DOCSLIB.ORG

PDF Version of the USC School of Cinematic Arts Section

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF Version of the USC School of Cinematic Arts Section 1 Writing for Screen and Television Kay Rose Endowed Chair in the Art of Sound and Dialogue Editing: Midge Costin, M.A. Jack Epps Jr., Division Chair USC School of School of Cinematic Arts 335 Fran and Ray Stark Endowed Chair for the Study of (213) 740-3303* American Film: Lawrence Turman, B.A. FAX: (213) 740-8035 Cinematic Arts Charles S. Swartz Endowed Chair in Entertainment The Peter Stark Producing Program Technology: Richard Weinberg, Ph.D. Ken Wannberg Endowed Chair in Music Editing: Kenneth Lawrence Turman, Division Chair The USC School of Cinematic Arts (SCA) is one of the Hall, M.A. School of Cinematic Arts 366 nation’s preeminent centers for the creation, study, (213) 740-3304 research and development of film, television and Dino and Martha De Laurentiis Endowed Professorship: FAX: (213) 745-6652 interactive media. With nearly 200,000 square feet of Mary Sweeney, M.A. facilities, the school confers degrees ranging from the The John C. Hench Division of Animation and bachelor’s to the doctorate. SCA is composed of seven Presidential Professor of Cinematic Arts: George Lucas, divisions: the John C. Hench Division of Animation and Digital Arts B.A. Digital Arts; the Bryan Singer Division of Critical Studies; Kathy Smith, Division Chair Judge Widney Professor: Robert Zemeckis Film and Television Production; Interactive Media and School of Cinematic Arts – Building B 210 Games; Peter Stark Producing Program; Writing for Screen (213) 740-3986* Provost Professor of Communication, Journalism, and and Television; and Media Arts and Practice. The school Cinematic Arts: Henry Jenkins, Ph.D. also has two organized research units – the Institute for FAX: (213) 740-5869 Multimedia Literacy and the Entertainment Technology Distinguished Professor: Mark J. Harris, B.A. Center. Media Arts and Practice Professors: Bruce Block, MFA; Don Bohlinger, MFA; Todd Holly Willis, Division Chair Since its founding in 1929 as the first course of study in Boyd, Ph.D.; Drew Casper, Ph.D.; Elizabeth M. Daley, School of Cinematic Arts – Building I 101 film at any college or university in the United States, USC’s Ph.D.; Michael Fink, MFA; Scott Fisher, M.S.; Norman (213) 821-5860* cinema program has consistently set academic and Hollyn, B.A.; David Howard, MFA; Judy Irola; David Isaacs, * For information regarding admission, call (213) 740-8358. professional standards for excellence. In addition, the B.A.; David James, Ph.D; Henry Jenkins, Ph.D.; Richard school has a record-breaking number of endowed chairs in Jewell, Ph.D.; Robert Jones; Jeremy Kagan, MFA; Barnet the discipline; production facilities that rival industry Faculty Kellman, Ph.D.; Akira Lippit, Ph.D.; Doe Mayer, M.A.; counterparts and extraordinary faculty and staff. Christine Panushka, MFA; Michael Peyser, B.A.; Amanda Pope, B.A.; Michael Renov, Ph.D.; Howard A. Rodman, Steven J. Ross/Time Warner Endowed Dean’s Chair in Thanks to SCA’s location in Los Angeles, students have B.A.; Ellen Seiter, Ph.D.; Michael Taylor, B.A.; Lawrence Cinema-Television: Elizabeth M. Daley, Ph.D. access to the country’s leading film, television, animation Turman, B.A.; John Watson, M.A. and video game producers; world-class literary and talent Dana and Albert “Cubby” Broccoli Endowed Chair in agencies; libraries and archives brimming with research Associate Professors: Tom Abrams, MFA; Mark Bolas, M.S.; Producing: John Watson, M.A. materials; and alumni that support the school and the Ted Braun, MFA; Linda Brown, MFA; Midge Costin, M.A.; men and women in its academic body. The school is also The Larry Auerbach Endowed Chair: Larry Auerbach Pamela Douglas, M.A.; Jack Epps Jr., B.A.; Tracy Fullerton, home to USC’s Trojan Vision television station. MFA; Kenneth Hall, M.A.; Helaine Head, B.A.; Aniko Imre, The Sergei Eisenstein Endowed Chair in Cinematic Design: Ph.D; Priya Jaikumar, Ph.D.; Georgia Jeffries, B.A.; Kara The USC School of Cinematic Arts recognizes that a Bruce A. Block, MFA Keeling, Ph.D.; Richard Lemarchand, B.A.; Everett Lewis, student can only truly excel in his or her chosen area of MFA; Tara McPherson, Ph.D.; Michael Patterson, BFA; expertise after exposure to all elements of the art form. Electronic Arts Endowed Chair in Interactive Kathy Smith, B.A.; Sheila M. Sofian, MFA; Mary Sweeney, Consequently, there is an emphasis on cross-disciplinary Entertainment: Tracy Fullerton, MFA M.A. course work that ensures writers get behind the camera; critical studies scholars edit footage; and production Conrad Hall Chair in Cinematography and Color Timing: Assistant Professors: Nitin Govil, Ph.D.; Andreas Kratky, majors examine the canon from a rigorous academic Judy Irola MFA; Laura Isabel Serna, Ph.D. perspective. Hugh M. Hefner Chair for the Study of American Film: Visiting Professor: Tom Sito, BFA Administration Richard B. Jewell, Ph.D. Visiting Associate Professor: Dennis Wixon, Ph.D. Alma and Alfred Hitchcock Chair for the Study of American Elizabeth M. Daley, Ph.D., Dean Film: Drew Casper, Ph.D. Professors of Practice: David Balkan, B.A.; Jed Dannenbaum, Ph.D.; Pablo Frasconi; Brenda Goodman; Office of Student Services The Michael Kahn Endowed Chair in Editing: Norman Don Hall; Alexander McDowell, BFA; Tom Sito, BFA; Paul Hollyn, B. A. Wolff; William Yahraus Brian Harke, Ed.D., Dean of Students (213) 740-8358 The Mona and Bernard Kantor Endowed Chair in Associate Professors of Practice: Steve Albrezzi; Steven Email: [email protected]; Production: Mark J. Harris, B.A. Anderson, Ph.D.; Vicki Callahan, Ph.D.; Christopher [email protected] Chomyn, MFA; Reine-Claire Dousarkissian, M.A.; Nancy cinema.usc.edu The Kortschak Family Endowed Division Chair in Film and Forner, B.A.; Robert Gardner; Eric Hanson, B.A.; Virginia Television Production: Michael Fink, MFA Kuhn, Ph.D.; Elisabeth Mann, MFA; Angelo Pacifici, The Bryan Singer Division of Critical Studies B.Arch.; Mark Shepherd, MFA; Peter Sollett, BFA; Jason The George Méliès Endowed Chair in Visual Effects: Squire, M.A.; Michael Uno, MFA; Douglas Vaughan, M.A.; Akira Lippit, Division Chair Michael Fink, MFA Jennifer Warren; Shelly Wattenbarger, MFA; David Weber; School of Cinematic Arts 320 Tristan Whitman, MFA (213) 740-3334* William Cameron Menzies Endowed Chair in Production Design: Alex McDowell, BFA Assistant Professors of Practice: Peter Brinson, MFA; Evan Film and Television Production Hughes, M.A.; DJ Johnson, MFA; Robert Kositchek, BFA; Stephen K. Nenno Endowed Chair in Television Studies: Margaret Moser, MFA; Maks Naporowski, B.A. Michael Fink, Division Chair Ellen Seiter, Ph.D. School of Cinematic Arts 434 Research Professor: Larry Auerbach Jack Oakie Chair in Comedy: Jack Epps Jr., B.A. (213) 740-3317* Research Associate Professors: Perry Hoberman, B.A.; Mary Pickford Foundation Endowed Chair: Doe Mayer, Richard Weinberg, Ph.D. Interactive Media and Games Division M.A. Tracy Fullerton, Division Chair Research Assistant Professors: Marientina Gotsis, MFA; The Katherine and Frank Price Endowed Chair for the Holly Willis, Ph.D. SCI 201M Study of Race and Popular Culture: Todd Boyd, Ph.D. (213) 821-4472* FAX: (213) 821-2665 2 Instructors of Cinema Practice: Richard Burton, B.A.; Bachelor of Fine Arts, Cinematic Arts, Film and Doctor of Philosophy, Cinematic Arts (Critical Matthew Williams, MFA Television Production Studies) Part-time Faculty: Ioan Allen; Kate Amend; Tom Anderson; This degree is a four-year program only available to The Ph.D. is based on a program of study and research Wendy Apple; Harold Apter; Larissa Bank; David Baron; incoming freshmen. The BFA in Cinematic Arts, Film and culminating in the completion of a dissertation in the Deborah Baron; Janet Batchler; Irving Belateche; Sandra Television Production is granted through the School of major field of study. A minimum of 68 semester units Berg; Alan Berger; Fred Bernstein; Danny Bilson; Mitch Cinematic Arts and requires 128 units. (exclusive of dissertation registration) beyond the Block; John Bowman; Elizabeth Brauer; Paul Bricault; baccalaureate is required. Applicants who have Musa Brooker; Robert Brown; Bonnie Bruckheimer; Robert Bachelor of Arts — Interactive Entertainment completed a Bachelor of Arts or Master of Arts degree in Buerkle; Bobette Buster; Ed Callahan; Trey Callaway; Will Cinematic Arts, or a closely related field, may apply to the Carter; Michael Cassutt; Bonnie Chi; Peter Chung; David The Bachelor of Arts in Interactive Entertainment is Ph.D. program. The doctoral degree is granted by the Clawson; Ken Cosby; Tim Curnen; Martin Daniel; Kristen granted through the USC Dornsife College of Letters, Arts Graduate School in conjunction with the School of W. Davis; Paul DeMeo; Paul Demeyer; Dariush and Sciences in conjunction with the School of Cinematic Cinematic Arts. Derakhshani; Heather Desurvire; Vincent Diamante; Arts. The degree requires 128 units. Sharon Doyle; Frederic Durand; James Egan; Peter Exline; Doctor of Philosophy, Cinematic Arts (Media Arts David Fain; Siavash Farahani; Ron Fernandez; Paul Foley; Bachelor of Arts — Media Arts and Practice and Practice) Eric Furie; Maureen Furniss; Bonnie Garvin; Lance Gentile; Andrew Given; David Goetsch; Janet Graham-Borba; This program is for students who want to harness the The Ph.D. in Media Arts and Practice program offers a Amanda Green; Chevon Hicks; John Hight; Joe Hoffman; power of digital storytelling and media design to rigorous and creative environment for scholarly innovation Todd Hoffman; Michael Hoggan; Sean Hood; Joan Hyler; communicate across diverse fields beyond the as students explore the intersection of design, media and Angie Jones; Gabor Kalman; Peter Kang; Aaron Kaplan; entertainment industry. This degree is granted through critical thinking while defining new modes of research and Thomas Kemper; Darren Kiner; Randal Kleiser; Richard the USC Dornsife College of Letters, Arts and Sciences in scholarship for the 21st century. Core to the program is its Kletter; Michael Kontopoulos; Jeffrey Korchek; Stu conjunction with the School of Cinematic Arts.
Load more

Recommended publications
  • Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
    Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
    [Show full text]
  • Bachelor's Degree in Filmmaking
    BACHELOR’S DEGREE IN FILMMAKING THREE-YEAR ACCELERATED PROGRAM Each Bachelor of Fine Arts student writes, shoots, directs, and his Bachelor of Fine Arts Degree Program in Filmmaking employs a total immersion edits 12 films in the most intensive T approach to the subject where students hands-on program in the world develop a powerful arsenal of skills in directing, and works on the crew of at least screenwriting, cinematography, editing, and 30 additional films. producing. Students work in all formats from 16mm and HD to 35mm and RED Digital, as they write, direct, shoot, and edit their own films. A strong grounding in the liberal arts and sciences serves to inform students work and give them a well-rounded undergraduate education. The New York Film Academy’s Bachelor of Fine Arts in Filmmaking is unlike any other, it is an accelerated intensive degree program that can be completed in three years including summers. AVAILABLE IN One benefit of this is that students may begin internships or professional work a year earlier than they would in a standard bachelor’s program, and LOCATIONS of course save a year of tuition and expenses. UNIVERSAL STUDIOS, hollywood It requires a rigorous schedule whereby students are in class or production for eleven months of TUITION $30,000 PER YEAR** the year with a four week break between each **Additional Equipment Fee: $4,000 per year. Students will of the three years. Vacations are limited to two also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of weeks during the winter holidays and one week the projects.
    [Show full text]
  • 2011 USC Financial Report
    financial report_2011 UNIVERSITY OF SOUTHERN CALIFORNIA University of Board of Trustees Toshiaki Ogasawara Senior Administration Voting Members J. Douglas Pardee C. L. Max Nikias Southern California Wallis Annenberg Frank Price President Wanda M. Austin Allen E. Puckett Leadership Elizabeth Garrett Marc Benioff Bruce M. Ramer Provost and Senior Vice Joseph M. Boskovich Sr. Carl E. Reichardt President for Academic Affairs Gregory P. Brakovich Steven B. Sample Rick J. Caruso Forrest N. Shumway Robert Abeles Alan I. Casden Richard J. Stegemeier Senior Vice President, Finance Ronnie C. Chan Peter V. Ueberroth and Chief Financial Officer Gin D. Wong Yang Ho Cho Albert R. Checcio Christopher Cox Honorary Trustees Senior Vice President, Frank H. Cruz Verna B. Dauterive University Advancement Richard DeBeikes Jr. Helene Galen Todd R. Dickey David H. Dornsife Merwyn C. Gill Senior Vice President, Daniel J. Epstein Carmen H. Warschaw Carol Campbell Fox Administration Chengyu Fu Academic Deans Thomas S. Sayles Stanley P. Gold Robert A. Cutietta Senior Vice President, Tamara Hughes Gustavson USC Thornton School of Music University Relations Ming Hsieh Elizabeth M. Daley Ray R. Irani Carol Mauch Amir USC School of Cinematic Arts Suzanne Nora Johnson General Counsel and Secretary of the University Lydia H. Kennard Gerald C. Davison Kenneth R. Klein USC Davis School of Gerontology Patrick C. Haden John Kusmiersky Athletic Director James G. Ellis Daniel D. Lane USC Marshall School of Business Lisa A. Mazzocco David L. Lee Chief Investment Officer Mónica C. Lozano Marilyn L. Flynn John C. Martin USC School of Social Work Randolph W. Hall Vice President, Research Kathleen L.
    [Show full text]
  • Script Breakdown
    COMS 129 Fall 2008 Pre­Production: Script Breakdown Script breakdown is the process of analyzing your script to determine all of the components out of which it is made. During script breakdown, you’ll systematically build lists of everything from characters, props and locations to special effects, and costumes. But script breakdown is much more than a simple inventory. The process of breaking down your script and the analysis and decisions you’ll make when doing your breakdown will generate the data that is required to prepare a budget and schedule your shoot. Breaking down a script is not just a suggestion, it is an essential step towards starting your production. During the script breakdown process you’re going to create a number of lists and schedules, but more importantly, you’re going to develop an understanding of your script that will be necessary for answering the thousands of questions that will come up during production. This familiarity with the script will allow to effectively deal with the changing conditions and concerns of a complex shoot. Depending on the length and nature of your script, you can use just about any method to break down your script. Obviously, there’s little to do if your script involves just one or two characters and is set on a single location. However, no matter how complicated your script, it’s important to perform a systematic, thorough breakdown. For simplicity, we’ve chosen to divide the realm of digital video production into two categories: A/V and Feature. A/V productions are the traditional industrial, corporate, multimedia or advertising productions that are usually small‐scale productions, frequently shot in a studio and rarely requiring more than a day or two of shooting.
    [Show full text]
  • Transferring to USC 2019
    Transferring to USC 2019 I Founded in 1880, the University of Southern California is a top-tier, private research institution located in the heart of a diverse, dynamic world center. As a transfer student at USC, you will enjoy unparalleled opportunities in and outside the classroom. From access to world-class faculty and the ability to conduct your own original research, to acquiring real-world experience through service learning and internship programs, the possibilities are endless. Transfer admission to USC remains highly competitive, and we look for students with outstanding academic records, talents and leadership skills. This brochure will introduce you to our admission policies, academic requirements and the courses you will need to successfully transfer to USC. We hope you find this information helpful and we look forward to working with you in the future. Fight On! TABLE OF CONTENTS About USC 2 USC at a Glance 2 Application Process 3 Majors 4 Planning Your Transfer 6 Plan Ahead 6 Planning Tools 7 Essential Transfer Information 8 Transfer Planning Worksheet 10 Additional Coursework by Major 12 Transfer Credit Policies 16 Resources 18 Financial Aid 18 Learn More 19 Visit USC 19 Frequently Asked Questions 20 FIGHT ON1 USC at a Glance Size of University Park 1880 Founded 226 Campus in Acres Los Angeles Location 8:1 Student-to-Faculty Ratio 19,000 Undergraduates Enrolled 26 Average Class Size Graduate/Professional 26,500 Students Enrolled 300,000+ Alumni Transfer Admission Statistics Fall 2018 9,600 Applications 1,350 Transfer Class Size 2,300 Admission Offers 3.7 Average College GPA 24% Admit Rate Our Transfer Students Come From..
    [Show full text]
  • Looking Behind the Scenes Project Management in the Motion Picture Industry
    2/4/2018 project management in the motion picture industry Looking behind the scenes project management in the motion picture industry CONFERENCE PAPER ǀ 2008 By Rhyne, Christopher C. How to cite this article: Rhyne, C. C. (2008). Looking behind the scenes: project management in the motion picture industry. Paper presented at PMI® Research Conference: Defining the Future of Project Management, Warsaw, Poland. Newtown Square, PA: Project Management Institute. Introduction It is generally accepted that the project management profession exists within a spectrum of industries, ranging from engineering and construction to information technology and manufacturing. Of course, other industries engage in project management, but their practices may be less documented or publicized. The motion picture industry, not often represented in the project management discourse, is an industry that is expected to provide a unique perspective for the study of project management. I chose to research film project management due to its wide appeal yet limited presence among project management references, academic sources, and published literature. This paper attempts to uncover and capture the significance of project management practices to the motion picture industry. My goal is to contribute these findings to a wider project management community. While the motion picture industry includes mediums such as film, video, and television, this paper primarily investigated film production intended for cinematic screening. Production is the stage in which movie cameras are used to shoot all the scenes of the movie. Preproduction and postproduction stages are also parts of the production process. My review of literary sources and data collection is presented before turning to analysis and discussion of findings from the research.
    [Show full text]
  • Edta Catalog
    2019 CATALOG Honoring Theatre Students for 90 Years • THESPIAN APPAREL & SPIRIT • HONORS & TROPHIES • RESOURCES Check out these newly added items! THESPIAN SPIRIT 1 Apparel 1 Stickers & Magnets 4 Temporary Tattoos 5 Buttons 5 Games 5 Keyrings 6 pg. 3 Accessories 6 pg. 10 Gadgets 7 Pens & Paper 8 Decor 9 Bags 10 HONORS, AWARDS, TROPHIES, AND PLAQUES 11 For All Troupes 11 Thespian & Graduation Honors 11 Junior Thespian Honors 16 Banners 17 Awards 18 pg. 1 Trophies 19 Plaques 23 EDUCATIONAL RESOURCES 26 Classroom 26 Mime 32 Theatre Games & Improvisation 32 Acting & Directing 33 Vocal Technique & Singing 36 Film & Video 39 pg. 17 Multicultural 40 Middle School 41 Monologues 42 Technical Theatre 46 Careers 51 pg. 22 While They Last 52 No returns except damaged goods. No cash refunds. No returns after 30 days. Prices subject to change without notice. APPAREL APPAREL New ITS Limited Edition 90th anniversary apparel! ITS 90TH ANNIVERSARY CREWNECK SWEATSHIRT ITS 90TH ANNIVERSARY SHORT-SLEEVE T-SHIRT 100% cotton. Preshrunk. Sizes S - 2XL. White, ash, or 100% cotton. Preshrunk. Sizes S - 2XL. All apparel ships oxford. All apparel ships separately. RUSH service not separately. RUSH service not available. Allow 3 weeks for available. Allow 3 weeks for delivery. delivery. BASEBALL JERSEY - BLACK/GREY BASEBALL JERSEY - ROYAL BLUE/WHITE 425-PC78-9 MEMBER PRICE: $35.00 425-PC54-8 MEMBER PRICE: $25.00 100% cotton. ITS icon on the front. #ThespianNation 100% cotton. ITS icon on the front. #ThespianNation REGULAR PRICE: $40.00 REGULAR PRICE: $30.00 on the back. Aged look. Sizes S - 3XL. All apparel ships on the back.
    [Show full text]
  • USC School of Cinema-Television
    USC School of Cinema-Television he USC School of Cinema-Television offers undergraduate and graduate-level programs in production, critical studies, animation, writing for screen and television and producing. TThe school educates students in the aesthetic and technical values of the medium through course work, production activities and research. All members of the full-time cinema-television faculty have been or are working professionals in their respective fields; most have years of full-time professional experience. Each year a number of adjunct faculty from the Los Angeles film and television industries participate in all programs. Students at the USC School of Cinema-Television produce over 234 hours of motion pictures each year and complete approximately 100 full-length screenplays. USC films made by students receive 150 awards annually from festivals around the world. USC cinema-television alumni are among the most successful filmmakers and scholars working today. Since 1951, there have been only two years when no members of the Trojan Family were nominated for Academy Awards for their work USC’s School of Cinema-Television is number one according to the rankings published in America’s in documentary or fiction film. Best Graduate Schools issue of U.S. News and World Report (1998). The Cinema-Television Library offers a comprehensive collection of books in English and substantial holdings in other languages. The vast collection of journals, unpublished screenplays and manu- script materials includes personal papers of industry figures from the silent years to the present and studio records from Warner Bros., MGM, Universal and other producing companies. The study cen- ter also provides student access to the school’s large collection of film and television materials in all film and video formats as well as to several thousand recent screenplays.
    [Show full text]
  • Production Requirements Checklist
    SCHOOL OF FILMMAKING 1533 S. Main Street Winston-Salem, North Carolina 27127 PRODUCTION REQUIREMENTS CHECKLIST Course Number and Name: Production Title: Prod. # Producer: Director: PRODUCTION FORMS Approved Script Film Credit Worksheet Production Budget Approval Form Budget Approval Film Credits Approval Producer Post Production Report Budget Breakdown Film Release Agreement Project Authorization Form Budget Sign-Off Film Stock Requisition Safety Awareness Meeting Attend. Actor Release Forms Foley Cue Sheet Safety Hazard Report A.D.R. Form Group Release Scoring Stage Request - Composer Art Department Crew Time Sheet Hair/Makeup Artist Request Scoring Stage Request - Orchestra Art Department Prop & Flat Sign Injury/Illness Report Form Script Breakdown Art Department Tool Sign Out Key Request Script Supervisor Continuity Log Call Sheet Lighting Diagram Script Supervisor Daily Report Camera Department Shooting Log Location Contact List Shooting Schedule Cast Contact List Location Contract Shot List Cast / Scene Number Breakdown Location Fact Sheet Sound Report Casting Sheet Location Release Special Camera Rigging Cast Member Evaluation Makeup / Hairdressing Record Still Photo Release Cinematography Location Minor Release/Authorization Storyboard Crew Contact List Minor Release From School Technical Trouble Reports Crewing Hours Log Mix Lock Agreement Third & Fourth Year Titles Daily Film Inventory Musician Release Form Vehicle Request Daily Production Report Music Scoring Sign-Off Video Camera Reports Digital Effects Request UNCSA Student
    [Show full text]
  • Language of Film: Scriptwriting
    Language of Film: Scriptwriting Timely news: NOTE: Every year around TV and film awards season, studios include actual screenplays seeking award nominations on their websites. I have included links to these award sites on my FOR YOUR CONSIDERATION website. Screenwriters on Nailing that All Important First Scene 2020 Award Worthy Screenplays Online How Mahershala Ali Changed a Pivotal Scene in “Green Book” Screenwriter on Decades long Journey: Mortal Engines Writers on Scene Stealing Speeches Writers Roundtable How George Lucas Broke Screenwriting Rules On Writing ‘Queen of Katwe’ It’s All In The Script Six Screenwriters Leave Their Mark on Hollywood Annie Hall Tops WGA List of 101 Funniest Screenplays Obituary: Screenwriter Michael Blake (Dances With Wolves) Screenwriters on Writing 14 Screenwriters Writing Screenplays: the keys to great movies Syd Field, Who Wrote the Book on Writing Screenplays, Dies at 77 Solving Equation of a Hit Film Script, With Data “Moonrise Kingdom” Illustrated Screenplay Recommended resources: Anatomy of a Script (WGA video series) Director’s Lab Series: The Script (video) Dreams On Spec: documentary website Elements of Screenwriting (Elements of Cinema) Film Script Terminology Film: Where It All Begins Five Storytelling Tips to Make Your Online Videos More Effective How to analyze a screenplay How to: structure a film (video) Lesson Plans: Adapting A Scene for A Movie Script Formatting the Script Screenwriting: The Language of Film (from the AMPAS Teacher Guide Series) Scriptwriting (FiS) Scriptwriting 101 Writing
    [Show full text]
  • The Director's Method in Contemporary Visual Effects Film
    The Director’s Method in Contemporary Visual Effects Film: The Influence of Digital Effects on Film Directing Gianluca Balla PhD University of York Theatre, Film and Television September 2016 Abstract The director’ s method – meant as the organisation of the filmmaking process – is usually characterised by common procedures such as work on the script, shot design and the actors’ performance. For films involving a large-scale use of digital effects, directors consistently approach such procedures with a particular attitude dictated by the digital pipeline, the step-by- step technical procedure through which computer-generated images are created. In light of this, the use of digital effects might influence the director’s method. This thesis aims to define what is considered to be a consensual methodological approach to direct films with no or few digital effects and then compares this approach to when such effects are conspicuously involved. This analysis is conducted through interviews with working directors, visual effects companies and practitioners, and integrated with the current literature. The frame of the research is represented by a large spectrum of contemporary films produced in western countries and which involve digital effects at different scales and complexity but always in interaction with live-action. The research focuses on commercial films and excludes computer-animated and experimental films. The research is intended to address an area in production studies which is overlooked. In fact, although the existent literature examines both digital effects and film directing as distinct elements, there is to date no detailed analysis on the influence that the former has on the latter.
    [Show full text]
  • The Art of Success EDUCATING Creative Entrepreneurs Usc financial Report 2015 01 the Art of Success 20 University Highlights
    University of Southern California 2015 Financial Report the art of success EDUCATING creative entrepreneurs usc financial report_2015 01 _ the art of success 20 _ university highlights 26 _ academic highlights 33_ financial statements 39_ notes to financial statements 58 _ B u d g e t 2015 - 2016 69 _ usc role and mission 70_ university leadership On the front and back covers: This year has been one of innovation and accomplishment for USC’s six world class arts schools – USC School of Architecture, USC Roski School of Art and Design, USC School of Cinematic Arts, USC Glorya Kaufman School of Dance, USC School of Dramatic Arts, USC Thornton School of Music. the art of success e d u c at i n g creative entrepreneurs THE ART OF SUCCESS Educating Creative Entrepreneurs e University of Southern Students at USC’s six world class arts schools are inventing jobs that didn’t exist a decade California’s efforts to mix ago. They’re branding, marketing and networking their way into entrepreneurial skill with artistic successful careers. expression are intentional. Creativity is increasingly recognized as a valuable asset — and so is the ability to The university’s efforts to mix entrepreneurial skill with market that creativity. artistic expression are inten- tional. Creativity is increasingly recognized as a valuable asset — and so is the ability to market that creativity. New academic partnerships have formed excit- ing programs that support budding student entrepreneurs. Through USC’s Visions and Voices initiative, now celebrating its 10th year, students have the opportunity to meet and learn from artists at the top of their fields.
    [Show full text]