOPICS
EXPANDING CINEMA: NEW MEDIA, THE MOVIES AND BEYOND FMTV-UT 1208 Course Level: Intermediate/Advanced 3 points. Atari. Computer Generated Imagery. YouTube. What is new media and will it change the world? In this course we will explore diverse examples of old and new media including interactive web work, gaming, installations, and movies. We will use blogs, online forums, and YouTube to discuss new medias roots in older popular media including film and literature. We will question how new media have impacted traditional narrative forms and the structure of the film industry, as well as the broader contexts of new media in a changing world culture. HOLLYWOOD AUTEURS FMTV-UT 1154 Course Level: Fundamental 3 points. This course will analyze the possibility of pursuing the ideals of an "author cinema" - a personal way of expressing ideas that can deal with Hollywood mainstream and also with the independents, but will never be considered an integral part of either one. The "author cinema" would be a cinema of personal expression that refuses the mainstream's prison of "three acts, happy ending, stars, etc."; and at the same time, refuses the trends and the limited scope of most of the independents: a cinema that shows not only how to make a film, but why. Films from all over the world will be analyzed, focusing in particular on the authors that are able to keep alive their personal vision while dealing with the studios (i.e. Stone, Lee, Scorsese, Kubrick), the ones that dared to fight Hollywood (i.e. Welles, Peckinpah, Cimino, von Stroheim) and the loose cannons independent at heart (Altman, P.T. Anderson, Coen brothers). A series of guests to the class will be comprised of critics, curators and cultural organizers, filmmakers and producers. HOLLYWOOD AND ITS ALTERNATIVES FMTV-UT 6 Course Level: Fundamental (recommended for transfer students) 3 points. The purpose of this course is to introduce students to the art of cinema as it has been practiced in the United States and abroad. The central question the class will explore is: what is the relationship between film style, the elements of cinematic form, and film content, thethemes, motifs and structure of cinematic narrative. We will investigate how cinematic artists and creative teams have utilized the unique properties of filmmaking to communicate with audiences. By looking at a wide variety of films we will consider the cultural, industrial, political, and artistic context of film and investigate the evolution of the art form. The course is divided into two parts. The first portion of the class will introduce students to basic film grammar and the components of classical and post-classical American film style, while the second portion will explore the political, stylistic, and cultural ramifications of film practice using the issue of stylistic deviations from Hollywood narrative as a point of departure.

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ISSUES IN CONTEMPORARY AFRICAN AMERICAN CINEMA FMTV-UT 1094 Previously offered. Course Level: Intermediate/Advanced 3 points. Prerequisites: Language of Film (FMTV-UT 4), or permission of instructor; Junior or Senior status. This course is intended to equip students, of all colors, to be informed viewers by raising their awareness of African American filmmaking. The films of recent directors such as Spike Lee, Robert Townsend, Julie Dash, Marlon Riggs, Reginald and Warrington Hudlin, Mario Van Peebles, Charles Burnett, John Singleton, and Leslie Harris are the central focus. The course begins by citing the various ways in which African-Americans have been represented in traditional Hollywood films and television. Historic concerns are also related to contemporary issues such as the recent NAACP report that questions the origins and impact of these images. Finally, we examine the political, social, and economic contexts of African-American cinema while focusing on aesthetics and narrative style and on issues related to spectatorship, along with criticism. WOMEN IN THE DIRECTOR'S CHAIR FMTV-UT 1156 Course Level: Intermediate 3 points. This course offers students the opportunity to focus on women directors in film and television their careers, their work and their messages. This course provides an historical and critical overview of the impact on the film and television industry of the woman director, students will also gain valuable knowledge on how a woman can develop a career as a director. This course will include guest women directors and, when possible, on-site visits to locations and studios.

INTERNATIONAL CINEMA
INTERNATIONAL CINEMA: ORIGINS TO 1960 FMTV-UT 321 Offered in the Fall semester only. Course Level: Intermediate 4 points. No prerequisite This course provides a broad overview of world cinema from its origins until the emergence of modern cinema in the 1960's. It addresses numerous national cinemas (French, German, Italian, Japanese, Scandinavian, Soviet, British, Indian) and examines both how representative films from each country emerges out of its national culture and also negotiates with the dominant aesthetic of Hollywood film. The approach will be stylistic, including the development of narrative, various cinematic modernisms, and technological advances such as the introduction of sound; industrial, including the formation of the studio system and the creation of national film cultures in response; and social, including propaganda and political (leftist) films and documentaries. Whenever possible, this course emphasizes the cross-pollination of film styles across national cultures such as the mutual influence of 1920's avant-garde movements, the concentration of political filmmaking in the 1930's, or the influence of neorealism on post-war cinema. Some films to be screened: Strike, L'age d'or, M, Housing Problems, Umberto D, Tokyo Story, and Pather Panchali. INTERNATIONAL CINEMA: 1960 TO THE PRESENT FMTV-UT 322 Offered in the Spring semester only. Course Level: Intermediate 4 points. No prerequisite This course will focus on international filmmaking practice since 1960, with special emphasis on "new waves" and other contemporary film movements within a variety of national cinemas. We will consider films from a stylistic, formal, and theoretical perspective, paying special attention to the emergence of modernist and neo-realist inspired stylistic and narrative modes. We will also

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examine films in relation to their national, historical, industrial and technological context and relative to the particular thematic and artistic concerns of their makers and the communities in which they lived and worked. This course will introduce students to some of the most exciting and challenging films produced within the past fifty years and encourage them to think critically about film aesthetics and narrative structure, national and historical context, and the process of film production. In-class screenings will include films by: Jean-Luc Godard, Nagisa Oshima, Michelangelo Antonioni, Glauber Rocha, Rainer Warner Fassbinder, Chris Marker, John Woo, and Abbas Kiarostami. ITALIAN CINEMA FMTV-UT 1155 Course Level: Fundamental 3 points. Fall semester only. This course focuses on the history of Italian cinema and its particular approach to production and directing. This is cinema that gave the world several masterpieces, and still pursues an independent path that is strikingly different from the Hollywood mainstream. We will focus on the neo-realism period and then of the major films of the great maestros, Fellini, Rossellini, Pasolini and Visconti. The three principal areas of investigation are the narrative structure and directorial style of the films; issues of adaptation from novel to film; and the political, historical, social and cultural relations relevant to the films. Screenings, readings and papers will be required.

TELEVISION
HISTORY OF CHILDREN'S TELEVISION FMTV-UT 1022 Course Level: Fundamental/Intermediate 3 points. Course may be repeated. Through lectures, discussion, program viewing, projects, guests, and our own lives, this course explores the state of childrens media for pre-schoolers to adolescents. The goal is to understand how we all have been affected by the media and how we can determine change for the next generation. We will consider the role television, videos, and the internet play in regard to family and peer relationships, education and social issues. We will also examine the broadcasting and cable industry as well as the success and failure of the government and such media groups as ACT (Action for Childrens Television) in regulating content of childrens programs. Assignments will include interviews of pre-schoolers and adolescents, website presentations, critique of childrens programs, and a proposal for children's media. TELEVISION PROGRAMMING AND CONCEPTS FMTV-UT 21 Course Level: Intermediate/Advanced 3 points. This course examines the evolution of the many program types found on broadcast and cable television and defines the criteria for evaluating idea, story, structure, format and types, performance, and production values. From the study the student proceeds to the creation of program ideas and the development of treatments and presentations. THE EVOLUTION OF TV PROGRAMMING FMTV-UT 13 Course Level: Fundamental 3 points. This course examines the ascendancy of broadcast and networking through the eyes of a seasoned network practitioner, beginning with the establishment of early radio networks (NBC & CBS) and concentrating on specific network television shows which show how network domination has affected all types of mass entertainment currently available. Emphasis is focused on the interrelationship between network advertising and development of programming concepts; commercials and how their production techniques have impacted on both broadcast television and feature film styles; syndication; and alternative modes of program distribution.

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Core Production
Students must complete at least 4 Core Production courses for a minimum of 20 points. Only one core course may be taken each semester due to the strenuous nature of the core courses. GENERAL INFORMATION A "CORE" production course is defined by its overall scope in the production of a project. Typically, a student taking a CORE production is involved in every aspect of creating a project the scriptwriting, producing, directing, shooting, and editing. (A "Craft" course, by comparison, concentrates on only one aspect of the project creation as just the directing, just the producing, just the editing, etc.) All courses are arranged by subject areas and by level: Introductory, Fundamental, Intermediate, and Advanced. Some courses may not be offered in a given academic year. Consult each semesters schedule for specific information. BEGINNING BASICS Sound Image Frame and Sequence ANIMATION CORE PRODUCTION Introduction to Animation Techniques Intermediate Animation Production Experimental Animation Production Advanced Animation Production FILM CORE PRODUCTION Sight & Sound: Film Intermediate Narrative Production Narrative Workshop Advanced Production Workshop Advanced Production: The Short Commercial Form TELEVISION & VIDEO CORE PRODUCTION Sight & Sound: Studio Intermediate Television Workshop Narrative Television Workshop Advanced Television Production Workshop Children's Television Production Workshop DOCUMENTARY CORE PRODUCTION Sight & Sound: Documentary Documentary Workshop Broadcast Documentary EXPERIMENTAL PRODUCTION Intermediate Experimental Workshop Advanced Experimental Workshop STUDY ABROAD CORE PRODUCTION (see Study Abroad area) BBC Television Production in London Music Video in Dublin Documentary in Johannesburg and Havana 35mm Cinematography and Film Production in Prague

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BEGINNING BASICS Cores

SOUND IMAGE FMTV-UT 48 Course Level: Introductory 4 points. Required of all Freshmen. Lab required. A fundamental-level core production workshop introducing the world of sound in film, television, and radio. Students will explore through individual and group projects of increasing complexity and sophistication the art of creating a "theater of the mind" in the sound medium. Lab periods are designed to provide a wide variety of audio recording experiences both on location and in studio; digital, as well as analog. Specific production techniques such as live recording, mixing, and editing will be stressed. Lectures will focus on the theories of basic acoustics and audio electronics, the aesthetics of the sound medium, and the development of critical listening skills. FRAME AND SEQUENCE FMTV-UT 39 Course Level: Introductory 4 points. Frame and Sequence is a core production course taken as a complement to Sound Image, and in preparation for the Fundamentals of Sight and Sound classes. The course encompasses the basic elements of still photography and multi-image sequencing. Safety and protocol on set is emphasized throughout the semester. Camera functions related to photography and cinematography are taught, including basics of lighting, narrative structure, and composition. Sequencing of images is accomplished digitally using Final Cut Pro on Macintosh workstations. The class meets each week for production information, screenings, critiques of student work, and tech instruction in digital editing. Students work in small crews sharing Digital SLR cameras the university provides. Light meters, basic lighting and sound equipment designated for Frame and Sequence only may be checked out with permission after instruction is complete. Each student creates sequenced stories in the Experimental, Documentary, and Narrative genres, as well as serving as crew members on in-class productions. Special Note: As part of Frame and Sequence
and Intro to Animation only, students are required to put in an additional 12 hours of crewing on intermediate or advanced projects to continue to learn about the collaborative aspect of the film, television, and animation professions. During the Freshman Colloquia, upper classmen will pitch their projects giving an opportunity for interested students to sign up, as well as receiving emails from Tisch Talent Guild, about PA positions available. You are not permitted to miss any classes in any of your courses in order to fulfill your 12 hours of CREW.

ANIMATION PRODUCTION Cores

INTRODUCTION TO ANIMATION TECHNIQUES FMTV-UT 41 Course Level: Introductory 4 points. Course is open to students at all levels, as well as offered to freshmen as one of the two visual courses designed to complement Sound Image, in preparation for the sophomore-level Fundamentals of Sight and Sound: Film, Studio, and Documentary courses. A beginning course that concentrates on the basic techniques of animation; it is also the main prerequisite for entry into all the other animation courses. Class exercises explore a variety of techniques, materials, design, and writing for animation. Techniques include flipbook, clay, collage, computer and drawing from the model. All work is tested on video, followed by 16mm color film. Please note that you do not have to "know how to draw" in order to take this course. The course will demonstrate how drawing and graphics relate. At the end of the semester, each student will have an edited, two-minute reel of his or her successful animations and experiments.

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INTERMEDIATE ANIMATION PRODUCTION FMTV-UT 1329 Course Level: Intermediate 4 points. Course may be repeated two times for 12 total points. Prerequisites: Intro to Animation Techniques (FMTV-UT 41) and 1 Sight & Sound course. An intensive intermediate production class exploring personality animation and thinking characters who express emotions. Analysis of live-action and animated films frame-by-frame. By semesters end, students produce a 30-second film or video using 3-D and/or 2-D techniques incorporating principles of personality animation. Students gain experience in all phases of animation production, i.e. concepts, storyboards, layouts, exposure sheets, lip sync, test animation, inbetweening, animation, sound, etc. EXPERIMENTAL ANIMATION FMTV-UT 1146 Course Level: Intermediate 4 points. Prerequisites: Intro to Animation Techniques (FMTV-UT 41) and 1 Sight & Sound course. This production and workshop class explores a wide variety of experimental animation techniques and technologies, from the historic (including pre-cinema) to the present and on, looking to the future. The very nature of cinema/animation will be the jumping off point for an aesthetic and philosophical consideration of the phenomena of persistence of vision in the context of moving pictures. A wide range of work will be presented in screenings, trips to galleries, guests and on line. The spirit of experimentation, trusting your "what ifs" and how to learn and apply the results of experiments in the creation of finished works will be pursued throughout the class. There will be weekly assignments and in class review of the results. How to structure an experimental film, the use of sound as well as display and distribution mechanisms will also be discussed. Students are expected to complete all assignments and create a two to three minute "experimental" animation by the end of the semester. ADVANCED ANIMATION PRODUCTION FMTV-UT 1342 Course Level: Advanced 4 points. Course may be repeated two times for 12 total points. Prerequisites: Storyboarding (FMTV-UT 1033) and Action Analysis I (FMTV-UT 1328) and Intermediate Animation Production (FMTV-UT 1329.01) or Experimental Animation (FMTVUT 1146). A one-year (two semester) course in which a finished animated moving picture with sync soundtrack is required. Advanced Animation is designed to meet individual problems in concept and technique. Use of varied equipment, mixed media techniques, and a personal approach to content is encouraged. An opportunity to work closely with the instructor as well as meet and consult with other professional animators for criticism and advice. Individual development is stressed.

FILM PRODUCTION Cores

FUNDAMENTALS OF SIGHT & SOUND: FILM FMTV-UT 43 Course Level: Fundamental 6 points. Course is not repeatable. Prerequisite: Sophomore status. Students should not schedule any other course on the same days as Sight & Sound. Sophomore-level students are required to take this course as a prerequisite for any upper-level film production courses. In crews of four students, every student will produce, direct and edit five short B&W film projects (three silent and two with sound). Students will rotate through a variety of different crew positions. Students follow specific exercises with technical guidelines but are encouraged to express themselves creatively. Visual storytelling from a broad spectrum of storytelling and aesthetic approaches will be the central focus of this class. Collaboration with fellow students is a central

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component in this class. All student work is screened and critiqued in class. During the first week of class students will be advised about purchasing a required light meter. INTERMEDIATE NARRATIVE PRODUCTION FMTV-UT 1040 (FILM) Course Level: Intermediate 6 points. Course is not repeatable. Prerequisites: Must have taken Sight & Sound: Film (FMTV-UT 43) and Sight & Sound: Studio (FMTV-UT 51) or Sight & Sound: Documentary (FMTV-UT 80). It is strongly recommended that you enroll in Post-Production Colloquium, FMTV-UT 60, 1 credit, in the same semester that you enroll in any intermediate-level core production course such as Intermediate Narrative Production. Intermediate Narrative Production is a practical course in which students (collaborating in crews of four) are exposed to a broad range of production techniques through production experience and class discussion. Each group produces four color sync-sound exercises during the semester that explore craft, aesthetic, production and storytelling issues. Students must shoot their projects in film using existing package of school equipment. As a group member, each student will serve in rotation as director, producer, camera, sound, and AC/gaffer. Students are encouraged to edit their work in the Intermediate Edit Workshop (FMTV-UT 1018) the following semester. Important note: students should enter Intermediate Narrative Workshop with a short (i.e., 3-5 pages, but no more than 8) script. The production work in this course is strenuous. Students should be conscious of this when designing their semester schedules. INTERMEDIATE NARRATIVE PRODUCTION FMTV-UT 1040 (DIGITAL) Course Level: Intermediate 6 points. Course is not repeatable. Prerequisites: Must have taken Sight & Sound: Film (FMTV-UT 43) and Sight & Sound: Studio (FMTV-UT 51) or Sight & Sound: Documentary (FMTV-UT 80). It is strongly recommended that you enroll in Post-Production Colloquium, FMTV-UT 60, 1 credit, in the same semester that you enroll in any intermediate-level core production course such as Intermediate Narrative Production. Intermediate Narrative Production is a practical course in which students (collaborating in crews of four) are exposed to a broad range of production techniques through production experience and class discussion. Each group produces four color sync-sound exercises during the semester that explore craft, aesthetic, production and storytelling issues. Students must shoot their projects using existing HD package of school equipment. As a group member, each student will serve in rotation as director, producer, camera, sound, and AC/gaffer. Students are encouraged to edit their work in the Intermediate Edit Workshop (FMTV-UT 1018) the following semester. Important note: students should enter Intermediate Narrative Production with a short (i.e., 3-5 pages, but no more than 8) script. The production work in this course is strenuous. Students should be conscious of this when designing their semester schedules. NARRATIVE WORKSHOP FMTV-UT 1245 Course Level: Advanced 4 points. Course is not repeatable. Prerequisites: Any Intermediate level Core such as Intermediate Narrative Production (FMTV-UT 1040), Documentary Workshop (FMTV-UT 1041), or Experimental Workshop (FMTV-UT 1046). It is required that you enroll in Senior Colloquium (FMTV-UT 1057) in the semester that you are enrolled in an advanced level CORE production course. This workshop is a practical course exploring the short Narrative form in which each class will produce up to ten short films (maximum length per film is 15 minutes). All aspects of production are viewed as a creative extension and continuation of the film writing process. Students interested in directing in this class must be prepared to submit a script at the first class of the term. Selected scripts will be chosen in class. Students are encouraged to provide instructor with

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their intermediate level project. Note: Films produced for Narrative Workshop will not be eligible for awards in the First Run Film Festival if they are longer than 15 minutes, including titles. All films produced in Narrative will be screened if entered in the First Run Festival, but those films longer than 15 minutes will not be judged. ADVANCED PRODUCTION WORKSHOP I & II FMTV-UT 1053/1054 Course Level: Advanced 4 points each semester. Course is not repeatable This is a year-long course; you must register for the second semester if you receive an allotment. Prerequisites: One course at the intermediate workshop level. Students wishing to direct are advised to speak with the instructor before registering for a particular section to ensure that he or she is prepared for the demands of this advanced course. Students interested in working as principle crew members (i.e, producers, cinematographers, editors, sound-mixers, production designers, etc.) are encouraged to enroll with their perspective director(s). Students intending to direct must have directed in one of the intermediate-level workshops, and have a final cut of an intermediate film with a mixed track before the production is approved in this course. Student must also be ready to present a completed script in proper screenplay format at the beginning of the class. Scripts will be discussed in class in a workshop based environment Selected projects will be chosen for production approval. All types of films are considered. Note: Films produced for Advanced Film Production Workshop will not be eligible for awards in the First Run Film Festival if they are longer than 20 minutes, including titles. All films produced in Advanced Production Workshop will be screened if entered in the First Run Festival, but those films longer than 20 minutes will not be judged. INTERMEDIATE PRODUCTION: THE SHORT COMMERCIAL FORM FMTV-UT 1246 Course Level: Intermediate 4 points each semester. Course is not repeatable Prerequisites: One Core course at the intermediate workshop level. From the Silver Screen and the television screen to computer portals, the iPod and cell phones, the proscenium for motion pictures, videos, commercials and new forms of web based media has evolved/de-evolved into ever decreasing screen sizes for moving image based media content and distribution. As screen sizes have decreased, opportunities have increased for emerging technologies to facilitate the production and distribution of both long and short form film, video and animation based work. This class is intended for students with an interest in exploring the creative and commercial aspects of the short form (30 seconds to 7 minutes). The goal of this class is for students to produce work that results in a series of final projects that can serve as the basis of a demo reel that will also be "uploaded" to a class created web site. 10 Advanced Short Form projects will be selected on the basis of a variety of classroom research projects and concept pitches. Students will be able to produce up to 15 minutes of completed "short form" work throughout the semester working in a variety of short form genres.

TELEVISION & VIDEO PRODUCTION Cores

FUNDAMENTALS OF SIGHT & SOUND: STUDIO FMTV-UT 51 Course Level: Fundamental 6 points. Prerequisite: Sophomore status. Sophomore-level students are required to take this following course as a prerequisite for any upper-level video/television production course. NOTE: Students should not schedule other courses on the same days as Sight & Sound. The course provides an in-depth exploration of the creative capabilities (technical, logistical, aesthetic) of producing narrative-based studio production work in a multiple camera television studio environment. Students will be trained in working with actors and learning how to connect script and performance to the production of four short studio based projects (each of increasing complexity). Students will have the opportunity to develop a single idea into a full-scale production

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that will be produced live in the studio at the end of the semester. The fundamental skills learned in this class (script, performance, lighting, camera, art direction, coverage) will serve as a foundation for all narrative-, experimental-, and documentary-based production work and will be applicable in classes. Note: some casting and rehearsals will need to be undertaken outside of class. CHILDREN'S TELEVISION PRODUCTION WORKSHOP FMTV-UT 1222 Course Level: Intermediate 4 points. Prerequisites: Sight & Sound: Studio (FMTV-UT 51) and Sight & Sound: Film (FMTV-UT 43) or Sight & Sound: Documentary (FMTV-UT 80). It is strongly recommended that you enroll in Post-Production Colloquium, FMTV-UT 60, 1 credit, in the same semester that you are enrolled in any intermediate-level core production course. This intermediate level class builds on skills acquired in both Sight & Sound: Studio and Intermediate Television as well as introduces students to the collaboration process, which is the heart of Advanced Television and the industry. Students will collaborate as writers and producers to write and then produce a television show, 15-30 minutes long, aimed at a specific age group such as pre-school or tweens. They will participate in every aspect of creating a show from the bottom up writing, producing, directing, sound design, music, graphics, casting, and editing. Once the show is written students will work in groups to produce segments of the show, taking on such roles as producers, directors, sound mixers and designers, videographers, and editors. th Besides being able to use the 12 Floor studios, students will have equipment and facilities for location shooting and post-production, which offers them the opportunity to draw on and hone skills required in Sight & Sound: Film and other craft and intermediate level courses. Each student will be expected to participate both where he/she thinks the best contribution to the class can be made, as well as be willing to pitch in where and when necessary. Students will be encouraged to wear as many hats as they like, and to gain experience in areas they may not have worked in prior to this class. As a result, they will learn what its like to put together a television show. The course is also an excellent transition to Advanced Television and for seeking work in the industry. INTERMEDIATE TELEVISION WORKSHOP FMTV-UT 1077 Course Level: Intermediate 4 points. Prerequisites: Sight & Sound: Studio (FMTV-UT 51) and one other Sight & Sound level course (FMTV-UT 43 Sight & Sound: Film or FMTV-UT 80 Sight & Sound: Documentary). A continuation of the studio television experience begun in Sight & Sound: Studio, the Intermediate Television Workshop is a collaborative class in a variety of television genres between Undergraduate Film & Television (UGFTV) directing students and acting students from Stone Street Studios. This class will give twelve intermediate level directing students instruction in developing a vocabulary for clear communication with actors, and further experience in blocking actors and camera. The work will involve single-camera rather than multi-camera production on a Sony HD camera package. There will be advanced lighting and production design labs and students will each create a major project in the studio. The bulk of the production including rehearsals will take place in class time (in the studio) with some location shooting possible. Note: Post-production will need to be undertaken outside of class. NARRATIVE TELEVISION WORKSHOP FMTV-UT 1078 Previously offered. Course Level: Advanced 4 points. Course may be repeated. Prerequisites: Intermediate Narrative Production Workshop (FMTV-UT 1040) or Intermediate Television Workshop (FMTV-UT 1077) or Childrens Television Production Workshop (FMTV-UT 1222) or Documentary Workshop (FMTV-UT 1041) or Intermediate Experimental Workshop (FMTV-UT 1046).

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This advanced production workshop combines elements of multiple-camera studio television and location single-camera production with post-production support. The concentration is on producing a project/program suitable for television, such as a pilot for a sitcom or dramatic series, maximum length 20 minutes. Students may do one project in the studio or one on location, or a combination of both. Students wishing to direct a project are required to submit a typed treatment and/or script on the first day of class. Projects will be selected on the basis of overall quality of the writing, production values, and appropriateness for the television medium. ADVANCED TELEVISION PRODUCTION WORKSHOP FMTV-UT 1777 Course Level: Advanced 4 points. Prerequisite: Any Intermediate level production course. Advanced Television is a year-long course consisting of one semester of scriptwriting and one semester of production. During the (spring) scriptwriting semester, students will investigate series television and create their own ideas for an ongoing series. These ideas will be developed into full-concept documents (series bibles). Students will pitch their concepts to the rest of the class and a script (or scripts) will be selected for production in the second (fall) semester. Either one hour-long or two half-hour pilots will be produced. In the second semester, the scriptwriters will become producers and show runners as the scripts are realized by directors and crews, operating under professional protocols. Students may enroll in the second semester for crew roles during production as directors, cinematographers, editors, sound mixers, assistant directors, line producers, etc. The pilots will be shot on a Sony HD camera packages. The productions will take place in a studio and on location, and involve collaboration with actors from Stone Street Studios as well as professional actors.

DOCUMENTARY PRODUCTION Cores

SIGHT AND SOUND: DOCUMENTARY FMTV-UT 80 Course Level: Fundamental 6 points. Course is not repeatable Prerequisite: Sophomore status. This course will serve as one of the prerequisites for an intermediate level documentary production course. NOTE: Students should not schedule any other course on the same days as Sight and Sound. The course teaches students to look at their world and to develop the ability to create compelling and dramatic stories in which real people are the characters and real life is the plot. Through close study and analysis of feature length and short documentaries, as well as hands on directing, shooting, sound-recording and editing, students rigorously explore the possibilities and the power of non-fiction storytelling for video. The course is a dynamic combination of individual and group production work in which each student will be expected to complete five projects. DOCUMENTARY WORKSHOP FMTV-UT 1041 Course Level: Intermediate 4 points. This is a 1 semester class. Course may be repeated. Prerequisites: Sight & Sound: Documentary (FMTV-UT 0080). and Sight & Sound: Studio (FMTV-UT 0051) or Sight & Sound: Film (FMTV-UT 0043). It is strongly recommended that you enroll in Post-Production Colloquium, FMTV-UT 0060, 1 credit, in the same semester that you enroll in any intermediate-level core production course. The workshop trains students in the production of documentary films and/or other information programs. The class covers all stages of producing either a documentary film from the idea through development, marketing, planning, shooting, editing, and post-production. Students produce their own projects on either film or videotape. Final projects will be between 8-15 minutes.

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BROADCAST DOCUMENTARY FMTV-UT 1080 Course Level: Advanced 4 points. This is a 1 semester class. Course may be repeated. Prerequisites: Sight & Sound: Documentary (FMTV-UT 80) and either Sight & Sound: Studio (FMTV-UT 51) or Sight & Sound: Film (FMTV-UT 43). The technical skills of producing, directing, writing, editing, camera, lighting, sound, and engineering as they pertain to documentary production are examined in depth. Career planning and job opportunities are discussed. Professionals working in the field show their work and advise students how to get work. There will be special workshops in writing proposals and budgets; selling and pitching ideas; fund-raising; legal issues; rights, clearances, and licensing; insurance; and multiple camera/multi-track recording (e.g., concerts, plays, music videos, reality television). Exemplary works in the field and student work are screened and discussed on a regular basis. Although many students choose to produce their own documentaries, they are not required to. The goal of the course is to produce broadcast quality projects that will ultimately get distribution/broadcast and help students secure professional opportunities in the documentary field. In the past, a number of the projects produced in the course have gone on to be shown on television, at festivals and have even been distributed commercially. In addition, career strategies and the transition between NYU and professional work will also be a focus of the class.

EXPERIMENTAL PRODUCTION Cores

INTERMEDIATE EXPERIMENTAL WORKSHOP FMTV-UT 1046 Course Level: Intermediate 4 points. Course is not repeatable Prerequisites: Sight & Sound: Film (FMTV-UT 43) and Sight & Sound: Studio (FMTV-UT 51) or Sight & Sound: Documentary (FMTV-UT 80). It is strongly recommended that you enroll in Post-Production Colloquium, FMTV-UT 60, 1 credit, in the same semester that you enroll in any intermediate-level core production course. A production course in which students experiment with non-narrative approaches to content, structure, technique, and style. Themes and orientations include many possibilities, such as music, choreography, visual or audio art, investigations of rhythm, color, shape, and line; poetry, fragmentation and collage, abstraction, performance; and subversion of linear narrative and documentary conventions. (Prospective students who wish to direct films are encouraged to obtain a list of proposal guidelines for each section from the professor before the semester begins.) Note: Films produced for Intermediate Experimental Workshop will not be eligible for
awards in the First Run Film Festival if they are longer than 15 minutes, including titles. All films produced in Intermediate Experimental Workshop will be screened if entered in the First Run Festival, but those longer than 15 minutes will not be judged.

ADVANCED EXPERIMENTAL WORKSHOP FMTV-UT 1147 Course Level: Advanced 4 points. Prerequisites: Any intermediate level Core, such as Intermediate Experimental Workshop. It is required that you enroll in Senior Colloquium (FMTV-UT 1057) in the semester that you are enrolled in an advanced level CORE production course. A production course on the advanced level in which students experiment with a variety of approaches to production, content, structure, technique and style. Themes and orientations include many possibilities such as music, choreography, visual or audio art, investigations of rhythm, color, shape and line; poetry, fragmentation and collage, abstraction, performance; and subversion of linear narrative and documentary conventions. Students intending to direct must provide the instructor with the final cut of an approved intermediate level production from a prior semester. All project submissions will be discussed in class. Production approvals will be determined by the instructor. Note: Films produced for Advanced Experimental Workshop will not be eligible for awards in the First Run Film Festival if they are longer than 15 minutes, including titles. All films produced in Advanced Experimental Workshop will be

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screened if entered in the First Run Festival, but those longer than 15 minutes will not be judged.

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Craft Production
All courses are arranged by specialty area and by level: Introductory, Fundamental, Intermediate, and Advanced. Some courses may not be offered in a given academic year. Consult each semester's schedule for specific information COLLOQUIA Freshman Colloquium Pre-Production Colloquium Post-Production Colloquium Senior Colloquium TECHS (1 point Craft taken with Sight & Sound Cores) Tech Theory: Film Tech Theory & Practice: Studio Tech Theory & Practice: Documentary ANIMATION Digital Animation Techniques Introduction to 3D Computer Animation Intermediate 3D Computer Animation Advanced 3D Computer Animation Stop Motion Animation 3D Computer Animation Workshop summer only Titles and Special Effects Rendering and Special Effects with Maya Tools Storyboarding Life Drawing: The Figure Life Drawing: Anatomy Drawing and Design for Animation Action Analysis I Action Analysis II ACTING & DIRECTING Freshman Colloquium: Performance Strategies Actor's Craft I Actor-Director Workshop Directing the Actor Directing the Camera Directors Workshop summer only CAMERA Camera Lighting Exercises Camera I: Electronic Cinematography Camera I: Film Camera II: Film Camera III: Film Science of Cinematography (credits as a General Education course) spring only Cinematographers Workshop summer only 35mm Cinematography: Emulsion Tests and Lighting Workshops summer only ART DIRECTION Art Direction Introduction to Special Effects Makeup during Fall & Spring register under Open Arts also offered in the summer under Film and TV.

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NEW MEDIA PRODUCTION Internet Design Reel Delivery: Design for Media Distribution EDITING (Post-production) Post Production Colloquium Introduction to Editing Using Final Cut Pro and AVID Intermediate Editing Workshop: AVID Advanced Editing Workshop: AVID Digital Editing and Effects: Final Cut Pro and Avid summer only Post Production for Advanced Television Workshop spring only PRODUCING Producing the Short Screenplay Producing for Film Producing for Television TV Nation: Inside and Out of the Box Strategies for Independent Producing Film Marketing and Distribution Legal Aspects of the Entertainment Industry Production Management: Boards and Budgets Producing for Film and Television summer only SOUND PRODUCTION Production Sound Studio Recording Film Music Workshop Sound Design I Sound Design II offered in Spring only Sound Mix Workshop Creative Sound Design Advanced Production Sound INTERNSHIPS & INDEPENDENT STUDY Media Internship I & II Advanced Independent Study I & II See following pages for full course descriptions of the above.

COLLOQUIA
FRESHMAN COLLOQUIUM: PERFORMANCE STRATEGIES FMTV-UT 46 Course Level: Introductory 2 Points. Students must also register for one recitation. This is a required course for all freshmen enrolled in Sound Image (FMTV-UT 0048). This is a pass/fail course designed as an introduction to the language and culture of acting and to the nature of the relationship between director and performance. It is intended as a complementary class with Storytelling Strategies. By the end of the semester, students should understand something of the history and culture of schools of acting, comprehend a basic vocabulary of the actor and feel confident with the casting and rehearsal process (including "organic blocking"). Students should attain a basic working knowledge of all areas of creative interpretation including script analysis and orchestrating performance. They should be equipped to talk to actors using accepted vocabulary and be able to stimulate the creation of vital, memorable performances for the screen. FRESHMAN COLLOQUIUM FMTV-UT 49

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Course Level: Introductory 2 Points. This is a pass/fail course in which freshmen meet weekly. The purpose is to amplify the introductory production courses with relevant lectures and guest speakers. This course introduces the initial component of training with respect to set protocols, production safety, and professional practices. In addition, students will be introduced to the specific areas within Undergraduate Film and Television that they may wish to pursue further. This course addresses audio and visual communication in both historical and contemporary contexts. It is taken in conjunction with the student's choice of: Introduction to Animation Techniques (FMTV-UT 0041) or Frame and Sequence (FMTV-UT 0039). (See Freshman Colloquium: Performance Strategies (FMTV-UT 0046) if enrolled in Sound Image). During the Freshman Colloquium, upper classmen will pitch projects for interested students to sign up for the 12 hours of required crewing. The "Crew Assignment" introduces the freshmen to the important collaborative aspect of the film and television professions. PRE-PRODUCTION COLLOQUIUM FMTV-UT 59 Course level: Fundamental 1 point. Course is not repeatable Note: This course should be taken the semester PRIOR to enrolling in any intermediatelevel core production course (typically, this would be in the same semester as the second Sight & Sound class). This colloquium is designed to address issues related to the preparation of Intermediate level production classes including Intermediate Narrative Production, Documentary Workshop, Experimental Workshop, and Intermediate Television. In the presentation of pre-production issues, it is the design of the class to make the screenwriting process all the more focused on the real production parameters of each class. Topics to be covered include: screenplay format, script breakdowns, casting, crewing, rehearsals, scouting, paperwork and funding. As with all colloquiums, this class is also an opportunity for students to network and learn about departmental events as a group. POST-PRODUCTION COLLOQUIUM FMTV-UT 60 Course Level: Intermediate 1 point. Course is not repeatable. Note: This course should be taken DURING the semester you are enrolled in any intermediate-level core production course other than Intermediate Narrative Production (FMTV-UT 1040). Intermediate Narrative Production (FMTV-UT 1040) will include an equivalent Post Lecture as a component of the production class. This colloquium will introduce the students concerns of the editor and how pre-production and production influence the post-production process. It will chart the workflow of digital postproduction from the ingest of digital dailies through rough cut, fine cut, ADR & Foley, sound editing, musical scoring, audio mixing and final mastering. Students will learn proper slating and set protocols and gain a basic working knowledge of frame rates and digital formats. Editing techniques and the uses of coverage will be deconstructed through film clips and discussion. Guest speakers from the industry will exemplify key roles such as script supervisor, sound editor, and composer. Students from previous semesters will screen their films and reveal lessons learned in the editing room. There will be assigned readings and a series of handouts including production to post-production flow charts, camera and sound reports, sample lined scripts and continuity reports, which students can keep for future reference. SENIOR COLLOQUIUM FMTV-UT 1057 Course Level: Advanced 1 point. Course is repeatable two times for a total of 2 points. Course is to be taken as a component of all advanced-level core production classes mandatory! This course is for ALL seniors, especially those enrolled in senior level production courses. The Senior Colloquium is a series of lectures designed to assist the graduating NYU student in the transition from academia to the professional world. Guest speakers (including some recent NYU graduates) will cover a myriad of topics, including working with professional actors, set

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procedure, copyright, grant-writing, festivals, commercials, digital technology, and pitching stories. January graduates should register for the fall section and May and September graduates should register for the spring section. Note: If a student finds that registering for the senior colloquium will bring his/her total credits for the semester to 19, please consult with the Film & TV Registration Office.

ANIMATION Crafts
DIGITAL ANIMATION TECHNIQUES FMTV-UT 1116 Previously offered. Course Level: Introductory 3 points. Recommended for both animation and live action students. Students will learn various techniques to create finished animations through the use of digital tools. The course will cover advanced Adobe Photoshop, Adobe Illustrator, Adobe After Effects techniques as they apply to character animation and 2D puppet animation. Cambridge Systems Animo will be used for hi-end digital ink and paint, and Macromedia Flash MX will be taught for web and vector based animation. Exercises will focus on various animation styles from Disney to South Park. Students will learn to utilize digital tools for lip-syncing, 2D puppet animation, and experimental animation. INTRODUCTION TO 3D COMPUTER ANIMATION FMTV-UT 1110 Course level: Introductory/Fundamental 3 points. Recommended for both animation and live action students. This is an introductory course in 3D computer animation and modeling. Students use Autodesk Maya software to create still life compositions, virtual sets and a short animated final project. There are in-depth discussions of CGI production methods as well as artistic techniques used by professional studios to obtain more life-like animations and compelling environments. Students have access to Windows and Mac workstations as well as the highest end software used in the computer graphics field. The class emphasizes artistic expression utilizing this technical medium. Students are encouraged to explore the possibilities of CGI to create short animated stories. 3D COMPUTER ANIMATION WORKSHOP FMTV-UT 1104 Offered in the Summer only. Course Level: Introductory/Fundamental 3 points. Course is repeatable for 6 total points. This is an introductory course in 3D computer animation and modeling. Students use Autodesk Maya software to create still life compositions, virtual sets, and a short animated final project. There are in-depth discussions of CGI production methods as well as artistic techniques used by professional studios to obtain more lifelike animations and compelling environments. Students have access to Windows and Mac workstations as well as the highest-end software in the computer graphics field. The class emphasizes artistic expression using this technical medium. Students are encouraged to explore the possibilities of CGI to create short animated stories. VISUAL EFFECTS AND COMPOSITING FMTV-UT 1143 Course Level: Introductory 3 points. A lecture and workshop course exploring the applications and practical creation of 2-D (green screen, color correction, morphing, etc.) and 3-D (CGI, animation, virtual sets, etc.) visual effects. Students will learn the art and technique of illusion, how to manipulate images and elements combining them seamlessly and photo-realistically, and how to use these techniques in their films.

SPECIAL TOPICS IN 3D COMPUTER ANIMATION FMTV-UT 1113 Course Level: Intermediate 3 points.

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Course is repeatable. Prerequisite: Introduction to 3D Computer Animation (FMTV-UT 1110)

This course is perfect for students looking to further their 3D skillset and deepen their understanding of the many interrelated facets of 3D production, primarily using industryleading Autodesk Maya software. Each semester new topics will be featured and thoroughly explored, providing students the opportunity to concentrate on areas of particular interest, such as animation, game asset creation, dynamic simulations, and photoreastic lighting/rendering. Students will complete the course with a deeper understanding of the subject matter and the ability to apply this knowledge in the digital realm to create final works with added depth and realism. Homework assignments will be project-based, with most models, rigs and sets supplied by the instructor, and a final project will be due at the end of the semester.

ADVANCED 3D COMPUTER ANIMATION FMTV-UT 1117 Course Level: Advanced 3 points. Course is repeatable two times for 9 total points. Prerequisite: Intermediate 3D Computer Animation (FMTV-UT 1113) Students spend the entire term working on a single short animated film using Autodesk Maya software. Students work on projects individually or in teams. Emphasis is placed on story, animation, pacing, and the creation of detailed models and sets. STOP MOTION ANIMATION FMTV-UT 2014 Course Level: Intermediate/Advanced 3 points. Course may be repeated for a total of 6 points Prerequisite: Intro to Animation Techniques (FMTV-UT 0041) Includes all techniques in which the animator works directly in front of the camera. Examples include: Claymation, puppet animation, paint under the camera, in-camera special effects, and pixillation. Demonstrations on character building, set construction, and design, armatures, and lighting for miniature. Several short assignments are required to introduce students to intricacies of stop-motion animation and relationship to 3-D computer animation. Each student will produce a short film with sound. TITLES AND SPECIAL EFFECTS FMTV-UT 1042 Course Level: Intermediate 3 points. Prerequisite: Intro to Animation Techniques (FMTV-UT 0041) or permission of the instructor. This class assumes that the student has an understanding of animation and a pre-existing knowledge of Photoshop. Students will learn the art of titling and compositing using Adobe After Effects software in conjunction with other digital tools. The class will explore the possibilities of utilizing the computer to create compelling motion graphics and compositions. Assignments can include titling or special effects for an existing project or students can create a new project using digital images created in class. STORYBOARDING FMTV-UT 1033 Course Level: Intermediate 3 points. Recommended for both animation and live action students. Students will create a storyboard from an assigned literary property (i.e., by Ray Bradbury, Grimm Bros., Virginia Woolf, or other authors) and research the chosen material visually in picture libraries, print and photo archives, and museum and gallery libraries. From this basic research, the student will create and develop all the visual elements that lead to a final production storyboard. These elements include

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character model drawings; styling sketches for costumes and sets; experimental "inspirational" sketches exploring mood, color, and character relationships; and experiments in animation and color test footage. Each week, students will pitch, i.e. present material as it is being developed. Through weekly critiques from the instructor and students, elements and shape of the production storyboard is refined to its final form. The approved storyboard at the end of the semester should be ready to go into production, and must reflect character, attitude, design, entertainment, mood, expressions, feeling, type of action, use of dialogue, music and sound effects, and tell the story in the best possible way. LIFE DRAWING: THE FIGURE FMTV-UT 1112 Course Level: Introductory/Fundamental 3 points. Course is repeatable for 6 total points. This course is designed to train animation students to think visually, and to strengthen their overall drafting and design skills. The focus of the course is drawing humans and animals from live subjects, thereby learning to translate the three-dimensional world into two-dimensional terms. Drafting skills are important to all animators, regardless of their chosen media or focus. In particular, strong drafting skills are essential for character animators. (Can be taken during same semester as Life Drawing Anatomy emphasis is on drawing in Life Drawing: The Figure, whereas emphasis is on anatomy in Life Drawing: Anatomy.) RENDERING AND SPECIAL EFFECTS WITH MAYA TOOLS FMTV-UT 1142 Previously Offered Course Level: Intermediate 3 points. Course is repeatable for 6 total points. Prerequisites: Intro to 3D Computer Animation (FMTV-UT 1110) or 3-D Computer Animation Workshop (FMTV-UT 1104, offered in the Summer only). This course concentrates on special effects and image creation using 3D computer animation software. Students learn the technical and artistic skill necessary to create the spectacular effects such as fire, water, flowing cloth, explosions, and fractal environments that have become popular in Hollywood-style films. Students also learn rendering techniques to create realistic hair, fur, vegetation, and photo-realistic lighting. Technical issues such as distributed rendering and project management are also covered. The course uses Autodesk Maya with state-of-the-art workstations and integrated computer network. LIFE DRAWING: ANATOMY FMTV-UT 1312 Course Level: Advanced 3 points. Course is repeatable for 6 total points. This course offers detailed lectures and sketching from the model; including studies of "anatomical landmarks" of human and animal anatomy, proportion, and portraiture. Development of each students drafting skills through the study of anatomy of the live model. (Can be taken during same semester as Life Drawing: The Figure emphasis is on anatomy in Life Drawing: Anatomy, whereas emphasis is on drawing in Life Drawing: The Figure.) DRAWING AND DESIGN FOR ANIMATION FMTV-UT 1313 Course Level: Intermediate 3 points. Course may not be repeated. This course offers students an increased technical proficiency and, more importantly, stylistic and creative channels for dealing with common drawing problems. In animation, drawing is not simply seeing. It is thinking and, when successful, doing so on a deep level. The class includes one, two and three point perspective, figure drawing, character rotations, drawing exercises related to fine artists (Picasso, Matisse, Giacometti, etc.), use of tones, continuity sketches, layouts, animatics. ACTION ANALYSIS I FMTV-UT 1328 Course Level: Intermediate/Advanced

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3 points. Course is repeatable three times for 12 total points. Recommended for both animation and live action students. The key principles and mechanics of animation motion, including timing, spacing, staging an image for clarity, imparting a feeling of weight in animation graphics and characters, etc. Live-action and animated films are studied frame by frame; live models (i.e., a dancer and an actor) pose and perform various actions which students visualize and break them down into drawings, and an analysis of the movements. Students shoot test animation exercises (i.e., the bouncing ball) onto video for class criticism. This course is based on the intensive studies done in the 1930's at the Walt Disney Studio for the purpose of improving their animated films. "I definitely feel," Disney wrote in 1935, "that we cannot do the fantastic things, based on the real, unless we first know the real." ACTION ANALYSIS II FMTV-UT 1327 Course Level: Intermediate 3 points. Prerequisite: Animation Action Analysis I (FMTV-UT 1328) or permission of instructor. Recommended for students studying both animation and live action. An intensive intermediate craft production class exploring "personality" animation: creating characters that think and express emotions. Students analyze live action and animated films frame-by-frame. Also, by semester's end students will produce a short film or video (less than one minute) using 3-D or 2-D techniques that incorporate the principles of personality animation. Students will gain experience in all phases of animation production, including concept art, storyboards, layouts, exposure sheets, test animation, inbetweening, final animation, color, sound, etc.

ACTING AND DIRECTING Crafts

FRESHMAN COLLOQUIUM: PERFORMANCE STRATEGIES FMTV-UT 46 Course Level: Introductory 2 Points. Students must also register for one recitation. This is a required course for all freshmen enrolled in Sound Image (FMTV-UT 0048). This is a pass/fail course designed as an introduction to the language and culture of acting and to the nature of the relationship between director and performance. It is intended as a complementary class with Storytelling Strategies. By the end of the semester, students should understand something of the history and culture of schools of acting, comprehend a basic vocabulary of the actor and feel confident with the casting and rehearsal process (including "organic blocking"). Students should attain a basic working knowledge of all areas of creative interpretation including script analysis and orchestrating performance. They should be equipped to talk to actors using accepted vocabulary and be able to stimulate the creation of vital, memorable performances for the screen. PERFORMANCE STRATEGIES FOR TRANSFERS FMTV-UT 146 Course Level: Fundamental 3 points. This course is designed to provide students with an introduction to the language and culture of acting and to the nature of the relationship between director and performance. By the end of the semester, students should understand something of the history and culture of schools of acting, comprehend a basic vocabulary of the actor and feel confident with the casting and rehearsal process (including 'organic blocking' leading to 'coverage'). They should have attained a basic working knowledge of all areas of creative intent -- script interpretation, performance, visual and aural environments. They should be equipped to talk to actors using accepted language and be able to stimulate the creation of vital, memorable performances on the screen.

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ACTOR'S CRAFT I FMTV-UT 1024 Course Level: Fundamental 3 points. Course is repeatable for up to 9 points total of Actor's Craft I & Actor-Director Workshop combined. Intended for film and television directors, the course is a practical exploration of basic elements of the actor's craft: methods of approach to material, terminology, use of self in relation to character and situation, and working relationship with director. DIRECTING THE ACTOR FMTV-UT 1069 Course Level: Intermediate 3 points - Course is repeatable; you may take up to 9 points total of Directing the Actor and Directing the Camera combined. Prerequisites: Freshman Colloquium: Performance Strategies (FMTV-UT 46) OR Performance Strategies for Transfers (FMTV-UT 146) A practical workshop in the fundamentals of directing, this course explores the working relationship between actor, director, and script. The focus lies in the directors work with analyzing a script and collaborating on its realization with actors. Work is done on film scenes with professional or student actors on the rehearsal process, including improvisational work. Review of actors tools and discussion of their application is included, as well as scenes from films to demonstrate certain techniques. DIRECTING THE CAMERA FMTV-UT 1070 Course Level: Advanced 3 points - Course is repeatable; you may take up to 9 points total of Directing the Actor and Directing the Camera combined. Prerequisite: Directing the Actor (FMTV-UT 1069).

This is a practical craft workshop that emphasizes the visual realization of drama scripts and the relationship between performer and camera. It is a directing class and not a camera class. This is not a production, result-oriented class. Through the screening of clips and shooting assignments in class, the course explores directorial choices including blocking actors and camera, framing, camera placement and coverage in order to create powerful experiences for the audience. Students may choose to work on scenes from their senior film projects. All class assignments will be shot in class time, in the 7th floor studio and editing will be done in the students time.

CAMERA Crafts
CAMERA I: ELECTRONIC CINEMATOGRAPHY FMTV-UT 1064 Course Level: Fundamental 3 points. Course is not repeatable. Prerequisites: Sight & Sound: Studio (FMTV-UT 0051) or Sight & Sound: Documentary (FMTV-UT 0080) and completion of 30 credits. A hands on camera craft class designed to give you the knowledge and skills to navigate today's electronic media. You will explore and master complex digital equipment, software and workflows while also deepening your understanding of classical cinematography. Systems explored will include: Genesis, Viper, RED, P2, XDCAM, HDV and DV. CAMERA I: FILM FMTV-UT 1065 Course Level: Fundamental 3 points. Course is not repeatable Prerequisites: Sight & Sound: Film (FMTV-UT 0043) and completion of 30 credits. This course assumes the successful completion of Fundamentals of Sight & Sound Film. It will review B&W theory, cover color theory, and give an introduction to lighting and grip equipment.

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Basic lighting setups as well as in-camera effects are demonstrated and analyzed and will be shot on 16mm film. Students will collectively film class tests shoots rather than work individually as a director of photography. This class is eight weeks of theory and six weeks of shooting. CAMERA II: FILM FMTV-UT 1066 Course Level: Intermediate/Advanced 3 points. Course is not repeatable. Prerequisite: Camera I: Film (FMTV-UT 1065) or Cinematographers Workshop (FMTV-UT 1165). Designed for the advanced cinematography student. This is a practical application course where students who excel in cinematography have the opportunity to take their theoretical knowledge and apply it to interior lighting and shot design. All students are expected to formulate their own exercises for their shoot day, culminating in a presentation to the class. This class shoots in 35mm motion picture color negative film for 9 weeks. Crew participation and professional attitude are essential to the success of this course. This class will use Panavision and Arriflex cameras. CAMERA III: FILM FMTV-UT 1067 Course Level: Advanced 3 points. Course is not repeatable. Prerequisite: Camera II: Film (FMTV-UT 1066) This course is intended for Cinematography students who will be the Director of Photography on at least one Advanced level core production course. The class will prepare and guide the cinematography students through the preproduction process of an advanced film or video. The objective is for the student to design the lighting plan, complete all location plans, distribution of electricity, equipment lists and to test any special cinematography issues that are needed for the look of the film or video. Camera students who take this class are eligible for the Kodak Product Grant only if they are the cinematographers of the Advanced level core productions. Note: This class is not for Directors of Advanced Production or Narrative Production Film! CAMERA LIGHTING & ADVANCED PRODUCTION SOUND COLLABORATION WORKSHOP FMTV-UT 1062 Course Level: Intermediate 3 points. Course may not be repeated. Prerequisite: Camera I: Film (FMTV-UT 1065) Students shoot light exercises on 16mm and Super 16 with assistance and criticism from the instructor. The students in this class work with Advanced Sound students on the creative application of lighting and all students will get to shoot at least one day. SCIENCE OF CINEMATOGRAPHY FMTV-UT 1063 Offered in the Spring semester only. Course Level: Fundamental 4 points. Prerequisite: Camera I: Film (FMTV-UT 1065) or Cinematographers Workshop (FMTV-UT 1165) This course is a theoretical analysis of the science behind cinematography. The class will assume a basic mathematical background and understanding of physical science. There will be no practical experimentation of lighting, as that is the domain of Camera 1 and Camera 2. The objective is to lay a groundwork for color science, physics of light and lens as well as quantitative film and electronic image analysis. The class will also include a survey of camera engineering. The three main components of this course are: 1) Light, Quanta, and Optics, 2) Colorimetry and Electro-magnetic Spectrum, 3) Motion Picture Engineering. Course counts as General Education Science.

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CINEMATOGRAPHERS WORKSHOP FMTV-UT 1165 Summer only Course Level: Intermediate 6 points. Prerequisites: Sight & Sound: Film (FMTV-UT 0043) This is a basic course for students with a beginner's knowledge of film production. The course includes an intensive survey of black-and-white and color film theory. During the shooting of simple scenes, the course will explain controlling the "look" of a film by selection of lenses, choice of focus and exposure and use of lighting, arrangement of elements and use of various emulsions. Timing of prints or digital transfer and non-standard development will also be included in this course as well as pushing, pulling, skip bleach and cross processing. 35MM CINEMATOGRAPHY: EMULSION TESTS AND LIGHTING WORKSHOPS FMTV-UT 1168 Summer only Course Level: Intermediate/Advanced 3 points. Prerequisite: Camera I: Film (FMTV-UT 1065) or Cinematographers Workshop (FMTV-UT 1165) Training in 35mm motion picture photography using the Panaflex G2 & the Arriflex 35-3. This class explores lighting and motion picture photography from the perspective of a Director of Photography preparing for a fictional narrative production. The class executes emulsion tests and lighting workshops designed by the students. Each student will be given an allotment of 200' of 35mm film (= 2:10 seconds of screen time) that covers development and print. The means by which a cinematographer reinforces the content of the script MAY be explored depending on the tests that are submitted by the class. Efficiently acquiring coverage for a simple, MOS scene MAY be explored if the class as a whole displays experienced skill handling the lighting and grip equipment. CAMERA LIGHTING & ADVANCED PRODUCTION SOUND COLLABORATION WORKSHOP FMTV-UT 1062 Course Level: Intermediate 3 points. Course may not be repeated. Prerequisite: Camera I: Film (FMTV-UT 1065) Students shoot light exercises on 16mm and Super 16 with assistance and criticism from the instructor. The students in this class work with Advanced Sound students on the creative application of lighting and all students will get to shoot at least one day.

ART DIRECTION Crafts

ART DIRECTION FMTV-UT 1048 Course Level: Introductory 3 points. Prerequisite: Sophomore level and up. Art Direction is one of the more complicated aspects of film and television making. If the director is responsible for the actors, the cinematographer the camera and light, then the art director is responsible for everything else in the frame. The art director is the person ultimately responsible for the overall "look" of the picture. He or she must be able to work in tandem with the director, the director of photography, and the budget. The art director strives to fulfill the director's vision of the piece, but must do so economically. The art director scrutinizes the script carefully and, in conjunction with the director, arrives at a visual plan for the picture. A comprehensive class in the process involved in art direction, students will also produce designs through exercises. INTRODUCTION TO SPECIAL EFFECTS MAKEUP FMTV-UT 1083 Summer only (Offered through TSOA Special Programs Office during Fall/Spring under OART-UT 14)

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Course Level: Introductory 3 points. This is an introductory level hands-on workshop designed for students wishing to develop their artistry, experienced make-up artists seeking advanced techniques, non-make-up artists just starting out, and anyone who has always wondered howd they do that? This course explores the art of special effects make-up. Topics include anatomical reference; visualizing an effect; lighting for make-up; safety using materials; sculpting, molding and applying silicone prosthetics; designing and creating a creature concept maquette; skin safe molding procedures; creating replica props; out-of-kit make-up effects including bruises, black eyes, blood, scabs, scars, wounds, burns, and decayed flesh; creating a latex prosthetic mask. Students receive a make-up kit specially designed with all materials necessary to complete in-class projects. No artistic background required.

NEW MEDIA PRODUCTION

INTERNET DESIGN FMTV-UT 1123 Course Level: Introductory 3 points. Course is not repeatable This course will introduce students to the fundamentals of web design, production and online portfolio development. It will provide students with a basic understanding of HTML and Flash, designing and optimizing graphics for the web and basic technical skills necessary for getting your site, film or reel online. Essential skills for using the web and social media for promotion and distribution will also be discussed. REEL DELIVERY: DESIGN FOR MEDIA DISTRIBUTION FMTV-UT 45 Course Level: Introductory 3 points. Course is repeatable for 6 total points Prerequisite: Basic knowledge of the Macintosh Computer and Adobe Photoshop. Audiences view films in many different ways and methods of delivery are constantly changing. This class covers the delivery of film and video in all methods and formats from streaming online to handheld devices as well as future techniques. Students will create their own website using NYU webspace along with a companion DVD. This craft production course enables the student to prepare their reel, film or portfolio for delivery via different means, presenting their work in a welldesigned context. Students with works in production can post dailies to their website and password protection will be addressed. Topics covered include project planning, all types of compression and encoding video for various methods of delivery, page creation and editing, graphical and navigational design, audio/video design, social media techniques and promotional concepts, and overall website authoring issues. Students will work with Dreamweaver, Final Cut Pro, Toast, Flash Video Encoder, DVD authoring software, and Adobe Photoshop.

EDITING (Post-production Crafts)

POST-PRODUCTION COLLOQUIUM FMTV-UT 60 Course Level: Intermediate 1 point. Course is not repeatable. Note: This course should be taken DURING the semester you are enrolled in any intermediate-level core production course other than Intermediate Narrative Production (FMTV-UT 1040). Intermediate Narrative Production (FMTV-UT 1040) will include an equivalent Post Lecture as a component of the production class. This colloquium will introduce the students concerns of the editor and how pre-production and production influence the post-production process. It will chart the workflow of digital postproduction from the ingest of digital dailies through rough cut, fine cut, ADR & Foley, sound editing, musical scoring, audio mixing and final mastering. Students will learn proper slating and set protocols and gain a basic working knowledge of frame rates and digital formats. Editing

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techniques and the uses of coverage will be deconstructed through film clips and discussion. Guest speakers from the industry will exemplify key roles such as script supervisor, sound editor, and composer. Students from previous semesters will screen their films and reveal lessons learned in the editing room. There will be assigned readings and a series of handouts including production to post-production flow charts, camera and sound reports, sample lined scripts and continuity reports, which students can keep for future reference. INTRODUCTION TO EDITING USING FINAL CUT PRO AND AVID FMTV-UT 1016 Course Level: Introductory 3 points. Enrollment is limited to 12. Not open to freshmen. This is a hands-on course designed to introduce the student to narrative and documentary editing techniques, and to the role of the editor in shaping the final form of film and video productions. It will thoroughly explore the two major editing applications (Avid and Final Cut Pro) used in todays digital post-production environment, and acquaint the student with every stage of the editing workflow from capture to final output. With Final Cut Pro, students will be given a more thorough grounding in the application, as well as teach and reinforce professional standards and practices. With Avid, the software will be learned in an environment that compares and contrasts it with FCP to give the user a better understanding of how it functions. At all points when new maneuvers are introduced, overarching similarities between systems will be noted. Students will learn to approach these and other nonlinear programs as variations on common themes rather than as completely new and foreign tools. In addition, the class will present examples of edited sequences from both narrative and documentary films for discussion, and may invite guests who will share their experiences in bringing films to completion. Good editing is crucial to the success of every film and video. This course is recommended to any student, from sophomore to senior, who would like to gain a clearer understanding of the role of the editor as an artist, a technician and a collaborator, along with a foundation in the software platforms in use by professional editors today. This is also highly recommended to any student pursuing directing or producing who wants a better understanding of how the post-production workflow functions. INTERMEDIATE EDIT WORKSHOP: AVID FMTV-UT 1018 Course Level: Intermediate 3 points. Course may be repeated. Note: Designed to support projects originated in Intermediate Narrative Production Workshop (FMTV-UT 1040), Documentary Workshop (FMTV-UT 1041), Intermediate Experimental Workshop (FMTV-UT 1046), or an Intermediate-level Television Production Core. This class is designed to be taken the semester immediately after an Intermediate narrative, documentary, or television production workshop. Together with the production class, it will give students a comprehensive sync-sound experience from script to locked picture. Students who wish to edit someone elses project are also encouraged to enroll. The goal of the class is to finish with a fine cut of an intermediate project by the end of the semester. The class will explore the entire post-production experience: basic visual cutting of sync and non-sync material, the assembly, the rough cut, the fine cut, basic sound and music cutting, and exporting to QuickTime and Pro Tools. All stages of work are treated from the viewpoint of a professional editor. Students will learn how to edit using Avid Media Composer software, the industry standard for most feature film and television post-production. No previous experience with this software is required. DIGITAL EDITING AND EFFECTS: FINAL CUT PRO AND AVID FMTV-UT 1115 Summer only. Open to all students. Course Level: Intermediate 3 points. This class is a hands-on workshop that addresses key digital editing processes from media management through advanced editing techniques, with an emphasis on effects creation using two primary mainstream non-linear systems, Final Cut Pro and Avid. Class exercises will be

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carried out on both systems. Detailed attention will be given to the unique aspects of each system and to techniques for moving from one to another. Where pertinent the integration of supplementary effects programs, such as AfterEffects, will also be examined. Students may work with their own footage or with exercise footage prepared by the instructor. ADVANCED EDIT WORKSHOP: AVID FMTV-UT 1105 Course Level: Advanced 4 points. Prerequisite: Intermediate Editing Workshop (FMTV-UT 1018), or Intro to Editing (FMTV-UT 1016), or any Intermediate-level production class. This is both a lecture and a workshop class for student directors and those wanting to become editors. Each student has the opportunity to edit and workshop a film, shot in either an intermediate or advanced production class. Juniors and seniors learn advanced technical and aesthetic techniques in digital editing by working on an Avid or Final Cut Pro editing system. They also get a refresher in the basics of importing, logging and digitizing. There are guest lecturers and one or two field trips to post-production houses during the semester. POST PRODUCTION FOR ADVANCED TELEVISION WORKSHOP FMTV-UT 1107 Offered in the Fall only. 4 points. Prerequisite: Intermediate Editing Workshop (FMTV-UT 1018), or Intro to Editing (FMTV-UT 1016), or any Intermediate-level production class. Post Production for Advanced TV Production Workshop is offered simultaneously with the second (Fall) semester of the FMTV-UT 1777 Advanced Television Production Workshop class, during which TV pilot episodes written in the first (Spring) semester are shot. The Advanced TV Production class will provide digital dailies that the edit class will receive and edit to a fine cut. Students will learn the fine points of media management and editing on Avid Media Composer software as well as how to anticipate and plan for all the stages of post-production, with particular emphasis on the needs of this project. Weekly screenings of dailies and works-in-progress will be coordinated with the production class. NOTE: In the following (Spring) semester, these episodes will be completed in FMTV-UT 1105, Advanced Edit Workshop. Students who enroll in that course for the express purpose of finishing the TV projects will have a unique opportunity to learn how to coordinate with music composers, color correctors and sound editors, while gaining skills in each of these areas. The goal of the class is to produce a finished DVD that can be used as a sample of professional work. Students are free to enroll in one or both semesters of this editing progression.

PRODUCING Crafts
PRODUCING THE SHORT SCREENPLAY FMTV-UT 1023 Course Level: Fundamental 3 points. Producing the Short Screenplay is a course that analyzes the basic concepts involved in the production of a short film. Students will gain a practical understanding of the many tools and techniques of the craft, as they are applied in mainstream industry practice. Class lecture is designed to cover the five phases of production: Development, preproduction, production, post production, and distribution. Through class exercises, students learn how to apply the basic skill set of the producer, including but not limited to: budgeting, scheduling, casting, location scouting, managing cast and crew, and much more. This course provides good prep work for anyone looking to produce a short film. PRODUCING FOR FILM FMTV-UT 1095 Course Level: Advanced 3 points.

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An examination of the creative, organizational, and managerial roles of the producer in narrative motion pictures. Topics include how a production company is formed, creating and obtaining properties, pitching, financing, budgeting, publicity, marketing, and distribution. The course gives specific attention to the problems in these areas that will be faced by students as future professional producers, directors, production managers, or writers. Students construct a plan for a feature project of their choice, incorporating a creative package, production strategy, and a financing strategy. There will be guest speakers and occasional screenings. PRODUCING FOR TELEVISION FMTV-UT 1028 Course Level: Intermediate 3 points. This course provides fundamental and practical instruction in the step-by-step realization of a television program. While productions will not be implemented through the class, students will individually serve as executive producers on projects of their own choosing, based on assignments by the instructor (based on student submissions which include news and cultural documentaries, performance and variety shows, and dramatic works). Student producers will engage in a detailed pre-production phase, which covers research, concept, format development, securing of rights and permissions, pitching to networks and studios, contracts and agreements, formation of the production plan, budget development, assembling staff and crew, identifying onair talent, determining locations, photo and film archive research, refining the shooting schedule and budget plan. Analysis of why some projects succeed and others fail, an overview. TV NATION: INSIDE AND OUT OF THE BOX FMTV-UT 1086 Course Level: Intermediate 3 points. TV Nation: Inside and Out of the Box gives students the opportunity to experience, first hand, how the world of network television works from two points of view: business and creative. Students will gain an understanding of the business aspect through the vantage point of the network executives and programmers. They will also learn the creative process from development to pitching, from the vantage point of writers and producers in the industry. In TV Nation, students will role play the entire process as the key players who put together a season for broadcast and cable networks. STRATEGIES FOR INDEPENDENT PRODUCING FMTV-UT 1092 Course Level: Intermediate/Advanced 3 points. The purpose of this course is to give students important tools for developing and producing an independent film. The course focuses on independent narrative features and documentaries, and recognizes the fundamental nature of film as art and commerce. It examines the marketplace for independent feature film, its history, and its workings, including the mechanics and economics of distribution, festival strategies, and funding strategies, including grant funding. Students construct a plan for a feature project of their choice, incorporating a creative package, production strategy, and a financing strategy. There will be guest speakers and occasional screenings. FILM MARKETING AND DISTRIBUTION FMTV-UT 1093 Course Level: Intermediate 3 points. This is a specialized course in film marketing and distribution. Students will study two models: studio distribution and independent film distribution. Major studio distribution topics will include devising a release plan and strategy, analyzing grosses and financial elements and creating a advertising and marketing campaign. The independent film portion of the course will cover film festivals, acquisitions, how to create press materials for indie films, understanding distribution deals, shorts and documentaries, and how to work with agents, publicists, attorneys and producers reps. LEGAL ASPECTS OF THE ENTERTAINMENT INDUSTRY FMTV-UT 1195 Course Level: Advanced

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3 points. Course is designed for juniors and seniors. A course that tracks the filmmaking process from its inception, at the idea phase and follows the creative process through development, pre-production, principal photography and postproduction. The class will focus on the business and legal issues that arise during every phase of filmmaking. Key topics covered will include: copyright law; option agreements for underlying rights such as books, plays, magazine and newspaper articles; sources of financing; distribution agreements; licensing of music; agreements for actors, directors, producers and writers. PRODUCING FOR FILM AND TELEVISION FMTV-UT 1295 Summer only Course Level: Intermediate/Advanced 3 points. An examination of the creative, organizational, and managerial roles of the producer in narrative motion pictures and television. Topics include how a production company is formed, creating and obtaining properties, financing, budgeting, cost control, and distribution. The course gives specific attention to the problems in these areas that will be faced by students as future professional directors, production managers, or writers. Each student is expected to break down, schedule, and budget a feature film or television show of their choosing. PRODUCTION MANAGEMENT: BOARDS AND BUDGETS FMTV-UT 1296 Course Level: Intermediate/Advanced 3 points. An introductory course to Professional Production Management that provides the student with the information and practice of managing the making of a feature film or long form television show. Film and television production has many more requirements than simply securing a camera, stock and actors, and the course will explore those management elements that a filmmaker needs to fulfill in order to shoot and complete. We will examine the structure of the crew and the collaborative responsibilities of crew members, the legal issues of permits, insurance, rights, clearances and permissions; Screen Actors Guild requirements, the management of the production including scheduling, budgeting, transportation, and the productions responsibilities to cast and crew. We will pay particular attention to professional practice concerning the structure of the workday hours and turn around time and safety issues that are the responsibility of the producer, director, DP and shop steward. The course will explore techniques for on-set casting, location scouting, tech scouts, and read-thrus. Each student will be required to prepare a production book for his or her shoot by the end of class that will include a final marked script, script breakdown pages, shooting schedule, budget, cast, crew and location lists. The script to work from will be provided by the instructor.

SOUND PRODUCTION Crafts

SOUND FOR FILM AND TELEVISION FMTV-UT 1274 Previously offered Course Level: Introductory/Intermediate 3 points. Prerequisite: Sophomore level. Open only to transfer students who have not taken Sound Image (FMTV-UT 0048). Freshmen and students who have already taken Sound Image may not register for this course. An introductory craft course that surveys the technical skills and aesthetic considerations employed in sound recording, editing, and mixing for use in film and video. Students will be introduced to digital recording, both on location and in the studio; digital sound editing; and post-production sound and sound mixing. Students should plan to devote 3 to 4 additional hours per week of "lab time" learning the sound facilities. Like the core production course Sound Image (FMTV-UT 0048), this craft course will serve as introduction and prerequisite for all future sound work. PRODUCTION SOUND FMTV-UT 1004

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Course Level: Intermediate 3 points. Course may be repeated. This course tries to duplicate the realities of the production sound mixers life both at Tisch and in the professional world. Starting with a concentrated foundation in the tools of the trade, the semester moves through a series of workshops that present the student with a variety of situations like those faced on a working set. Workshops include many different and challenging scenes and situations, both interior and exterior, in which the students do complex multi-mic mixes. Other workshops focus on very specific aspects of the mixers craft: radio mics, light and boom shadows, time-code and music playback, etc. the goals are to provide both professional skills and attitudes and to create an understanding of how production mixers bring the directors vision to the screen. The final project is the production mix of a film or video for one of the intermediate production courses. STUDIO RECORDING FMTV-UT 1005 Course Level: Intermediate 3 points. Course may be repeated. Prerequisite: Sound Image (FMTV-UT 0048). This is a workshop-style class focusing on the techniques of stereo music recording in the studio. The first three classes are lecture/demonstrations, after that we will alternate between recording soloists, small ensembles, and bands, and discussing and analyzing these recordings. The emphasis is on making complete ensemble recordings of performances. As part of the process we will compare digital and analog systems, and study the structural and operational differences among a variety of microphones. Effects processors, reverbs, delays, equalizers and compressors will all be studied and applied to recordings. The goal of the class is to provide a set of principles and tools that will be relevant to any music recording situation that arises. Sound Image (FMTV-UT 0048) is required to take this class. We will be jumping into a relatively complext studio very quickly, students will be expected to put in whatever time they need to become comfortable in the studio. Over the course of the semester each student is expected to make three finished recordings. Often the first recording will be of a soloist, the second a duo or trio, and the last a band or large ensemble. It is the students responsibility to find musicians to record. Grading is based on attendance and participation in class and on the quality of the recordings produced. Students will not be graded on the quality of the music, just the recording. In this class we will refer to the history of music recording repeatedly as we learn about the fundamental techniques as they have been practiced since the 1930s. FILM MUSIC WORKSHOP FMTV-UT 1009 Course Level: Advanced 3 points. This course provides an intensive workshop setting where students produce music soundtracks for their films, working closely with composers and/or music from a library. Students will learn about music editing and how to prepare a Music Production Book. Note: At the beginning of this course, all students are required to have fine cuts of the picture they plan to use for their projects. SOUND DESIGN I FMTV-UT 1059 Course Level: Intermediate 3 points. Prerequisite: Sound Image (FMTV-UT 0048) and Sight & Sound: Film (FMTV-UT 0043), and one of the following: Sight & Sound: Studio (FMTV-UT 0051) or Sight and Sound: Documentary (FMTV-UT 0080). Note: At the beginning of this course, all students are required to have a locked 2-minute silten film for their first project. A post-production audio primer. Enter the exciting and limitless world of sound editorial. Learn techniques utilized by sound FX editors, dialogue editors, foley artists (aka walkers), and foley/ADR engineers. Edit and build tracks in Pro Tools for a short film and Intermediate-level projects. Realize the elasticity of the sonic palette, and create! Lots of in-class hands-on workshops and lab time. The perfect class for sound/picture editors-in-training, directors who

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want to develop their aural sensibilities, or anyone else who wants to understand the power of sound in cinema. The goal of the class is to excite and engage students in the limitless world of sound for the moving image by involving the students in most aspects of track design for film and television. In class, students create sound designs for an in-class project and then in workshops this design is brought to the screen. These class workshops focus on looking at the material to see what the appropriate sound design is and determining its many components. The workshops cover: the spotting session, FX recording, stereo ambiance recording, the Foley artist, the FX library, digital editing and mixing, and the nuts and bolts of sound editing. Students must have locked picture at the beginning of the semester for the final project. The emphasis is really on the bigger picture on using the track to expand the narrative and the visual. The final project for each student is a completion mix of a sound design of six to eight tracks for a film or video of about two minutes. Not recommended for students enrolled in Intermediate Narrative Production (FMTV-UT 1040). SOUND DESIGN II FMTV-UT 1060 Course Level: Advanced 3 points. Course may be repeated. Prerequisites: Sound Design I (FMTV-UT 1059) A more technically oriented course for the serious sound editor. In Sound Design II we concentrate on the major areas of the sound editors craft and develop the students skills in each. These include: splitting dialogue tracks, spotting and editing ADR, fully layering backgrounds and ambiance, running Foley session, handles and extensions, using music well, and complex stereo FX. Digital recording and editing on computer workstations will be stressed whenever appropriate. The semester is broken down into blocks of editing time dealing with each of these areas. Much more time will be spent in the cutting room in Sound Design II than in the intro. The ideal final project for the students in Sound Design II would be the design and mix of the tracks for a picture locked senior production or grad thesis. Students will also be expected to participate in a group project to learn the process of working together as part of a sound editing team. In this scenario, the work will be very significant and the students will get to experience the professional relationship between director and sound designer, as well as the relationship between supervising sound editor and the sound editing team. SOUND MIX WORKSHOP FMTV-UT 1010 Course Level: Intermediate/Advanced 3 points. Course may be repeated. Prerequisites: Sound Image (FMTV-UT 0048) and Sight & Sound: Film (FMTV-UT 0043) and one of the following: Sight & Sound: Studio (FMTV-UT 0051) or Sight & Sound: Documentary (FMTV-UT 0080). This class will provide students with an understanding of the final mix. If you are interested in becoming a mixer this will be an opportunity to learn the inner workings of a studio while getting hands-on experience in a professional setting: our mix studio. For directors, writers, producers, editors, or anyone involved with the learning process of making and finishing a Film/TV project, this will be just as valuable for communicating with your personnel. An excellent next step for those who have taken Sound Design I. CREATIVE SOUND DESIGN FMTV-UT 1068 Previously offered Course Level: Intermediate/Advanced 3 points. Course may be repeated. Prerequisites: Sound Image (FMTV-UT 0048), Sight & Sound: Film (FMTV-UT 0043), and Sight & Sound: Studio (FMTV-UT 0051) or Sight and Sound: Documentary (FMTV-UT 0080). Creative Sound Design is an intermediate level course for students wishing to experiment in depth with the technical, practical and aesthetic aspects of sound design that can be used for a medium of expression in its own right, such as creating advanced level SOUND IMAGE projects, by experimental filmmakers who want to build soundscapes for their films, and by students interested in designing sound for theater and installations, such as museums and galleries. The

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course emphasizes individually created projects and includes opportunities for location and studio recording, digital editing signal processing and mixing. ADVANCED PRODUCTION SOUND FMTV-UT 1012 Course Level: Advanced 3 points. Prerequisites: Production Sound Recording (FMTV-UT 1004) As an intense, highly professional workshop, Advanced Production Sound will challenge the committed student to achieve the best industry standard production mixes possible. Workshops based upon actual production situations and issues will be concentrated, in-depth experiences. The technical aspects of the course will include acoustic, phase and impedance, mic directionality and capsule construction, radio frequency, stereo theory, etc. These topics will be handled in both theoretical and practical terms. The major thrust of the semester will be devoted to workshops around sophisticated production mixing and group exploration of state-of-the-art techniques and technologies. Each student will be required to mix the production tracks for an advanced production or a grad thesis film. CAMERA LIGHTING & ADVANCED PRODUCTION SOUND COLLABORATION WORKSHOP FMTV-UT 1062 Course Level: Intermediate 3 points. Course may not be repeated. Prerequisite: Camera I: Film (FMTV-UT 1065) Students shoot light exercises on 16mm and Super 16 with assistance and criticism from the instructor. The students in this class work with Advanced Sound students on the creative application of lighting and all students will get to shoot at least one day.

INTRODUCTION TO SOUND TECHNIQUES FOR TRANSFER STUDENTS FMTV-UT 1274 Course Level: Fundamental 3 points. This course provides an intensive one-semester introduction to sound for Film and Video. The students will have a hands-on opportunity to work on the audio side of the filmmaking process and experience the effect a good sound design can make on the overall quality of the audience experience. There will be lectures and exercises starting with the most basic elements of recording location dialogue and ambience as well as an introduction to the operation of both the ADR and Foley studios. Most of the exercises will directly contribute to the completion of a final project that will encompass practical use of all the basic elements of sound design. This class is meant to provide a basic foundation for the students future work in the department, both for those who plan to go more deeply into sound with advanced classes here as well as for students wanting to better understand the value of this medium to film and television.

INTERNSHIPS and INDEPENDENT STUDY (Crafts)

MEDIA INTERNSHIP I and II FMTV-UT 1037/1038 Course Level: Intermediate/Advanced 1-12 points, variable. Prerequisite: Two of the three Fundamentals courses--Sight & Sound: Film (FMTV-UT 0043), Sight & Sound: Studio (FMTV-UT 0051), Sight and Sound: Documentary (FMTV-UT 0080). Only open to UGFTV juniors and seniors. The number of points is determined by the number of hours worked. Consult the George Heinemann Memorial Internship Office in Room 1139 for further details. Internships in film, television, radio, web content, and other media are arranged on a limited basis for those students who are qualified. In these professional internships, the students employer or supervisor evaluates the work of the student. These written evaluations are submitted to the faculty supervisor. Internships may be taken for 1-12 points per semester, with a recommended maximum of 8 points in the Junior year and 16 points in the Senior year. These will count as

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Production Craft credits. No more than 24 points of internship credit may be taken toward the completion of degree requirements. ADVANCED INDEPENDENT STUDY FMTV-UT 1097/98/99 Course Level: Advanced 1-4 points, variable. Prerequisite: Open only to juniors and seniors. Student must also file an Undergraduate Independent Study Form, available outside the UGFTV Registration Office. This form must be signed by the full-time faculty member who will supervise the study, as well as the UGFTV Undergraduate Chair. Students may enroll in an Independent Study to do work that would not be covered by an existing course in the Department. Working with a full-time faculty member, students develop a plan of study that outlines the project, the schedule, and the number of contact hours with the faculty (at least one meeting every two weeks is required) an approximate number of hours per week to be spent on the project (approximately 4-5 hours per week per point of Independent Study). Independent Study credit for crew work done in a Core Production workshop in which the student is NOT enrolled is limited to two (2) points, and the experience is not considered for a prerequisite equivalent. Please keep in mind, however, that all Independent Study credit is designated as Craft by Degree Audit. A student may not exceed three (3) Independent Studies (12 points) toward degree requirements. Students enrolled in Independent Study DO NOT have access to Departmental facilities or equipment for production projects, and are not covered by school insurance.

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Scriptwriting
Students must complete 3 courses for not less than 12 points. All courses are arranged numerically by level: Introductory, Fundamental, Intermediate, and Advanced. Some courses may not be offered in a given academic year. Consult each semesters schedule for specific information. Storytelling Strategies Fundamentals of Dramatic and Visual Writing Preparing the Screenplay Writing the Short Screenplay Script Analysis Developing the Screenplay Writing for Television: Situation & Sketch Comedy Comedy Writing for Film and Television Research and Writing for Documentary Film and Television Writing for Children's Television Production Workshop -- Fall semester only Writing for Children's Television Workshop Adaptation: A Screenwriting Workshop Writing the Feature Film -- summer only Advanced Television Writing: The One Hour Drama Writing for Advanced Television Production Workshop

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STORYTELLING STRATEGIES FMTV-UT 20 Course Level: Freshman 4 points. Course may not be repeated. The ability to understand what makes a good story well told is a skill that is crucial to your growth as a filmmaker whether you become a writer, director, producer, actor, editor, cinematographer, etc. Storytelling Strategies looks at how narrative stories work through an examination of the structural and mythic elements first established by the ancient Greek playwrights and recognized by Aristotle in his Poetics thousands of years ago. The course continues this examination up to and including such contemporary story models as Joseph Campbells The Hero with a Thousand Faces as well as the current Hollywood paradigm, the three-act structure. We will seek to find those principles that form the backbone of successful narrative screenplays and contribute to a films ability to resonate with an audience. The lecture is for analysis. The recitations are for applying what you have learned, through writing exercises and a completed short screenplay. FUNDAMENTALS OF DRAMATIC AND VISUAL WRITING FMTV-UT 33 Course Level: Fundamental 4 points. Prerequisite: Sophomore status. Through lecture and recitation, this class is an intensive examination of the short film and the fundamental grammar of dramatic and visual writing. In the recitation, each student will write and re-write two original screenplays. The first will be 6-8 pages and the second 12-15 pages. These scripts may be used in the future for upper-level (intermediate and advanced) core production classes. In these workshop sessions students will be asked to read each others work and give constructive feedback/notes to the writer(s). The lecture will serve as a forum for a comprehensive examination of the writers toolbox. Through the screening of short films and clips from features as well as the reading of short scripts and sections of feature screenplays, we will explore how preeminent screenwriters use the interplay of visual language, structure, and character to create original, compelling, and emotional stories. PREPARING THE SCREENPLAY FMTV-UT 1019 Course Level: Intermediate 4 points. Course may be repeated. Prerequisite: Fundamentals of Dramatic and Visual Writing (FMTV-UT 0033) or Scriptwriting II (FMTV-UT 0056, offered in the Summer). A one-semester screenwriting class in which students will have the opportunity to do the necessary preparatory work before writing a feature length screenplay or long-form television script. The structure of the class will mirror the real world experience of working writers. Students will be asked to come up with an idea for their script, pitch the story, do any needed research, and then proceed to a step-outline and treatment. It is required that this class be taken before taking Developing The Screenplay and/or Adaptation: A Screenwriting Workshop, Writing for Advanced TV Production Workshop, Advanced Television Writing: The One Hour Drama, or Advanced Feature Writing I. Script Analysis is also recommended for students who want to take these courses. WRITING THE SHORT SCREENPLAY FMTV-UT 1020 Course Level: Intermediate 4 points. Course may be repeated. Prerequisite: Fundamentals of Dramatic and Visual Writing (FMTV-UT 0033) or Scriptwriting II (FMTV-UT 0056, offered in the Summer). This workshop is devoted solely to screenplays from 10-30 minutes in length that can be directed in Intermediate or Advanced Production classes. Students are assisted in exploring, developing, and writing appropriate material, from idea to finished script. Work can either be in narrative or non-narrative form.

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SCRIPT ANALYSIS FMTV-UT 1084 Course Level: Intermediate 4 points. Course may be repeated. Prerequisite: Fundamentals of Dramatic and Visual Writing (FMTV-UT 33). This class is designed to help the students analyze a film script through both viewing and reading of a script. Plot and character development, character dialogue, foreground, background, and story will all be examined. Using feature films, we will highlight these script elements rather than the integrated experience of the script, performance, directing, and editing elements of the film. Assignments include two script analyses. DEVELOPING THE SCREENPLAY FMTV-UT 1100 Course Level: Advanced 4 points. Course may be repeated. Prerequisite: Preparing the Screenplay (FMTV-UT 1019) This workshop is devoted to the full-length screenplay or long-form television narrative. Students are assisted in testing the strength of their ideas developed in Preparing the Screenplay, in researching them when necessary, in preparing step-sheets, and in getting the most out of story sessions. A requirement of the course is a complete first draft. WRITING FOR TELEVISION: SITUATION & SKETCH COMEDY FMTV-UT 1102 Course Level: Intermediate 4 points. Course may be repeated. Prerequisite: Preparing the Screenplay (FMTV-UT 1019), Writing the Short Screenplay (FMTV-UT 1020), or Script Analysis (FMTV-UT 1084). The course covers the fundamentals of comedy writing for sketch shows and half-hour sitcoms beginning with a sequence of short comedy writing exercises a la The Daily Show, SNL, Mad TV and The Colbert Report. The primary assignment is to write at least the first act of an existing sitcom. The language and process of finding comedic situations, storylines, pitching ideas and developing the script is examined. COMEDY WRITING FOR FILM AND TELEVISION FMTV-UT 1158 Course Level: Intermediate/Advanced 4 points. Course may be repeated. Prerequisite: Preparing the Screenplay (FMTV-UT 1019), Writing the Short Screenplay (FMTV-UT 1020), or Script Analysis (FMTV-UT 1084). In this course you will have the opportunity to write: comedy feature film, half-hour sitcom specs scripts, series of comedy sketches and stand-up comedy material. This intimate class is a writing workshop that explores every aspect of comedy writing for visual media. Whether its Larry David that does it for you, or the Brothers Farrelly, Marx or Coen, this course will help students discover what works, what doesnt, and why. The last part of the semester will be devoted to the business of comedy writing where the work is, who the players are. Industry guest speakers may visit throughout the semester. RESEARCH AND WRITING FOR DOCUMENTARY FILM AND TELEVISION FMTV-UT 1118 Course Level: Intermediate 4 points. Course may be repeated. Prerequisite: Preparing the Screenplay (FMTV-UT 1019), Writing the Short Screenplay (FMTV-UT 1020), or Script Analysis (FMTV-UT 1084). This course will examine the moral and ethical problems of documentary making; logistics and planning; research techniques and sources; choice of media and style. Each student will be expected to develop at least one idea into a project.

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WRITING FOR CHILDREN'S TELEVISION PRODUCTION WORKSHOP FMTV-UT 1126 Offered in Fall semester only Course Level: Intermediate 4 points. Course may be repeated. Prerequisite: Preparing the Screenplay (FMTV-UT 1019), Writing the Short Screenplay (FMTV-UT 1020), or Script Analysis (FMTV-UT 1084). History of Children's Television (FMTV-UT 1022), a History and Criticism course, is recommended. This is a class where students create and write a sketch comedy show (to be produced the following spring) for the 'tween audience - the same audience that watches everything from Hannah Montana to One Tree Hill, from MTV to Twilight. Students work at a writer's table and the professor provides executive producer/head writer guidance, but it is the students who drive the bus in terms of conceptualizing and writing an original half-hour comedy show. This is a wonderful opportunity to work in the same manner as comedy writers work in the industry. WRITING FOR CHILDREN'S TELEVISION WORKSHOP FMTV-UT 1136 Offered in Spring semester only Course Level: Intermediate 4 points. Course may be repeated. Prerequisite: Preparing the Screenplay (FMTV-UT 1019), Writing the Short Screenplay (FMTV-UT 1020), or Script Analysis (FMTV-UT 1084). History of Children's Television (FMTV-UT 1022), a History and Criticism course, is recommended. A nuts and bolts course on how to develop teleplays or screenplays for young children and adolescents. Through lectures, guests, and class viewings, students move from concept to treatment to a full script as well as learn the business and marketing of children's programming and films. ADAPTATION: A SCREENWRITING WORKSHOP FMTV-UT 1152 Course Level: Advanced 4 points. Course may be repeated. Prerequisite: Fundamentals of Dramatic and Visual Writing (FMTV-UT 0033) or Scriptwriting II (FMTV-UT 0056, offered in the Summer) and, starting in Spring 2010, Script Analysis (FMTV-UT 1084). Recommended for Seniors and Juniors. A vigorous workshop in the craft of adaptation (developing screenplays and teleplays from works of fiction and non-fiction.) The source material covered will include short stories, novels, news items, biographies, and true stories developed from journalistic sources and original research. We'll explore research methods and learn how to evaluate source material to determine which material invites adaptation. Through selection of your own projects (which you will research and develop from pitch to outline to first scenes) you will learn how to translate the essential elements of the source material's story, theme, main characters, and tone into well structured screenplays. WRITING THE FEATURE FILM FMTV-UT 35 Summer only Course Level: Advanced 4 points. Course may be repeated. This intensive workshop takes the student from premise to plot to structure of a feature-length screenplay. How to deploy the main character is a critical element of this course. Students must complete at least a treatment of the full script together with thirty pages of script in order to get credit for this course. WRITING FOR ADVANCED TELEVISION PRODUCTION WORKSHOP FMTV-UT 1131 Course Level: Advanced 4 Points. Course may be repeated. Prerequisite: Preparing the Screenplay (FMTV-UT 1019). This course recreates the writers' room of a series television drama. In the 14-week semester, students will learn what its like to work as writers and show-runners on a TV show. This will provide invaluable experience in preparing for future employment as writers, producers or directors on an actual network program. Students will develop and write two 21-minute pilots,

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which they will produce in Advanced Television Workshop (FMTV-UT 1777) in the Spring semester. ADVANCED TELEVISION WRITING: THE ONE HOUR DRAMA FMTV-UT 1132 Course Level: Advanced 4 Points. Course may be repeated. Prerequisite: Preparing the Screenplay (FMTV-UT 1019). Students are given the choice of writing an Original Pilot or a Spec Script for an existing hour-long drama. The course examines the structure and storytelling techniques necessary to write a 60minute script--A, B, C and D stories. Students choosing to write a Spec for an existing show will begin by pitching their story ideas, writing an outline, then moving on to the first draft of a script. Those who choose to write an Original Pilot will start by presenting their premise, characters and storylines before moving on to an outline and the script. Each week we will read scripts from current shows or watch episodes of specific hour-long dramas to study their structure and plotting. ADVANCED FEATURE WRITING I & II FMTV-UT 1220/1221 Course Level: Advanced 4 Points. Course may NOT be repeated. This is a year-long course; students must register for the 2nd semester in the Spring semester. Prerequisite: Preparing the Screenplay (FMTV-UT 1019) AND permission of instructor, chair, or Executive Director of Writing Studies. Please see the Registration Office for an access code to register for this course after being granted permission. A year-long advanced screenwriting workshop in which students will have the opportunity to write and re-write a feature length screenplay. As well as completing their own work, students will be required to read and critique (via class discussion and written notes) each others work throughout both semesters. The overall structure of the class will mirror the real world experience of working writers. Students will be asked to come up with an idea for a feature length script, pitch the idea, do any needed research, then proceed to a step-outline, treatment, and complete first draft. The second semester will be devoted to re-writing the script to achieve a marketable and producible screenplay. To that end, the class will also deal with the business of writing. Industry guests will be invited in to discuss agents, managers, options, Writers Guild membership, entertainment attorneys, contracts, etc. This class is only open to those students who have completed their three required writing classes and who have written at least one feature screenplay. Admission is by permission of the instructor, the department chair, or the executive director of writing studies.

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Freshman Program
The following film courses are required for UGFTV Freshman plus a General Education course of their choice and an Expository Writing course each semester. Consult each semester's schedule for specific information. HISTORY & CRITICISM Language of Film SCRIPTWRITING Storytelling Strategies CRAFT PRODUCTION Freshman Colloquium: Visual Semester Freshman Colloquium: Performance Strategies CORE PRODUCTION Freshman will be assigned to an audio or visual semester in the Fall, then take the other assignment in the spring. The audio semester core production course will be Sound Image. The visual semester core production course will be a choice of Frame and Sequence or Introduction to Animation Techniques. See full course descriptions below. LANGUAGE OF FILM FMTV-UT 4 Course level: Introductory 4 points. Students must also register for one recitation. A basic introduction to the study of film, this course gives an overview of the historical development of cinema as an artistic and social force, while at the same time acquaints the students with the aesthetic elements of the cinema, the terminology governing film production, and the lines of critical inquiry that have been developed for the medium. The objective of the course is to equip students, by raising their awareness of the development and complexities of the cinema, to read films as trained and informed viewers. From this base, students can progress to a deeper understanding of film, a greater grasp of the technicalities of film production, and the proper in-depth study of cinema. Readings, screenings, midterm, and final exams. STORYTELLING STRATEGIES FMTV-UT 20 Course Level: Freshman 4 points. Course may not be repeated. The ability to understand what makes a good story well told is a skill that is crucial to your growth as a filmmaker whether you become a writer, director, producer, actor, editor, cinematographer, etc. Storytelling Strategies looks at how narrative stories work through an examination of the structural and mythic elements first established by the ancient Greek playwrights and recognized by Aristotle in his Poetics thousands of years ago. The course continues this examination up to and including such contemporary story models as Joseph Campbells The Hero with a Thousand Faces as well as the current Hollywood paradigm, the three-act structure. We will seek to find those principles that form the backbone of successful narrative screenplays and contribute to a films ability to resonate with an audience. The lecture is for analysis. The recitations are for applying what you have learned, through writing exercises and a completed short screenplay.

FRESHMAN COLLOQUIUM (VISUAL SEMESTER) FMTV-UT 49 Course Level: Introductory

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2 Points. This is a pass/fail course in which freshmen meet weekly. The purpose is to amplify the introductory production courses with relevant lectures and guest speakers. This course introduces the initial component of training with respect to set protocols, production safety, and professional practices. In addition, students will be introduced to the specific areas within Undergraduate Film and Television that they may wish to pursue further. This course addresses audio and visual communication in both historical and contemporary contexts. It is taken in conjunction with the student's choice of: Introduction to Animation Techniques (FMTV-UT 0041) or Frame and Sequence (FMTV-UT 0039). (See Freshman Colloquium: Performance Strategies (FMTV-UT 0046) if enrolled in Sound Image). During the Freshman Colloquium, upper classmen will pitch projects for interested students to sign up for the 12 hours of required crewing. The "Crew Assignment" introduces the freshmen to the important collaborative aspect of the film and television professions. FRESHMAN COLLOQUIUM: PERFORMANCE STRATEGIES (AUDIO SEMESTER) FMTV-UT 46 Course Level: Introductory 2 Points. Students must also register for one recitation. This is a required course for all freshmen enrolled in Sound Image (FMTV-UT 0048). This is a pass/fail course designed as an introduction to the language and culture of acting and to the nature of the relationship between director and performance. It is intended as a complementary class with Storytelling Strategies. By the end of the semester, students should understand something of the history and culture of schools of acting, comprehend a basic vocabulary of the actor and feel confident with the casting and rehearsal process (including "organic blocking"). Students should attain a basic working knowledge of all areas of creative interpretation including script analysis and orchestrating performance. They should be equipped to talk to actors using accepted vocabulary and be able to stimulate the creation of vital, memorable performances for the screen. SOUND IMAGE FMTV-UT 48 Course Level: Introductory 4 points. Required of all Freshmen. Lab required. A fundamental-level core production workshop introducing the world of sound in film, television, and radio. Students will explore through individual and group projects of increasing complexity and sophistication the art of creating a "theater of the mind" in the sound medium. Laboratory periods are designed to provide a wide variety of audio recording experiences both on location and in studio; digital, as well as analog. Specific production techniques such as live recording, mixing, and editing will be stressed. Lectures focus on the theories of basic acoustics and audio electronics, the aesthetics of the sound medium, and the development of critical listening skills. FRAME AND SEQUENCE FMTV-UT 39 Course Level: Introductory 4 points. Frame and Sequence is a core production course taken as a complement to Sound Image, and in preparation for the Fundamentals of Sight and Sound classes. The course encompasses the basic elements of still photography and multi-image sequencing. Safety and protocol on set is emphasized throughout the semester. Camera functions related to photography and cinematography are taught, including basics of lighting, narrative structure, and composition. Sequencing of images is accomplished digitally using Final Cut Pro on Macintosh workstations. The class meets each week for production information, screenings, critiques of student work, and tech instruction in digital editing. Students work in small crews sharing Digital SLR cameras the university provides. Light meters, basic lighting and sound equipment designated for Frame and Sequence only may be checked out with permission after instruction is complete. Each student

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creates sequenced stories in the Experimental, Documentary, and Narrative genres, as well as serving as crew members on in-class productions.
Special Note: As part of Frame and Sequence and Intro to Animation only, students are required to put in an additional 12 hours of crewing on intermediate or advanced projects to continue to learn about the collaborative aspect of the film, television, and animation professions. During the Freshman Colloquia, upper classmen will pitch their projects giving an opportunity for interested students to sign up, as well as receiving emails from Tisch Talent Guild, about PA positions available. You are not permitted to miss any classes in any of your courses in order to fulfill your 12 hours of CREW.

INTRODUCTION TO ANIMATION TECHNIQUES FMTV-UT 41 Course Level: Introductory 4 points. Course is open to students at all levels, as well as offered to freshmen as one of the two visual courses designed to complement Sound Image, in preparation for the sophomore-level Fundamentals of Sight and Sound: Film, Studio, and Documentary courses. A beginning course that concentrates on the basic techniques of animation; it is also the main prerequisite for entry into all the other animation courses. Class exercises explore a variety of techniques, materials, design, and writing for animation. Techniques include flipbook, clay, collage, computer and drawing from the model. All work is tested on video, followed by 16mm color film. Please note that you do not have to "know how to draw" in order to take this course. The course will demonstrate how drawing and graphics relate. At the end of the semester, each student will have an edited, two-minute reel of his or her successful animations and experiments.

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SUMMER SCHOOL
The Undergraduate Film and Television Summer Program is designed to meet the needs of both the beginning and professional film and video maker. The summer student body consists of Kanbar Film and Television majors who take this opportunity to accelerate their studies, as well as non-matriculating professionals from around the world. Transfer students must register for summer classes to begin their matriculation in the department. The student should contact the Film & TV Registration Office (212/998-1703 or 1704) for registration information, for help or for advice. Departmental students are also encouraged to take advantage of opportunities in other TSOA departments, which are not normally available to Film & TV majors during the academic year. In addition, the College of Arts & Science offers a very elaborate array of classes that you can use to fulfill your general education/liberal arts requirements. Representative Summer Classes Offered (WRI)=Film & Television Writing (PCR)=Craft production (PCO)=Core production (H&C) History & Criticism (Please check the summer course schedule for current offerings.)

Course ID
FMTV-UT 4 FMTV-UT 35 FMTV-UT 41 FMTV-UT 1008 FMTV-UT 1009 FMTV-UT 1022 FMTV-UT 1024 FMTV-UT 1037 FMTV-UT 43 FMTV-UT 51 FMTV-UT 80 FMTV-UT 1083 FMTV-UT 1084 FMTV-UT 1093 FMTV-UT 1095 FMTV-UT 1097 FMTV-UT 1102 FMTV-UT 1104 FMTV-UT 1040 FMTV-UT 1156 FMTV-UT 1165 FMTV-UT 1168

Title
Language of Film Writing the Feature Film Intro to Animation Techniques Music for Film & TV Film Music Workshop History of Childrens Television Actor's Craft I Media Internship Sight & Sound: Film Sight & Sound: Studio Sight & Sound: Documentary Intro to Special Effects Make-up Script Analysis Film Marketing & Distribution Producing for Film Advanced Independent Study Writing for TV:Situation & Sketch Comedy 3D Computer Animation Workshop Intermediate Narrative Workshop Women in the Directors Chair Cinematographer's Workshop 35mm Feature Film Cinematography

(Type)
(H&C) (WRI) (PCO) (H&C) (PCR) (H&C) (PCR) (PCR) (PCO) (PCO) (PCO) (PCR) (WRI) (PCR) (PCR) (PCR) (WRI) (PCR) (PCO) (PCR) (PCR) (PCR)

Points
4 4 4 3 3 3 3 1-8 6 6 6 3 4 3 3 1-4 4 3 6 3 6 3

*Please see bulletin boards near the Film and TV Registration Office, Room 1107, after October for course numbers, summer dates, and full descriptions. This information will also be posted near the end of October on the NYU Summer website at http://www.nyu.edu/summer. Note: more courses beyond those listed above may be offered.

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TSOA Study Abroad

The Tisch Study Abroad programs are designed to give students an opportunity to experience another culture while fulfilling their Film & Television degree requirements. The following pages list the international courses presently offered through the TSOA Office of Special Programs located on the 12th floor of the 721 Broadway building. Please note that what each course fulfills within the Film & TV degree audit is listed in the far right column. Study Abroad programs offer different tracks from which you will choose. Tracks may then have required companion courses. All Study Abroad Programs will consist of 16 to 18 credits. London, Dublin, Havana, Prague, and Johannesburg offer a comprehensive program of courses each semester that includes not only film production, but also scriptwriting, history and criticism classes, and general education courses. The Shanghai programs offer drama training as well as a technical track in set design. Being immersed in a different culture for a semester (or summer choose from seven different countries!) is a unique experience that is difficult to do once a student graduates and enters the work world. The cost of studying in London, Dublin, Havana, Prague, Shanghai and Johannesburg is the same as a semester in New York, and in most cases, your financial aid package is transferable to studying abroad through Tisch. There are a variety of programs in the summer semester and the cost of tuition is reduced to offset living expenses. An application is required for all of these programs with a departmental advisor's signature. The application is available on the Tisch Special Programs website: www.specialprograms.tisch.nyu.edu. For further information, please call 212-998-1500, email tisch.special.info@nyu.edu, visit the website at www.specialprograms.tisch.nyu.edu or stop by the Tisch Special Programs Office on th the 12 Floor of 721 Broadway.
Updated August 2011

Academic Year Programs

(Please note that some courses may not be offered every Fall or Spring semester. Check the Directory of Courses for the most updated course offerings. F=Fall, S=Springplease check the two left-hand columns in the following charts. Also, please note the courses listed here ARE SUBJECT TO CHANGE th and you should consult the Office of Special Programs on the 12 floor for the most up-to-date information for each program.)

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London, England
London is home to some of the oldest and most distinguished performing and media arts establishments in the world, and our program is designed to take full advantage of the location. Based out of the Institute of Contemporary Arts (ICA), in the citys geographic and artistic heart, the program is specially designed to provide maximum exposure to London's vibrant arts world. Our courses draw on the skills and expertise of instructors at institutions such as the Royal Academy of Dramatic Art, the British Broadcasting Corporation, and the Writers' Guild of Great Britain, as well as the cultural riches in and around London itself. Throughout the semester, all students have associate membership to the ICA with access to all of its resources including the exhibition spaces, theatre, cinemas, bookshop, and caf.

The core curriculum of the Study Abroad program = the core components of the Track. This does not mean the Track is a Film & TV Core Production track.
COURSE OFFERINGS ARE SUBJECT TO CHANGE.
Tracks: 1. Intermediate Television Production with the British Broadcasting Corporation (BBC) (You must register for all BBC courses, and only BBC courses. The set 18 point program includes the core curriculum and companion courses.) Core Production Track. 2. Screenwriting in London (must choose other courses to reach 16 credits, see below) Film and TV Writing Track. Offered in the Spring semester only. 3. Shakespeare in Performance with the Royal Academy of Dramatic Art (RADA) (Audition required. Must choose two other courses to reach 16 credits, see below) Performance Track, generally taken by Drama majors. Elective credit for Film & TV majors. 4. Playwriting in London (must choose two other courses to reach 16 credits, see below). Elective credit only for Film and TV majors, generally taken by Dramatic Writing majors. Offered in the Fall semester only.

F F F F

S H32.1077 S H32.1037 S H39.1305 S H32.1102 S H34.1057 S H31.0481 H34.1055 S S S S H39.1301 H31.0662 H31.0700 H32.1020

6pts 4pts 4pts 4pts 8pts 8pts 8pts 4pts 4pts 4pts 4pts

F F F F F F

Intermediate Television Production and Media Training with the British Broadcasting Corporation (BBC Track) BBC Television Production (BBC companion course only) Arts & Theatre in London (BBC companion course) Writing for Television: Drama & Comedy (BBC companion course only) Screenwriting in London(Film and TV Writing Track) Shakespeare in Performance with the Royal Academy of Dramatic Arts (RADA) (Performance Track, elective credit) Playwriting in London (Dramatic Writing Track, elective credit) Select from the following to complete your 16-18 credits: The Arts in London: A Cultural History Theatre in London Studies in Shakespeare National Cinema: Great Britain, Yesterday and Today

CORE Prod CRAFT Prod Humanities F&TV Writing F&TV Writing Electives Electives Humanities Humanities Humanities History & Crit

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Dublin, Ireland
In collaborations with faculty from the National College of Art and Design, the Dublin Institute of Technology, and Hot Press Magazine, our Dublin program provides students the opportunity of studying documentary, dramatic, and cinematic arts while living in this vibrant European capital. In addition to courses focusing on contemporary Ireland, field trips and cultural and social activities are central to the program. Students also enjoy the advantage of exploring the many cultural and artistic resources and stimuli found within the Temple Bar neighborhood, Dublins artistic and intellectual meeting ground.

The core curriculum of the Study Abroad program = the core components of the Track. This does not mean the Track is a Film & TV Core Production track.
COURSE OFFERINGS ARE SUBJECT TO CHANGE.
Tracks: 1. Music Video Production (You must register for all linked coursesHistory of Music Video and the Music Video Production courseand two other 4 credit companion courses of your choice. The 16 point program includes the core curriculum and companion courses.) Core Production Track. 2. Screenwriting (The 16 point program includes the core curriculum and companion courses.) Film and TV Scriptwriting Track. Offered in the Fall semester only. 3. How Arts Create the World: Dublin (The 18 point program includes the core curriculum and companion courses.) General Education Track. 4. Playwriting (The 16 point program includes the core curriculum and companion courses.) Elective credit only for Film and TV majors, generally taken by Dramatic Writing majors. Offered in the Spring semester only.

F F F F F

S H32.1025 S H32.1026 S H32.0045 H34.1054 S H39.1020 S H34.1056 S S S S S H31.0603 H31.0619 H32.1021 H36.0508 H39.1025

6pts 2pts 2pts 8pts 6pts 8pts 4pts 4pts 4pts 4pts 4pts

F F F F F

Music Video Production (Production Track) History of Music Video (to be taken with Music Video Production Track) Editing (Music Video Trackenrollment TBD in Dublin) Screenwriting (Film and TV Writing Track) How Arts Create the World: Dublin (General Education Track) Playwriting (Dramatic Writing Track, elective credit) Select from the following to complete your 16-18 credits: Contemporary Irish Theatre Irelands Dramatic Renaissance (1850-1939) Writing the Short Screenplay Cinema in Contemporary Ireland History, Politics, and Artistic Expression in Ireland

CORE Prod History & Crit Craft F&TV Writing Humanities Electives Humanities Humanities F&TV Writing History & Crit Humanities

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Johannesburg, South Africa (Spring semester only)

Based in Johannesburg, and designed in collaboration with the University of Witwatersrand, our program offers students the opportunity to witness and experience South Africa, a country which has been referred to as a "miracle under (de)construction." Since the country's first democratic election in 1994 inaugurating the election of Nelson Mandela, there have been tremendous international and South African national efforts to develop arts programs and institutions, which fairly represent and support the country's rich history and multicultural heritage. Our program allows students to participate in these efforts and earn credits toward their degree as they select to participate in one of three exciting programs. On-site lectures, excursions, and field trips will complement the academic programs. PLEASE NOTE THIS PROGRAM IS SUBJECT TO CHANGEtracks and courses may not be offered every yearcheck with Special Programs for the latest information.

The core curriculum of the Study Abroad program = the core components of the Track. This does not mean the Track is a Film & TV Core Production track.
COURSE OFFERINGS ARE SUBJECT TO CHANGE.
Tracks: 1. Arts and Culture in Post-Apartheid South Africa (The 16 point program includes the core curriculum and companion courses.) General Education Track. 2. Performance Theatre-Making and Collaborative Theatre (must also enroll in Arts and Culture in Post-Apartheid South Africa, and choose one more companion course to reach 16 credits.) Performance Track, generally taken by Drama majors. Elective credit for Film & TV majors. S H31.0943 S H39.0940 8pts 4pts Performance Theatre-Making and Collaborative Theatre (Performance Track, elective credit only) Arts & Culture in Post-Apartheid South Africa (All Tracks must enroll in this course) also Gen Ed Track main course Select from the following to complete your 16 credits: Literatures of the Black Diaspora Anthropology of Popular Media in Performance Youth and Hollywood Cinema Elementary Zulu Language and Culture Contemporary South African Theatre Community-Based Theater Electives Humanities

S S S S S S

H39.0342 H39.0141 H39.0116 H39.0076 H31.0368 H31.0369

4pts 4pts 4pts 4pts 4pts 4pts

Humanities Humanities History & Crit Electives Humanities TBD

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Prague

(Fall and Spring semesters)

At the crossroads of Western and Eastern Europe, Prague boasts a rich cultural legacy as one of Europes most beautiful architectural cityscapes with over 20 museums, 200 galleries, castles, and churches as well as one of the most interesting literary and arts histories. Our semester long program in filmmaking gives students the opportunity to immerse themselves in the citys life and to expand their craft by experiencing their art in this emerging film capital of Europe. Hosted at The Prague Film and Television School of the Academy of Performing Arts (FAMU), one of the premier film schools of Europe, the program is designed as an intensive filmmaking semester with an emphasis on directing, cinematography and writing. Students in the program have the opportunity to train in the filmmaking curriculum, which produced generations of Czech and Slovak filmmakers, including those of the Czech New Wave of the 1960s, Agniezska Holland and the Oscar-winning Jiri Menzel and Milos Forman.

Tracks:

35mm Directing and Cinematography. This is an 18 point program including the following courses (NOTE: COURSE OFFERINGS SUBJECT TO CHANGE) 4pts 2pts 4pts 3pts 4pts 1pt Intermediate Film Production: 35MM Cinematography Directing Traditions: Theories and Workshops Screenwriting and Analysis A Historical Analysis of European Cinema The Language, Arts and Culture of the Czech Republic Acting Workshop CORE Prod CRAFT Prod F&TV Writing History & Crit Humanities CRAFT Prod

F F F F F F

H32.1202 H32.1201 H34.1058 H32.1042 H39.1028 H31.1906

Cuba

(Spring semester only)

Tisch School of the Arts developed this one-of-a-kind program in collaboration with the Ludwig Foundation of Cuba, the Cuban National Institute of Film and Television (ICAIC), and the University of Havana. It offers students the rare chance to create art forms and witness the process of creating art in a unique environment. Havana has a population of over two million people. Students will find that artists in Cuba embody a spirit of resilience and resourcefulness. Creativity and beauty bubble from almost everything. Students typically live in the Miramar and Vedado neighborhoods of Havana. For the last two years, students have been housed in the Hotel Riviera in the Verado district. Tracks: 1. Documentary Video Production in Havana (must also enroll in History of Documentary Film in Cuba, and the two companion courses to complete 18 credits.) Production Track 2. Directed Research Topics: Seminar on Cuban Arts (must also enroll in History of Photography in Cuba or History of Documentary Film in Cuba, and the two companion courses to complete 18 credits.) General Education Track 3. Photography: On Location in Havana (must also enroll in History of Photography in Cuba, and the two companion courses to reach 18 credits.) Generally taken by Photography + Imaging majors but is also open to non-majors. Elective credit for Film & TV majors. * S H32.1959 S H32.1960 S H39.0951 S H35.1060 S H35.1061 S H39.0961 S H39.1959 S 4pts 4pts 4pts 4pts 4pts 4pts 6pts Documentary Video Production in Havana (Production Track)* History of Documentary Film in Cuba Directed Research Topics: Seminar on Cuban Arts (General Education Track) Photography: On Location in Havana (Elective Track) History of Photography in Cuba Companion Courses for all Tracks: Arts and Culture of Cuba Introductory Spanish
This course will allocate as Humanities upon taking second semester of Spanish

CORE Prod History & Crit Humanities Electives TBD Humanities Electives TBD

More advanced Spanish courses are also available based on the results of a placement exam administered by the University of Havana.

* NOTE: May not run in Spring 2011. Exploring Turkey as a possibility for Doc Film.

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Shanghai (Fall semester only)

Shanghai is one of the most exciting and influential cities in the world. Currently enjoying unprecedented growth as the cultural and economic capital of China, Shanghai is Chinas most progressive city, with a rich artistic heritage. Continuing its tradition of excellence, Tisch School of the Arts is proud to partner with the Shanghai Theatre Academy, one of the most prestigious art institutes in China, to offer a unique semester of drama training in Shanghai. This program is generally taken by Drama majors, and the Track is elective credit for Film & TV majors. There is a prerequisite of four semesters of Studio Training or the equivalent.

Tracks:
F H31.1907

Chinese Acting Program:

8pts Electives Electives Humanities

East Acts West: An Eastern Approach to Western Performance F H39.0800 6pts Introduction to Mandarin F H39.0954 4pts Arts and Culture of China Note: Course Offerings are Subject to Change.

Or

Technical Track:
Electives Electives Humanities

F H31.1908 8pts Design and Technical Theatre F H39.0800 6pts Introduction to Mandarin F H39.0954 4pts Arts and Culture of China Note: Course Offerings are Subject to Change.

TSOA Study Abroad Summer Programs

For up to date information, please visit the TSOA Special Programs website at www.specialpgrograms.tisch.edu. COURSE OFFERINGS ARE SUBJECT TO CHANGE. Amsterdam, The Netherlands
H31.0230 H31.0483 H31.0603 H32.1950 H32.1951 H34.1411 H39.1003 H31.2002 H36.0103 H32.1046 International Theatre Workshop in Amsterdam 8pts Acting in Ireland 4pts Contemporary Irish Drama 4pts Film Marketing and Distribution 3 pts Producing a Short Film That Gets You Noticed 2 pts TV Writing: A Team Approach to the Dramatic Spirit 6 pts Great Stories of Florence 2pts
Commedia dellarte: The Actor as Creator, Clown, and Poet 8pts

Electives Electives Humanities CRAFT Prod TBD F&TV Writing TBD Electives History & Crit CORE Prod

Dublin, Ireland

Florence, Italy

Paris, France (Note: another program may be added for Summer 2011)
French Cinema: Paris and the New Wave 4 pts Creative Nonfiction in Paris: A Video Production Workshop 4pts Master Class in 35mm Filmmaking 4pts Seminar in Czech Cinema and Culture 4pts German Context and the Practice of Photography 4 pts Photography and History in Contemporary Germany 4 pts

Prague, Czech Republic

H32.1200 H32.1040 H35.1062 H39.1965 CORE Prod History & Crit Electives Humanities

Berlin, Germany (Photography in Berlin)

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TSOA STUDY ABROAD - FREQUENTLY ASKED QUESTIONS

Am I eligible for Tisch Study Abroad Programs? Our programs are open to undergraduates and graduates. Some programs have prerequisite course work or equivalent experience, or require permission of the instructor. If you have questions about prerequisites please contact the Tisch Office of Special Programs. Students should talk to their departmental advisors to find out how the International Programs would fit into their degree requirements, and to confirm if they have met Departmental prerequisites for a program. Transfer students should note that Tisch Study Abroad Programs fulfill residency requirements. Will I need to be fluent in another language to attend? No. All courses are taught in English and students with no previous language training are encouraged to apply. How do I apply? Apply online at: http://specialprograms.tisch.nyu.edu. We suggest you speak with your departmental advisor to make sure that the program you would like to take meets your degree requirements. NYU students need departmental approval. We recommend applying as soon as you decide that you would like to study abroad, as some programs do fill early. Please note some programs require a writing sample, an audition and/or an interview. "What if I cannot audition in person? If you are not able to attend you must submit a videotape or DVD featuring your audition. The criteria for the tape are as follows: the tape should be in standard, inch, VHS (NTSC) format, your entire body should be visible and in focus, the sound should be clear and easily audible. Please view your videotape or DVD before you submit it. Enclose a rsum and a headshot with your audition tape. For audition requirements, please refer to the audition information section of the application. If you plan to submit a videotape or DVD, please contact to the TSOA Office of Special Programs. "How will I be contacted regarding the status of my application?" The majority of correspondence during the application process is via email. It is advised that you check your email account regularly and set up filters to receive e-mails from Tisch Special Programs. Should our office need further information to evaluate your application, we may request information through email. If an interview or audition is necessary, an email will be sent to the account listed on your application. NYU students are required to use their NYU e-mail address. If you are accepted, wait-listed or declined from the program, you will receive an email. For questions regarding your application status, please send an email to tisch.special.admissions@nyu.edu. Will I need to make arrangements for my own housing? No. All students studying abroad with Tisch School of the Arts are required to live in NYU housing. All Tisch International Programs include student housing. You live with other students participating in the program. As accommodation details vary by site, please contact the TSOA Office of Special Programs office for more information. Are there additional forms of financial aid available? Occasionally scholarships are available for Tisch students. Students are encouraged to consult with their home institution regarding portable financial assistance such as Pell Grants, Stafford Loans, and PLUS loans. Students may also want to research independent sources of aid, compiled by such publishers as the Foundation Center, and/or investigate personal loans through a bank or credit union of their choice. Consult Petersons Financial Resources for International Study to find organizations that offer awards. Additionally, the Office for International Students and Scholars (OISS) offers a resource center and library

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with limited information on study abroad scholarships and grants. You may contact OISS by calling (212) 998-4720 or visiting their website at www.nyu.edu/oiss Will I need a student visa? Visas are required for some programs. The TSOA Office of Special Programs will assist you with processing the necessary documentation. However, since requirements change frequently, students should contact the appropriate consulate for up-to-date information. For information on international documentation, you can call the Office of International Students and Scholars (212) 998-4720. Will I receive a grade report at the end of the semester? No. NYU does not send grade reports unless they are requested. To request an official or un-official transcript, contact the Registrars office (212) 998-4280 or visit their website at www.nyu.edu/registrar/ NYU students can also access their grades on Albert. How can I get more information? Contact The Office of Special Programs, Tisch School of the Arts at 721 Broadway, 12th floor, NY, NY 10003-6807; phone: (212) 998-1500; fax: (212) 995-4578; email: tisch.special.info@nyu.edu; website: http://specialprograms.tisch.nyu.edu.

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Faculty Recommended Books on Film and Television

In addition to the books below, the faculty recommends that you read widely across imaginative literature, poetry, novels and plays, as well in traditional academic areas such as philosophy, history, politics, anthropology, physics, cosmology, etc. Acting Meisner, Sanford. On Acting. Vintage, 1987. Hull, S. Loraine. Strasbergs Method. Ox Bow Publishing, 1985. Stanislavski, Constantin. Creating a Role. Theater Arts Books, 1961. Stanislavski, Constantin. An Actor Prepares... Theatre Arts Books, 2002. Hagan, Uta with Haskel Frankel. Respect for Acting. John Wiley & Sons, 1973 Brooks, Peter. The Open Door: Thoughts on Acting and Theater. Theatre Communications Group, 1995. Animation Thomas, Frank & Ollie Johnston. The Illusion of Life: Disney Animation. Hyperion Press, 1995. Williams, Richard. The Animator's Survival Kit. Faber & Faber, 2002. Hooks, Ed. Acting for Animators. Heinemann, 2003. Crafton, Donald. Before Mickey: The Animated Film, 1898 To 1928. MIT Press, 1984. Canemaker, John. Walt Disney's Nine Old Men and The Art of Animation. Hyperion Press, 2001. Jones, Chuck. Chuck Amuck. Farrar Straus & Giroux, 1999. Laybourne, Kit. The Animation Book. Three Rivers Press, 1998. Camera
Brown, Blair. Cinematography: Image Making for Cinematographers, Directors, and Videographers. Focal Press, 2002.

Almendros, Nestor. Man With a Camera. Farrar Straus & Giroux, 1986. Mascelli, Joseph V. Five Cs in Cinematography. Silman-James Press, 1998.
Schaefer, Dennis & Larry Salvato. Masters of Light: Conversations with Contemporary Cinematographers. University of California Press, 1986

Hummel, Rob. American Cinematographer Manual. American Society of Cinematography, 8th edition, 2002. Directing Cole, Toby & Helen Krich Chinoy. Directors on Directing: A Source Book of the Modern Theater. New York: Macmillan Publication Company, 1976. Irving, David K. Fundamentals of Film Directing. McFarland Press, 2010 Nizhny, Vladimir. Lessons with Eisenstein. New York: Hill And Wang, 1962. Clurman, Harold. On Directing. New York: Collier Books, 1972. Mamet, David. On Directing Film. New York: Viking, 1991. Katz, Steven D. Shot by Shot. Michael Wiese Productions, 1991. Sherman, Eric. Directing the Film: Film Directors on Their Art. Acrobat Books, 1988 Documentary Rabiger, Michael. Directing the Documentary. Focal Press, 3rd Ed., 1997. Barnouw, Eric. Documentary: A History of the Non-Fiction Film. Oxford University Press, 1993 (2nd rev. ed). Editing Lubrutto, Vincent. Selected Takes, Film Editors on Editing. Praeger Publishers, 1991. Ondaatje, Michael. The Conversations: Walter Murch and the Art of Editing Film. Knoff, 2002. Rosenblum, Ralph & Robert Karen. When the Shooting Stops... The Cutting Begins. DeCapo Press, 1988. Reisz, Karen & Gavin Millar. The Technique of Film Editing. Focal Press, 2nd Ed., 1995. Oldham, Gabriella. First Cut - Conversations with Film Editors. University of California Press, 1995. More Filmmakers On Filmmaking Bunuel, Luis. My Last Sigh. University of Minnesota, 2003. Capra, Frank. Name Above the Title: An Autobiography. Decapo Press, 1997. Goldman, William. Adventures in the Screen Trade. Warner Books, 1989 (reissue). Truffaut, Francois. Hitchcock. Touchstone Books, 1985 (revised). Kurosawa, Akira. Something Like an Autobiography. Vintage, 1983. Lumet, Sidney. Making Movies. Vintage; Reprint Ed, 1996. Bresson, Robert. Notes on Cinematography. Quartet Books Ltd, 1987. Brownlow, Kevin. The Parades Gone By University of California Press, 1976.

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History and Criticism Aristotle / Horace / Longinus Classical Literary Criticism. Penguin Books, 1965. Sklar, Robert. A World History of Film. Harry N. Abrams, 2002 (2nd ed). Bordwell, David & Kristin Thompson. Film Art: An Introduction. McGraw-Hill College Division, 2003 (7th ed). Braudy, Leo & Marshall Cohen, editors. Film Theory and Criticism. Oxford University Press, 1998 (5th ed). Arnheim, Rudolf. Visual Thinking. University of California Press, 1972. McLuhan, Marshall. The Medium Is the Massage. Ginko Press Inc, 2001. Janson, H. W. & Anthony F. Janson. History of Art. Abrams, 2001 (6th ed). Berger, John. Ways of Seeing. Viking Press, 1995. Shohat, Ella & Robert Stam. Unthinking Eurocentrism: Multiculturism and the Media. Routledge, 1994. Periodicals American Cinematographer Backstage Cineaste Daily and Weekly Variety Film Comment The Independent Ross Report Sight and Sound Poetic or Experimental Cinema Sitney, P. Adams. Visionary Film: The American Avant-Garde in the 20th Century. Oxford University Press, 2002 (3rd ed). Dixon, Wheeler Winston, editor. Experimental Cinema: The Film Reader. Routledge, 2002. Hall, Doug, editor. Illuminating Video. Aperture, 1991. Rees, A.L. History of Experimental Film and Video. British Film Institute, 1999. Producing Rea, Peter W. & David K. Irving. Producing and Directing The Short Film and Video. Focal Press, 2000 (2nd ed). McClintick, David. Indecent Exposure: A True Story of Hollywood and Wall Street. Harper Business, 2002. Behlmer, Rudy. Memo from: David O. Selznick. Grove Press, 1984. Production Design Olson, Robert. Art Direction For Film and Video. Focal Press, 1998 (2nd ed). Neuman, Dietrich. Film Architecture: Set Designs from Metropolis to Blade Runner. Prestel Press, 1998. Barnwell, Jane. Production Design: Architects of the Screen. Wallflower Press, 2004. Sound Sonnenschen, David. Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Michael Weise Productions, 2001. Chion, Michel. Audio Vision Sound on Screen. Columbia University Press, 1994. LoBrutto, Vincent. Sound On Film: Interviews With Creators of Film Sound. Praeger Publishers, 1994. Weis, Elisabeth & John Belton. Film Sound Theory and Practice. Columbia University Press, 1985. Television Garner, Joe. Stay Tuned: Televisions Unforgettable Moments. Andrews McMeel Publishing, 2002 (w/DVD). Writing Thomas, Sam. Best American Screenplays, I & II. Crown, 1985 (vol I); Crown, 1991 (vol II). McKee, Robert. Story: Substance, Structure, Style and the Principles of Screenwriting. Regan Books, 1997. Howard, David. Tools of Screenwriting: A Writers Guide to the Craft and Elements of a Screenplay. St. Martins Press, 1995. Lucey, Paul. Story Sense: A Screenwriters Guide for Film & Television. McGraw-Hill, 1996. Frank, Thaisa & Dorothy Wall. Finding Your Writing Voice: A Guide to Creative Fiction. St. Martins Press, 1997. Campbell, Joseph. Hero With a Thousand Faces. Princeton University Press; 1972 (reprint). Rico, Gabrielle. Writing the Natural Way. Putnam, 2000.

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Faculty Recommended Films, Video and Television

This screening list is recommended by the faculty of Department of Film and Television, Undergraduate. The works below are essential to understand the full potential of film and television. Animation Dumbo (Walt Disney. USA. 1941) The Tripletts Of Belleville (Sylvain Chomet. Fr./Bel/Can./UK. 2003) Princess Mononoke (Hayao Miyazaki. Japan. 1997) Allegretto (Oskar Fischinger. USA. 1936) The Hand (Jiri Trnka. Czech. 1965) The Street (Caroline Leaf. Can. 1976) Gerald McBoing Boing (Robert Cannon. USA. 1950) Duck Amuck (Chuck Jones. USA. 1953) Night on Bald Mountain (Alexander Alexeieff & Claire Parker. Fr. 1933.) Tender Game (John & Faith Hubley. USA. 1958) Luxo Jr. (John Lassiter. USA. 1986) Free Radicals (Len Lye. UK. 1958) Documentary 4 Little Girls (Spike Lee. USA. 1997) Berlin: Symphony Of A City (Walter Ruttman. Ger. 1927) Brooklyn Bridge (Ken Burns. USA. 1981) Chronicle Of A Summer (Jean Rosch & Edgar Morin. Fr. 1961) Eyes on the Prize (Henry Hampton. USA 1997) The Gleaners And I (Agnes Varda, Fr. 2000) Harlan County (Barbara Kopple. USA. 1977) Hearts of Darkness (Fax Bahr. George Hickenlooper & Eleanor Coppola. USA. 1991) Ilha das Flores (Jorge Furtado. Brazil. 1989) The Last Waltz (Martin Scorsese. USA. 1970) Latcho Drom (Tony Gatlif. France. 1993) Man Of Aran (Robert Flaherty. USA. 1934) The Man With A Movie Camera (Dziga Vertov. USSR. 1929) Manufacturing Consent (Mark Achbar & Peter Wintonick. USA. 1992) Night And Fog (Alain Resnais. Fr. 1955) Salesman (Albert & David Maysles. USA. 1969) The Sorrow And The Pity (Marcel Ophuls. Fr./Switz./Ger.-1970) Thin Blue Line (Errol Morris. USA. 1988) Titicut Follies (Frederick Wiseman. USA. 1967) Tokyo Olympiad (Kon Ichikawa. Japan. 1964) Triumph Of The Will (Leni Rienfenstahl. Ger. 1934) Winged Migration (Jacques Perrin. France. 2002) Experimental A Film About A Woman Who (Yvonne Rainer. USA. 1974) A Movie (Bruce Connor. USA. 1958) Ballet Mechanique (Fernand Leger. Fr. 1924) Blood of a Poet (Jean Cocteau. Fr. 1930) Dog Star Man (Stan Brakhage. USA. 1962-1964) Fuses (Carolee Schneeman. USA. 1967) Global Grove (Nam June Paik.) Histoire(S) Du Cinema (Jean-Luc Godard. Fr. 1997-1998) I Do Not Know What It Is I Am Like (Bill Viola. USA. 1986) La Jetee (Chris Marker. Fr. 1962) Last Year at Marienbad (Alain Renais. Fr. 1961) Meshes of the Afternoon (Maya Deren. USA.1943) (List continues next page)

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(Documentary, continued)
Reminiscences Of A Voyage To Lithuania (Jonas Mekas.. UK/W.Ger. 1972) Sans Soleil (Chris Marker. Fr. 1983) Scorpio Rising (Kenneth Anger. USA. 1964) Sink Or Swim (Su Friedrich. USA. 1990) Sleep (Andy Warhol. USA. 1963) Un Chien Andalou (Luis Bunuel & Salvator Dali. Fr. 1928) Wavelength (Michael Snow. USA/Can. 1967) FICTION A Man Escaped (Robert Bresson. Fr. 1959) Andrei Rublev (Andrei Tarkovsky. USSR. 1969) Annie Hall, 1977 (Woody Allen. USA. 1977) Avatar (James Cameron. USA, 2009) Battleship Potemkin (Sergei Eisenstein. USSR. 1925) Battle of Algiers (Gillo Pontecorvo, Italy. 1948) Bicycle Thieves (Vittorio DeSica, Italy. 1948) Black Girl (Ousmane Sembene. Senegal. 1960) Breaking the Waves (Lars Von Trier. Denmark. 1996) Broken Blossoms (D.W. Griffith. USA. 1919) The Cabinet of Dr. Caligari (Robert Wiene. Ger. 1919) Casablanca (Michael Curtiz. USA 1942) Citizen Kane (Orson Welles. USA. 1941) The Conformist (Bernardo Bertoluci. Italy. 1970) Contempt (Jean-Luc Godard. Fr. 1963) The Discreet Charm of the Bourgeoisie (Luis Bunuel. Fr. 1972) Duck Soup (Leo McCarey. USA. 1933) 8 1/2 (Federico Fellini. Italy. 1963) The 400 Blows (Francois Truffaut. Fr. 1959) The Godfather: Parts I and II (Francis Ford Coppola. USA. 1972, 1974) The Gospel According To St. Matthew (Pier Paolo Pasolini. Italy. 1964) Harvest: 3000 Years (Haile Gerima. Ethiopia. 1975) La Haine (Mattieu Kassovitz. France. 1995) L'Avventura (Michelanglo Antonioni. Italy. 1960) Lawrence of Arabia (David Lean. UK. 1962) The Leopard (Lucino Visconti. Italy. 1963) The Leopard (Lucino Visconti. Italy. 1963) The Lives of Others (Florian Henckel von Donnersmarck. Germany. 2006) The Little Foxes (William Wyler. USA. 1941) Los Olvidados (Luis Buuel. Mexico/Spain. 1950) M (Fritz Lang. Ger. 1931) Magnolia (Paul Thomas Anderson. USA. 1999) Marooned in Iraq (Bahman Ghobadi. Iran. 2002) Memories of Underdevelopment (Toms Gutirrez Alea. Cuba. 1968) Memento (Christopher Nolan. USA. 2000) Menilmontant (Dimitri Kirsanoff. Fr. 1926) My Darling Clementine (John Ford. USA. 1943) Mulholland Drive (David Lynch, USA. 2001) Pather panchali (Satyajit Ray. India. 1955) Philadelphia Story (George Cukor. USA. 1940) Pixote (Hector Babenco. Brazil. 1981) Pulp Fiction (Quentin Tarantino. USA. 1994) Raging Bull (Martin Scorsese. USA. 1980) Reds (Warren Beatty. USA. 1981) Repentance (Tengiz Abuladze. U.S.S.R. 1984) Rules Of The Game (Jean Renoir. USA. 1939) Seven Samurai (Akira Kurosawa. Japan. 1954)

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Sherlock, Jr. (Buster Keaton. USA. 1924) Singin' In The Rain (Stanley Donen & Gene Kelly. USA. 1952) Sullivans Travels (Preston Sturges. USA. 1941) Sunrise (F.W. Murnau. USA-1927) Sunset Blvd. (Billy Wilder. USA. 1950) Tokyo Story (Yasujiro Ozu. Japan. 1953) Trainspotting (Danny Boyle. UK. 1996) 2001: A Space Odyssey (Stanley Kubrick. UK. 1969) Ugetsu (Kenji Mizoguchi, Japan. 1953) Umberto D. (Vittorio De Sica. Italy. 1952) Under the Olive Tree (Abbas Kiarostami. Iran. 1993) Vertigo (Alfred Hitchcock. USA. 1958) The White Ribbon (Michael Haneke, Austria, 2009) Wild Strawberries (Ingmar Bergman. Sweden. 1957) The Wizard Of Oz (Victor Fleming. USA. 1939) Zero De Conduite (Jean Vigo. Fr. 1933) Z (Costa-Gavras. Algeria /France. 1969) Television
24 All In The Family Band of Brothers (HBO, 2001) Biographies directed by Ken Russell (ex. Isadora Duncan. UK. 1966) Burn Notice Captain Kangaroo Cathy Come Home The Closer Cosby Ed Sullivan Fraiser The Fugitive Gunsmoke Harvest Of Shame (Edward R, Murrow. USA. 1960) Hill Street Blues Laugh-In Law & Order Mary Tyler Moore M*A*S*H Miss America Mister Rogers Monty Python News (Nixon/Kennedy Debate, Kennedy Assasination, 9/11) The Office Pee Wee's Playhouse Playhouse 90 The Price Is Right The Prisoner Roots Saturday Night Live Seinfeld Sesame Street 60 Minutes The Singing Detective (Jon Amiel dir./Dennis Potter writer. UK/Australian. 1986) The Sopranos Sports (Baseball, Football, Olympics, etc.) Survivor That Was The Week That Was Til Death Us Do Part Today Show Tonight Show (Johnny Carson retires episode) The Young And The Restless

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FILM & TELEVISION, TISCH AND NYU CONTACTS

Film & TV Chair and Faculty Executive Directors and Directors of Studies Office of the Chair Room 1103 (212) 998-1712 Lamar Sanders e-mail: ls8@nyu.edu Craft, Faculty Executive Director Lynne McVeigh e-mail: em1@nyu.edu Post Production, Faculty Executive Director Julie Sloane e-mail: julie.sloane@nyu.edu Production/Film and Television Faculty Executive Director Rick Litvin (on sabbatical Fall 2010) e-mail: rick.litvin@nyu.edu Writing, Faculty Executive Director Ezra Sacks e-mail: es21@nyu.edu Freshman Studies, Faculty Director Joanne Savio e-mail: js52@nyu.edu Animation, Faculty Director John Canemaker e-mail: john.canemaker@nyu.edu Acting and Directing, TV Production Denny Lawrence e-mail: dl88@nyu.edu History & Criticism, Faculty Director Nick Tanis e-mail: nt1@nyu.edu Camera, Faculty Director Michael Carmine e-mail: cinemadp@aol.com International Program, Faculty Director Arnold Baskin e-mail: ab5@nyu.edu Animation Area Manager Sonya Artis e-mail: sa57@nyu.edu Special Events Manager Jacqui Milles e-mail: jm8@nyu.edu Film Post Desk Technical Training Manager Scott Bankert e-mail: scott.bankert@nyu.edu Industry Liaison: Jeremiah Newton e-mail: jay.newton@nyu.edu Production Center Supervisor Lou La Volpe e-mail: ll4@nyu.edu Room 1118 (212) 998-1735

Room 913

(212) 992-8466

Room 1039 (During Fall 2010 (212) 998-1728 Acting Executive Director is Gay Abel-Bey: 212-992-9331 or ga5@nyu.edu Room 1102 (212) 998-1529

Room 921

(212) 992-8222

Room 857

(212) 998-1779

Room 918

(212) 998-1737

Room 1114

(212) 998-1580

Room 1120

(212) 998-1489

Room 1021

(212) 998-1708

Film & TV Department Area Staff Room 803 (212) 998-1781

Room 908

(212) 998-1795

9th Floor, Editing Desk Room 1038

(212) 998-1736 (212) 998-1727

Room 1140 Room 920

(212) 998-1760 (212) 998-1699

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Director of Production for Film & New Media Rosanne Limoncelli e-mail: rosanne.limoncelli@nyu.edu Post-Production Center Supervisor Fritz Gerald e-mail: feg2@nyu.edu Room Reservations Coordinator Digital Media Library Manager Alyce Benevides e-mail: amg4@nyu.edu Post-Production Center Manager Bruce Shackelford e-mail: bruce.shackelford@nyu.edu Teaching Soundstage Manager Yuri Denysenko e-mail: yuri@nyu.edu

Room 939

(212) 998-1688

Room 1061

(212) 998-1775

Room 909

(212) 998-1709

Room 1138

(212) 998-1784

1st Floor 719 side inside 721 Broadway

(212) 998-1789

Supervisor of Studio & Stages/Todman Center 35 West 4th Street Brandon Kiggins Room 407 e-mail: Brandon.kiggins@nyu.edu Post-Production Center Manager Stevin Michels e-mail: sam1@nyu.edu Associate Dean for Film & Television Sheril Antonio e-mail: sa2@nyu.edu Assistant to the UGFTV Chair Amber Janke e-mail: amber.janke@nyu.edu Film and TV Assistant/Reception Miranda Sherman e-mail: miranda.sherman@nyu.edu Director of Administration Wendy Kaplan e-mail: wendy.kaplan@nyu.edu Academic Support Services Coordinator Brenda Burton e-mail: Brenda.burton@nyu.edu Internship Coordinator Adam Underhill e-mail: adam.underhill@nyu.edu Funded Aid / Scholarship Information Dara Feivelson e-mail: dlf1@nyu.edu Budget Director Derrick Bethune e-mail: bethune@nyu.edu Registration Office Cliff Fuller / e-mail: clifton.fuller@nyu.edu Kevin Spain / e-mail: kevin.spain@nyu.edu Room 1085 10th Floor Video Front Desk Film & TV Offices Room 903

(212) 998-1685

(212) 998-1695

(212) 998-1717

721 Broadway, 1104

(212) 998-1534

721 Broadway, 11th Floor Reception Desk Room 902

(212) 998-1700

(212) 998-1714

Room 1106

(212) 998-1814

Room 1139

(212) 998-1722

Room 901

(212) 998-1762

Room 1174

(212) 998-1749

Room 1107

(212) 998-1703 (212) 998-1704

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Tisch School of the Arts Offices Film & TV Admissions 721 Broadway, Room 1147 Susan Carnival, Coordinator of Admissions & Recruitment (Portfolio Review) e-mail: sc10@nyu.edu TSOA Office of Student Affairs Robert Cameron, Associate Dean e-mail: Robert.cameron@nyu.edu TSOA Office of Student Affairs Anita Gupta, Director of Academic Services e-mail: anita.gupta@nyu.edu TSOA Office of Financial Aid Dory Smith-Wilson, Director of Financial Aid e-mail:dls1@nyu.edu TSOA Counseling Rachel Terte e-mail: rachel.terte@nyu.edu Melissa Wacks e-mail: melissa.wacks@nyu.edu Undergraduate Admissions Bobst Library 726 Broadway, 2nd Floor

(212) 998-1753

(212) 998-1900

726 Broadway, 2nd Floor

(212) 998-1901

726 Broadway, 2nd Floor

(212) 998-1911

726 Broadway, 2nd Floor 726 Broadway, 2nd Floor NYU - Important Offices 22 Washington Square North 70 Washington Square South Reference/general information Library hours 726 Broadway 25 W. 4th Street 181 Mercer Street - Gen. Information 726 Broadway, Suite 471 8:30 am 8:00 pm

(212) 998-1954 (212) 998-1825

(212) 998-4500 (212) 998-2505

Bookstore (Main & Textbooks) Bursar Coles Sports Center Counseling Services

(212) 998-4667 (212) 998-2800 (212) 998-2020 (212) 998-4780 (212) 998-8860 (212) 992-8200 (212) 998-4444 (212) 443-1020 fax 443-1011 (212) 443-1000 fax 443-1031 (212) 998-4600 (212) 998-4600 (212) 443-CARD (212) 998-4720

Expository Writing, Int'l Students 411 Lafayette, 3rd Floor Art and Public Policy Dept. (all others) 665 Broadway, 6th Floor Financial Aid Health Insurance Health Services e-mail health.center@nyu.edu Housing Summer Housing ID Center-Photo International Students Ticket Central - discounted tickets movies, theatre, special events Protection Services Registrar Office of Student Life Albert (web) http://www.albert.nyu.edu 25 W. 4th Street 726 Broadway, Room 346 726 Broadway, 3rd Floor 383 Lafayette Street 726 Broadway, 7 Floor 7 E. 12th Street, 1st Floor 561 LaGuardia Place
th

Kimmel Center (212) 998-4949 60 Washington Sq. South, Room 206 Emergencies 726 Broadway, 8 Floor Kimmel Center, Suite 210
th

(212) 998-2222 (212) 998-4800 (212) 998-4959

Registration, grade retrieval, (212) 995-4(SIS) account information, degree progress

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