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 The vast collection of journals, unpublished screenplays and manu- script materials includes personal papers of industry figures from the silent years to the present and studio records from Warner Bros.,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. 138 USC School of Cinema-Television

Administration Alma and Alfred Hitchcock Chair: Joseph Adjunct Professors: Steve Albrezzi; Ioan Allen; Elizabeth M. Daley, Ph.D., Dean Andrew Casper, Ph.D. Isaac Artenstein; Rick Berg; Bruce Block; Bobette Buster; Chris Chomyn; Joseph Cohen; Office of Student Affairs Fran and Ray Stark Endowed Chair: Lawrence Cynthia Cohn; Vera Dika; Bob Enders; Nina Carson Television Stage GT 106 Turman, B.A. Foch; Greg Foster; Robert Gardner; Nelson (213) 740-2911 Gidding; Jean-Pierre Geuens; Lisa Gottlieb; Email: [email protected] Mary Pickford Foundation Professorship: Doe Peter Gould; Dianne Haak; Karen Halverson; www.cinema-tv.usc.edu Mayer, M.A. Lynn Hendee; Rowdy Herrington; Joe Hoffman; Joseph Janeti; Jeremy Kagan; Gabor Critical Studies Professors: Barbara Corday; Robert Estrin, Kalman; Randal Kleiser; Susan Landau; Dana Polan, Division Chair M.F.A.; John Furia, Jr., B.A.; Mark J. Harris, Lawrence Lyttle; David Milton; Sylvia George Lucas Instructional Building 405 B.A.; Tomlinson Holman, B.S.; Gerald Morales; Richard Ollis; Ronald Parker; Ishu (213) 740-3334* Isenberg, M.B.A.; David James, Ph.D; Doe Patel; Abraham Polonsky; Howard Rosenberg; Mayer, M.A.; Marsha Kinder, Ph.D.; E. Rick Rosenthal; Stanley Ralph Ross; Leon Film and Television Production Russell McGregor, Ph.D.; K. Kenneth Miura, Roth; Elliott Silverstein; Jason Squire; John Barbara Corday, Division Chair M.A.; Woody Omens, A.S.C. (M.A.); Tarver; Duke Underwood; Jon Wagner; George Lucas Instructional Building 404 Christine Panushka, M.F.A.; Dana Polan, Malvin Wald; Matthew Weisman; Sanford (213) 740-3317* Ph.D.; Michael Renov, Ph.D.; Vibeke Wernick; Megan Williams; Robert Zemeckis; Sorensen, M.A.H.; Lynn Spigel, Ph.D. Vernon Zimmerman Writing John Furia, Jr., Division Chair Associate Professors: Don Bohlinger, M.F.A.; Part-time Lecturers: Kate Amend; Tom George Lucas Instructional Building 301 Todd Boyd, Ph.D.; Gene Coe, M.F.A.; Anderson; Jeff Apple; Wendy Apple; Ron (213) 740-3303 Ronald Curfman, M.F.A.; Pamela Douglas; Austin; Robert Ballo; Philip Barry; Sandra FAX: (213) 740-8035 David Howard, M.F.A.; Robert E. Miller, Berg; Becky Bristow; Tim Clawson; Ph.D.; Amanda Pope, B.A. Cornelius Cole; Sam Denoff; Michael Doban; Peter Stark Producing Program Richard Edland; Mar Elepano; Paul Evans; Lawrence Turman, Director Assistant Professors: Tom Abrams, M.F.A.; Peter Exline; Mel Ferber; Kathy Fogg; Dan George Lucas Instructional Building 302 Tara McPherson, Ph.D.; James Nathan, Gillman; Andrew Given; Charles Glenn; (213) 740-3304 M.F.A.; Paul Wolansky, M.F.A. Michael Gonzales; Amy Halpern; FAX: (213) 745-6652 Christopher Knopf; Richard Krevolin; Senior Lecturers: Laurie Burton; Roger Everett Lewis; Lisa Mann; Richard Marcus; Film, Video and Computer Animation Christiansen; Midge Costin; Jed Frank McAdams; Marcia Nasatir; Dan Vibeke Sorensen, Director Dannenbaum; Bill Dill; Mary Beth Fielder; Nienaltowski; Peter Pampusch; Roger Marcia Lucas Post Production Building 201 Pablo Frasconi; Gary Goldsmith; Carroll Pardee; Lou Pitt; Vincent Robert; Mimi (213) 740-3985 Hodge; Judy Irola; Mary Jansen; Mardik Roth; Michael Scroggins; Agueda Simo; Tom Martin; Nina Menkes; John Morrill; Jack Sito; Kathy Smith; Edward Spiegel; Jeffrey *For information regarding admission, call (213) 740- Oswald; Earl Rath; Jeffrey Sconce; David Stott; Ken Tamburri; Jerry Tokofsky; Chris 2911. Weber Vogler; Jennifer Warren; Eric Weissmann; Jon Wilkman; Oscar Williams; Paul Wolff Faculty Lecturers: Ted Braun; Mark Shepherd Steven J. Ross/Time Warner Dean’s Chair in Emeritus Professors: Herbert E. Farmer, M.A.; Cinema-Television: Elizabeth M. Daley, Ph.D. Research Associate Professors: Syou Ling Fu, Trevor Greenwood, M.A.; Richard Harber, M.F.A.; Richard Weinberg, Ph.D. M.A.; Edward Kaufman, Ph.D.; Gene Hugh M. Hefner Chair for the Study of American Petersen, M.F.A.; Melvin Sloan, M.A.; Film: Richard B. Jewell, Ph.D. Wolfram von Hanwehr, Ph.D.; Daniel Wiegand, M.A.; Morton Zarcoff, M.A.

Degree Programs

The School of Cinema-Television offers pro- Bachelor of Fine Arts — Filmic Writing Marshall School of Business and the School of fessional and academic degree programs at This is a unique program designed for stu- Cinema-Television. Students successfully the bachelor’s, master’s and doctoral levels. dents who wish to receive intensive training completing the program receive a Bachelor of for non-fiction and fiction screenwriting. The Science in Business Administration with an Bachelor of Arts B.F.A. in Filmic Writing is granted through emphasis in Cinema-Television. The program Students can choose either a Film and the School of Cinema-Television and is offered to freshmen admitted to the Television Production or Critical Studies track. requires 128 units. Marshall School of Business as Business The degree is granted through the College of Scholars. See Marshall School of Business Letters, Arts and Sciences in conjunction with Bachelor of Science in Business Administration— (page 105) for course requirements. the School of Cinema-Television. The B.A. Entertainment Management degree requires 128 units. Entertainment Management is a joint pro- gram consisting of courses offered by both the General Requirements 139

Master of Arts, Cinema-Television Doctor of Philosophy, Cinema-Television: Critical Minor in Film, Video and Computer Animation This degree, which allows a track in Critical Studies The minor in animation offers students an Studies, is granted by the Graduate School in The Ph.D. is based on a program of study introduction to the theory and practice of ani- conjunction with the School of Cinema- and research culminating in the completion mation, including its relationship to the histo- Television. The Critical Studies track of a dissertation in the major field of study. A ry of art and cinema, creative writing, and requires 32 units. minimum of 64 semester units (exclusive of basic film production. It provides students dissertation registration) beyond the bac- with an opportunity to create both personal Master of Fine Arts, Cinema-Television calaureate is required. Applicants who have and collaborative work in a wide range of The School of Cinema-Television offers this completed a Master of Arts degree in genres, from traditional character to contem- professional degree in two tracks: Film and Cinema-Television, or a closely related field, porary experimental and computer animation. Television Production and Writing for Screen may apply to the Ph.D. program. The doctor- The program requires 32 units. and Television. The Writing for Screen and al degree is granted by the Graduate School Television track requires 42 units and the in conjunction with the School of Cinema- Minor in Performing Arts Film and Television Production track requires Television. The minor in performing arts provides an 40 units. interdisciplinary inquiry into the nature and Cinema-Television Minor aesthetics of the performing arts. It combines Master of Fine Arts, Film, Video and Computer A minor in cinema-television is available to the disciplines of cinema-television, dance, Animation USC undergraduate students in all schools music and theatre. The minor is a unique This program requires 50 units. and departments. The minor provides the course of study that looks at how the perform- opportunity for students to become familiar ing arts contribute to a culturally literate soci- Master of Fine Arts, Motion Picture Producing with various aspects of media study. ety. See the School of Theatre, page 756, for The Peter Stark Producing Program requires Admission to the minor program is granted in requirements. 44 units. the fall and spring semesters. The program requires 24 units.

General Requirements

Acceptance of Transfer Units Waiver of Course Requirements Grade Point Average Requirements The School of Cinema-Television does not Under special circumstances waivers and A minimum grade of C, 2.0 (A = 4.0), must accept courses taken in film and/or television substitutions are granted; check with the be earned in all required and prerequisite production at other institutions to fulfill CNTV Office of Student Affairs. All course courses in order to progress to the next degree and minor requirements. Basic film or waivers and substitutions must be approved course level. Students may attempt to television history courses can sometimes be by the Associate Dean of Academic Affairs. improve a grade lower than a C (2.0) only one accepted for transfer credit. time by registering and retaking the specific The following courses cannot be waived for course. Departmental approval is required in No transfer credit will be accepted in lieu of students majoring in Film and Television order to retake a CNTV course. CTPR 241, 290, 310, 376, 507x and 508x and Production: CTPR 290, 310, 376, 480, 507x, any advanced production courses. 508x, 546L, 581abc, 583, 584, 586ab. In addition, a minimum grade point average must be achieved to earn all cinema-television No transfer credits are accepted for the Peter Student Advisement degrees (see the individual program descrip- Stark producing track, the graduate program Each program has its own advisement system. tions). For example, undergraduates must earn in screenwriting or the film, video and com- Check with the program administrator or with a minimum grade of C (2.0) in all required puter animation program. the CNTV Office of Student Affairs. Cinema- Cinema-Television courses. However, gradu- Television student affairs counselors are avail- ate students must achieve a B (3.0) average in Requests for a limited number of transfer able to answer questions about degree pro- all courses required for the degree. credits for the Master of Fine Arts degree in grams, grades, advisement and other matters. film and television production must be sub- Undergraduate students in the film and tele- mitted to the Cinema-Television Graduate The Cinema-Television Graduate vision production program who achieve a Committee for approval and are only granted Committee meets at least once a month to grade lower than a C (2.0) in CTPR 241/290 under exceptional circumstances. handle changes of degree objective, program and CTPR 310/376 and graduate students in modifications and graduation review for the the production program who earn a grade Transfer policy for the Ph.D. requires advise- Graduate Production program. Under- lower than a C (2.0) in CTPR 507x and ment and approval of the division chair. graduates are expected to meet with their CTPR 508x may petition to retake the advisors once a semester to review their acad- required sequence only once. Permission to emic progress. retake any prerequisite or core production courses requires prior departmental commit- tee approval. 140 USC School of Cinema-Television

Students in the graduate screenwriting pro- Policy on Films and Videos Produced by Tuition and Fees (Estimated) gram must earn a minimum grade of B (3.0) Students Students in the School of Cinema- in CTPR 291. All films, videos and computer disks pro- Television’s graduate programs pay tuition of duced with school equipment or facilities are $796 per unit effective September 1999. Students who do not satisfy the degree the property of USC. Any income from dis- Undergraduate programs are assessed the requirement after repeating a class will be tribution of student-produced films, videos university-wide tuition rate with a once-a- disqualified from the program. and computer disks is used for the benefit of semester access fee of $50. In addition, some cinema-television students through equip- classes are charged lab fees as noted in the ment purchases and so on. Students can pur- Schedule of Classes. The university reserves the chase copies of their own work. right to assess new fees or charges. The rates listed are subject to change without notice by action of the Board of Trustees.

Critical Studies

The Division of Critical Studies of the The division is committed to understanding Applicants for the B.A. or M.A. or Ph.D. School of Cinema-Television offers programs film and television texts in relation to the degrees must submit supplemental applica- leading to the Bachelor of Arts, Master of world they represent; it studies not only the tion materials to the Critical Studies Program. Arts and Doctor of Philosophy degrees. This meanings of these texts but also the process- For specific instructions, contact the Cinema- comprehensive curriculum includes courses es by which these meanings are constructed. Television Office of Student Affairs, University which analyze the power and responsibility of Park, Los Angeles, CA 90089-2211, American and international film and televi- (213) 740-2911, web page: sion and new media technologies from http://cinema-tv.usc.edu. formal/aesthetic, historical, economic and ide- ological perspectives.

Bachelor of Arts

Bachelor of Arts, Cinema-Television: Critical General Education Requirements Required Production Courses Studies The university’s general education program Undergraduates admitted to the Critical The Bachelor of Arts degree in Cinema- provides a coherent, integrated introduction Studies Program are required to take CTPR Television with a track in Critical Studies is to the breadth of knowledge you will need to 241 Fundamentals of Film and CTPR 290 granted by the College of Letters, Arts and consider yourself (and to be considered by Cinematic Communication. These are intro- Sciences in conjunction with the School of other people) a generally well-educated per- ductory production courses which must be Cinema-Television. Undergraduate students son. This new program requires six courses in taken concurrently during the junior year take their pre-professional courses in the different categories, plus writing and diversi- (see description). College of Letters, Arts and Sciences, includ- ty requirements, which are described in ing the general education requirements. detail on pages 167 through 172. In addition, CTPR 241 is a lecture course dealing with Major courses are selected from the curricu- students pursuing the B.A. must meet the technical and aesthetic principles of lum of the School of Cinema-Television. foreign language requirements described directing, cinematography, editing, sound and The degree requires 128 units, including on page 169. the development of ideas through a cinemat- 22 lower division and at least 24 upper divi- ic vocabulary. sion units in cinema-television. A maximum All students who (1) enter the School of of 40 CNTV upper division units will apply Cinema-Television as freshmen in the sum- In CTPR 290 students are taught the princi- to the B.A. degree. mer of 1997 or later; or (2) begin college else- ples of filmmaking through demonstrations, where in the summer of 1997 or later; or hands-on production and critical analysis. (3) began college earlier but transfer to USC Each student makes five Super 8mm non- in the summer of 2000 or later, must satisfy dialogue films using his or her own equip- the requirements of the new general educa- ment. At minimum, a Super 8 camera, projec- tion program. Other students whose sched- tor, tripod, viewer and splicer will be needed, ules permit are encouraged to follow the new plus substantial funds for film and processing program as well. However, continuing and (approximately $800-1,000). A tape recorder transfer students who began college full-time is recommended. before summer 1997 and enter USC before summer 2000 may elect to satisfy a “transi- tional” plan instead, which is outlined on page 172. Critical Studies 141

Required Courses Four different courses from the following: Grade Point Average Requirements CTCS 190 Introduction to Cinema 4 CTCS 367 Global Television and A minimum grade of C (2.0) must be earned CTCS 191 Introduction to Media 4 in all required and prerequisite courses. A Television and CTCS 400 Non-Fiction Film and grade of C- or lower will not satisfy a major Video 4 Television 4 requirement. CTCS 192 Race, Class and Gender CTCS 403 Studies in National and in American Film 4 Regional Media 4 Limitations on Enrollment CTCS 200 History of the Interna- CTCS 404 Television Criticism and No more than 40 upper division units can be tional Cinema I 2 Theory 4 taken within the major without approval of CTCS 201 History of the Interna- CTCS 406 History of American the Dean of Letters, Arts and Sciences. tional Cinema II 2 Television 4 CTPR 241 Fundamentals of Film, CTCS 407 African-American Cinema 4 Registration in graduate level courses (num- taken concurrently with CTCS 409 Censorship in Cinema 4 bered 500) for undergraduate credit requires CTPR 290 2 CTCS 411 Film, Television and prior approval of the School of Cinema- CTPR 290 Cinematic Communication, Cultural Studies 4 Television. taken concurrently with CTCS 464 Film and/or Television CTPR 241 4 Genres 4 Curriculum Review CTCS 473 Film Theories 4 CTCS 469 Film and/or Television Cinema-Television majors are expected to Style Analysis 4 meet with their academic advisors once a One course from the following: CTCS 478 Culture, Technology semester to review their progress. Contact CTCS 392 History of the American and Communications 4 the Student Affairs Office, Carson Television Film, 1925-1950 4 CNTV 499* Special Topics 4 Center, Garden Level 106, (213) 740-8358, CTCS 393 History of the American for appointments. Total Required Units: 46 Film, 1946-1975 4 CTCS 394 History of the American *Major credit with departmental approval. Film, 1976-present 4

Master of Arts

The Master of Arts degree in Cinema- Projects are shot on digital cameras and Comprehensive Examination Television with a track in Critical Studies is edited on non-linear systems. Approximately As the final requirement for the M.A. degree, administered through the Graduate School. $1,200 should be budgeted for fees and the comprehensive examination, normally Candidates for the degree are subject to the expenses. taken near the end of course work, will con- general requirements of the Graduate School sist of six hours of questions in three fields. (see page 555). Thirty-two units are required Required Courses The exam is given once a year in the spring at the 400 level or higher, including a com- CTCS 500 Seminar in Theory and semester. The field of theory and criticism is prehensive examination. At least two-thirds Textual Analysis 4 required for all students who hope to contin- of these units must be at the 500 level or CTCS 501 History of the Interna- ue their studies toward a Ph.D. at USC. In higher. tional Cinema: Silent consultation with their faculty advisor, stu- Film 2 dents will choose three of the following Graduate Preparation Production Courses CTCS 502 History of the Interna- fields: Incoming graduate students without prior pro- tional Cinema: Sound duction experience are required to take Film 2 (1) Theory and Criticism CTPR 507x (six units). This course provides a CTCS 503 Survey History of the (2) American Sound Film basic primer in production considered neces- American Sound Film 2 (3) International Silent Film sary for graduate studies in critical studies. A CTCS 510 Case Studies in National (4) International Sound Film minimum grade of C (2.0) must be earned in Media 4 (5) Documentary and Avant-Garde Film and CTPR 507x. This course does not count CTCS 511 Seminar: Non-Fiction Video toward the total requirements for the M.A. Film/Video, or (6) Television and New Technologies CTCS 518 Seminar: Avant-garde CTPR 507x Production I (6 units) is Film/Video 4 If the student has completed all course work designed to introduce the fundamental prin- CTCS 587 Graduate Television and is only taking the comprehensive exami- ciples of motion picture production. The Seminar 4 nation, he or she must register in GRSC 810 course also introduces students to visual and CTCS 588 Bibliography 2 Studies for Master’s Examination. Note: A auditory communication and individual film- GPA of 3.0 is required to take the compre- making. Each student makes five projects, In addition, eight units of cinema-television hensive examination. serving as writer, producer, director, cine- electives are required. matographer, sound designer and editor. 142 USC School of Cinema-Television

Grade Point Average Requirements Time Limit Curriculum Review A grade point average of 3.0 must be main- Although students are normally expected to At the beginning of their matriculation, and tained in all graduate level course work. complete the degree in two years, the degree each semester thereafter, each M.A. candi- Courses in which a grade of C- (1.7) or lower must be completed within five years of the date will confer with a designated faculty is earned will not apply toward a graduate beginning of graduate work at USC. advisor who will monitor the student’s degree. progress.

Doctor of Philosophy

Doctor of Philosophy in Cinema-Television Graduate Preparation Production Course (1) If the faculty has determined during the (Critical Studies) Each candidate for the Ph.D. must complete admissions process that a comprehensive The degree of Doctor of Philosophy with an CTPR 507x with a minimum grade of C. examination will be required as part of the emphasis in Critical Studies is administered This course is equal to six units of undergrad- screening procedure, an examination will be through the Graduate School. The Ph.D. pro- uate work and does not count toward the administered as appropriate. If the examina- gram is tailored to the individual student’s total unit requirement for the Ph.D. If the tion is passed to the faculty’s satisfaction, the particular needs and interests. The overall student enters the program with a master’s student may proceed to the next step in the course of study will be designed by the stu- degree in cinema-television and possesses screening procedure process. If the student dent, the student’s designated advisor and, production experience, the student may fails to pass the examination, the faculty will following the screening procedure, the stu- request a waiver of this requirement. The determine if the student will be allowed to dent’s guidance committee chair (see waiver requires passing a written examination retake the examination the following semes- Screening Procedure under Graduate and submission of films/videos to the produc- ter before proceeding to the next step in the Preparation Production Courses). tion faculty for review. screening procedure process.

Admission CTPR 507x Production I (6 units) is (2) The student will be interviewed and his A master’s degree in cinema-television, or a designed to introduce the fundamental prin- or her progress in the program will be closely related field, is required for admission ciples of motion picture production. The reviewed by the faculty to determine if the to the Ph.D. program. Applicants without such course also introduces students to visual and student will be approved for additional a degree may be admitted, but will be required auditory communication and individual film- course work. If approved to continue, a guid- to pass a comprehensive examination to the making. Each student makes five projects, ance committee chair will be selected by the faculty’s satisfaction as part of the screening serving as writer, producer, director, cine- student, with the approval of the faculty, who procedure (see Screening Procedure). matographer, sound designer and editor. will serve as the student’s advisor. It is Projects are shot on digital cameras and strongly recommended that full-time study Course Requirements edited on non-linear systems. Approximately be pursued following the successful comple- Each Ph.D. candidate must complete 64 units $1,200 should be budgeted for fees and tion of the screening procedure. (exclusive of the prerequisite — see Graduate expenses. Preparation Production Course — and disser- Guidance Committee tation units) beyond the bachelor’s degree, Screening Procedure Following a successful screening procedure, 43 of which must be at the 500 level or high- The Graduate School requires that programs the student, in consultation with the guid- er. (Up to 30 units may be transferred from administer an examination or other procedure ance committee chair and the Critical Studies graduate work completed at other institu- at a predetermined point in the student’s stud- faculty, will formally establish a five-member tions.) The required units will include seven ies as a prerequisite to continuation in the doc- guidance committee. The composition of the to 12 courses in cinema-television and eight toral program (see page 558). This procedure guidance committee will be as specified by to 16 units in the minor area. The minor will is designed to review the student’s suitability the Graduate School (see page 558). For be chosen by the student in close consultation for continuing in the chosen Ph.D. program. the Ph.D. in Cinema-Television (Critical with the advisor and will be in an academic The School of Cinema-Television has deter- Studies), the committee is ordinarily com- field which: (1) offers a Ph.D. at USC, and mined that this procedure will occur no later posed of four Critical Studies faculty mem- (2) supports the student’s dissertation topic. than the end of the student’s third semester of bers and an outside member from the candi- Each student must complete the following graduate course work at USC beyond the mas- date’s minor area. course work toward the 64 unit total: ter’s degree. The screening procedure process will include the following steps: Foreign Language Requirement (1) CTCS 500, 510 and 587 These courses The Critical Studies faculty will advise each should be taken before the screening student as to whether or not a foreign lan- procedure. guage is required. This requirement is deter- mined by the student’s dissertation topic. (2) Two of the following: CTCS 677, 678, 688. The requirement must be met at least 60 These courses should be taken before the days before the qualifying examination. qualifying examination. Film and Television Production 143

Dissertation Proposal Presentation residence; and (5) passing the written and Grade Point Average Working closely with the guidance commit- oral portions of the qualifying examination. An overall GPA of 3.0 is required for all grad- tee chair, the student will prepare to present Admission to candidacy is by action of the uate work. Courses in which a grade of C- his or her dissertation proposal to the full fac- Dean of the Graduate School. (1.7) or lower is earned will not apply toward ulty. This will be a formal written proposal a graduate degree. which will include a statement of the pro- Dissertation Committee posed topic, four fields for examination The dissertation committee is composed as Leaves of Absence derived from the general dissertation topic specified by regulations of the Graduate A leave of absence may be granted under area (including a field from the minor area), a School (see page 560). A dissertation based on exceptional circumstances by petitioning the detailed bibliography, and an appropriate and original investigation and showing technical Graduate School the semester before the comprehensive screening list of film/televi- mastery of a special field, capacity for research leave is to be taken. sion titles. Formal presentation of the disser- and scholarly ability must be submitted. tation proposal will occur no later than the Changes of Committee end of the semester prior to taking the quali- CTCS 794 Changes in either the guidance or disserta- fying examinations. The guidance committee Registration for dissertation units, CTCS 794 tion committee must be requested on a form must approve the dissertation topic. Once the (a and b), in the two semesters following admis- available from the Graduate School. dissertation topic has been approved, the stu- sion to candidacy is the minimum requirement. dent will complete the Request to Take the These units cannot be applied toward the Completion of All Requirements Ph.D. Qualifying Examination form available required 64 unit total. The student must regis- Everything involved in approving the disser- from the Student Services Office of the ter for CTCS 794 each semester after admis- tation must be completed at least one week Graduate School. sion to candidacy until the degree requirements before graduation. Approval by the disserta- are completed. No more than eight units of tion committee, the Office of Academic Qualifying Examinations credit can be earned in CTCS 794. Records and Registrar, and the thesis editor Written and oral examinations for the Ph.D. must be reported on the triple card and sub- are given twice a year, in November and Defense of Dissertation mitted to the Graduate School by the date of April. Questions for the written portion of the An oral defense of the dissertation is required graduation. examination will be drafted by members of of each Ph.D. candidate. The dissertation the guidance committee who will also grade committee will decide whether the examina- Time Limits the examination. The qualifying examination tion is to take place after completion of the The maximum time limit for completing all comprises four examinations administered preliminary draft or the final draft of the dis- requirements for the Ph.D. degree is eight one each day for four days during a five-day sertation. The oral defense must be passed at years from the first course at USC applied period. least one week before graduation. toward the degree. Students who have com- pleted an applicable master’s degree at USC The oral examination will be scheduled with- Policies or elsewhere within five years from the pro- in 30 days after the written examination. All The following policies apply to each student posed enrollment in a Ph.D. program must guidance committee members must be pre- admitted to the Ph.D. program. complete the Ph.D. in six years. Extension of sent for the oral portion of the qualifying these time limits will be made only for com- examination. Residency Requirements pelling reasons upon petition by the student. At least one year of full-time graduate study When petitions are granted, students will be Admission to Candidacy (24 units excluding registration for CTCS required to make additional CTCS 794 regis- A student is eligible for admission to candida- 794) must be done in residence on the main trations. Course work more than 10 years old cy for the Ph.D. degree after: (1) passing the USC campus. The residency requirement is automatically invalidated and cannot be screening procedure; (2) presenting the dis- may not be interrupted by study elsewhere. applied toward the degree. sertation proposal and having it approved; Residency must be completed prior to the (3) satisfying the language requirement, if qualifying examination. applicable; (4) completing at least 24 units in

Film and Television Production

The Division of Film and Television thorough understanding of the technical and Applicants for the B.A. or M.F.A. degree Production of the School of Cinema- aesthetic aspects of motion pictures and tele- must submit supplemental application mate- Television offers programs leading to the vision. Courses in production provide indi- rials to the Film and Television Production Bachelor of Arts and the Master of Fine Arts vidual and group filmmaking experiences Program. For specific instructions, contact degrees. and the opportunity to learn all aspects of the Cinema-Television Office of Student filmmaking in a collaborative environment. Affairs, University Park, Los Angeles, CA The primary goals of the degree programs 90089-2211, (213) 740-2911, web page: in film and television production are to http://cinema-tv.usc.edu. develop the student’s ability to express origi- nal ideas on film or video and to instill a 144 USC School of Cinema-Television

Bachelor of Arts

The Bachelor of Arts in Cinema-Television CTPR 241 is a lecture and exercise course project in one semester. Each student is with a track in production is granted through dealing with the technical and aesthetic prin- responsible for a specific aspect of the pro- the College of Letters, Arts and Sciences in ciples of directing, cinematography, editing, duction such as production management, conjunction with the School of Cinema- sound and the development of ideas through assistant director, cinematographer, editing Television. Students study within a frame- a cinematic vocabulary. or sound. work which combines a broad liberal arts background with specialization in a profes- In CTPR 290 students are taught the princi- Film/video stock, processing, equipment sion. Bachelor of Arts students are enrolled in ples of filmmaking through demonstrations, and facilities are provided by the School of the College of Letters, Arts and Sciences, hands-on production and critical analysis. Cinema-Television. There are extra personal where they take their pre-professional cours- Each student makes five Super 8mm non- expenses associated with all production es, including the general education require- dialogue films using his or her own equip- workshops. ments. Major courses are selected from the ment. At minimum, a Super 8 camera, projec- curriculum of the School of Cinema- tor, tripod, viewer and splicer will be needed, The selection of scripts and directors for the Television. The degree requires 128 units plus substantial funds for film and processing advanced production workshop (CTPR 480) including 16 lower division units and at least (approximately $800-1,000). A tape recorder is made by the production faculty. Note: To 24 upper division units in Cinema-Television. is recommended. qualify to direct an advanced production A maximum of 40 CNTV upper division workshop, a student must complete CTPR units will apply to the B.A. degree. CTPR 310 Intermediate Film and Video 480 (non-directing position) and take a speci- Production and CTPR 376 Intermediate fied directing class. General Education Requirements Film and Video Cinematography is the sec- The university’s general education program ond production sequence required for the CTPR 290, 310, 376, 480 cannot be waived provides a coherent, integrated introduction B.A., Film and Television Production track. or substituted with another course or transfer to the breadth of knowledge you will need to These courses are also taken concurrently. In credit under any circumstances. consider yourself (and to be considered by these workshops students work in teams of other people) a generally well-educated per- two, learning to collaborate and explore the Course Requirements son. This new program requires six courses in expressive potential of sound and image CTCS 190 Introduction to Cinema 4 different categories, plus writing, foreign lan- through the production of one 16mm film CTCS 200 History of the guage and diversity requirements, which are and one video project. Both are non-dialogue International Cinema I 2 described in detail on pages 167 through 172. projects. Each student directs and prepares CTCS 201 History of the the soundtrack for the project he or she has International Cinema II 2 All students who (1) enter the School of written and is cinematographer and editor for CTPR 241 Fundamentals of Film Cinema-Television as freshmen in the sum- his or her partner’s project. Most equipment (taken concurrently with mer of 1997 or later; or (2) begin college else- and materials are provided by the School of CTPR 290, CTWR 413) 4 where in the summer of 1997 or later; or (3) Cinema-Television. However, approximately CTPR 290 Cinematic Communication began college earlier but transfer to USC in $1,000-1,500 should be budgeted by the stu- (taken concurrently with the summer of 2000 or later, must satisfy the dent for the purchase of personal equipment, CTPR 241, CTWR 413) 4 requirements of the new general education supplies, transportation, props, etc. which will CTPR 310* Intermediate Film and program. Other students whose schedules also be useful in future classes. Video Production permit are encouraged to follow the new pro- (taken after CTPR 241, gram as well. However, continuing and trans- To qualify for enrollment in CTPR 310 and CTPR 290, CTWR 413 fer students who began college full-time CTPR 376, students must fulfill all require- and concurrently with before summer 1997 and enter USC before ments outlined in the CTPR 310/376 guide- CTPR 376) 4 summer 2000 may elect to satisfy a “transi- lines distributed in CTPR 241. Students are CTPR 376* Intermediate Film and tional” plan instead, which is outlined on required to form their own partnerships. Video Cinematography page 172. Students will not be allowed to register for (taken after CTPR 241, CTPR 310 and CTPR 376 without having a CTPR 290, CTWR 413 Production Sequence qualified partner. and concurrently with Undergraduates admitted to the Film and CTPR 310) 4 Television Production Program are required Because of the structure of CTPR 310 and CTWR 413 Writing the Short Script I to take CTPR 241 Fundamentals of Film CTPR 376, these courses cannot be taken (taken concurrently with and CTPR 290 Cinematic Communication. separately. Therefore, should a student fail to CTPR 241, CTPR 290) 2 CTPR 241 and CTPR 290 are introductory achieve a passing grade on either CTPR 310 CTWR 414 The Screenplay 2 production courses taken either in the second or CTPR 376 (see the section on grade semester sophomore or first semester junior requirements) both courses must be retaken *Note that enrollment in CTPR 310/376 requires meet- year after a student has completed the mini- the subsequent semester. ing specific guidelines. mum required units and requirements toward his or her USC degree. CTWR 413 Writing CTPR 480 Production Workshop I follows and a choice of: the Short Script I is taken concurrently with CTPR 310 and CTPR 376. In CTPR 480 CTPR 371 Directing for Television, CTPR 241 and CTPR 290, and these three production majors form crews of eight to or courses are prerequisites for the next produc- 10 persons to produce a synchronous sound CTPR 475 Directing: Mise-en-Scene tion sequence, CTPR 310 and CTPR 376. (prerequisites for CTPR 475 are CTPR 310 and CTPR 376) 4 Film and Television Production 145

One of the following courses is required: One of the following courses is required Students who do not earn the minimum CTPR 392 History of the American subsequent to completing CTPR 310/376: grade in CTPR 241, 290, 310 and 376 after Film, 1925-1950 4 CTAN 448 Introduction to Film repeating these requirements will be disqual- CTCS 393 History of the American Graphics–Animation 4 ified from the program. Film since 1950 4 CTPR 480 Production Workshop I CTCS 400 Non-Fiction Film 4 (narrative or Curriculum Review CTCS 464 Film and/or Television documentary or video) 4 Cinema-Television majors are expected to Genres 4 CTPR 484 Advanced Multi-Camera meet with their advisor once a semester to Television Workshop 4 review their progress. Contact the Student Affairs Office (Carson Television Center, Grade Point Average Requirements Garden Level 106), (213) 740-8358, for A minimum grade of C, 2.0 (A = 4.0), must appointments. be earned in all required and prerequisite courses. A grade of C- or lower will not fulfill a major requirement.

Master of Fine Arts

The Master of Fine Arts degree with a Film associated with the projects made in CTPR YEAR ONE, SECOND SEMESTER UNITS and Television Production track requires a 508x. Approximately $1,000-1,500 should be CTCS 504 Television and the minimum of 40 units in cinema-television at budgeted by the student for the purchase of New Technologies 2 the 400 or 500 level. A thesis is not required personal equipment, supplies, transportation, CTPR 508x Production II 6 for the M.F.A. degree; however, course work props, and so on. CTPR 508x is taken con- CTWR 529 Intermediate involves participation in advanced film/video currently with CTCS 504 and CTWR 529 in Screenwriting 2 production courses. the second semester. 10 Graduate Preparation Production Courses CTPR 507x and CTPR 508x are preparatory In addition to the 40 units, students are courses and do not count toward the total YEAR TWO, FIRST AND SECOND SEMESTERS UNITS required to take 12 units of prerequisite 40 units required for the degree. A minimum CTCS 502 History of the Interna- courses (CTPR 507x Production I and CTPR grade of C (2.0) in CTPR 507x and CTPR tional Cinema: Sound 508x Production II) in their first year. These 508x is required in order to continue in the Film 2 courses provide intensive preparation consid- Master of Fine Arts program. Students earn- CTPR 506 Visual Expression 2 ered necessary for graduate education in ing lower than a C (2.0) in a preparatory or production. core production course may repeat the Two of the following (the second may be taken requirement on a one time only basis upon in year three) CTPR 507x Production I (6 units) is approval of the CNTV Graduate Committee. CTPR 541 Intermediate Interactive designed to introduce the fundamental prin- Multimedia Workshop 4 ciples of motion picture production. The Students who do not earn the minimum CTPR 545 Intermediate Multi- course also introduces students to visual and grade in CTPR 507x and CTPR 508x or sat- Camera Television auditory communication and individual film- isfy the degree requirements after repeating a Workshop 4 making. Each student makes five projects, required course will be disqualified from the CTPR 546L Production III serving as writer, producer, director, cine- program. (non-directing capacity) 6 matographer, sound designer and editor. Projects are shot on digital cameras and edit- CTPR 507x, 508x, 546L, 581abc, 583, 584, Six units from the required cinema-television ed on non-linear systems. Approximately and 586ab cannot be waived or substituted electives (8 if CTPR 541 and CTPR 545 are $1,200 should be budgeted for fees and with transfer credit under any circumstances. chosen) expenses. CTPR 507x is taken concurrently CTPR 484 Advanced Multi-Camera Three-Year Requirements for the M.F.A. in with CTCS 501 and CTWR 528 in the first Television Workshop 4 Production semester. CTPR 531 Planning the Production YEAR ONE, FIRST SEMESTER UNITS (prerequisite to develop a In CTPR 508x Production II, students work- CTCS 501 History of the Interna- CTPR 546L documentary ing in crews of two produce two non-dialogue tional Cinema: Silent project) 2 projects whose primary goal is to communi- Film 2 CTPR 532 Intermediate Directing cate effectively through sound/image rela- CTPR 507x Production I 6 (prerequisite to qualify tionships. Each student directs and prepares CTWR 528 Screenwriting to direct a CTPR 546L the soundtrack for the project he or she has Fundamentals 2 or CTPR 583 project) 2 written and is cinematographer and editor for CTWR 533ab Writing the Feature his or her partner’s project. It is mandatory for 10 Script 4-2 students to form their own partnerships. CTPR 534 Intermediate Production Most equipment and materials are provided Design 2 by the school, but there are other expenses CTPR 535 Intermediate Editing 2 CTPR 537 Intermediate Cinematography 2 146 USC School of Cinema-Television

CTPR 538 Intermediate Producing 2 CTPR 581abc* Individual Production Cinema-Television Electives CTPR 539 Intermediate Graphics 2 Workshop 4-2-2 A minimum of two units of Cinema- CTPR 540 Intermediate Sound 2 CTPR 583* Graduate Television Television electives at the 400 and 500 level CTPR 542 Intermediate Electronic Production 6 is required. Imaging 2 CTPR 584* Graduate Interactive CTAN 543 Intermediate Computer Group Project 6 Grade Point Average Requirements Animation 2 CTPR 586ab* Production IV 6-0 A grade point average of at least 3.0 (A = 4.0) CTPR 551 Planning the Advanced must be maintained in all USC course work Production (prerequisite *Students must complete the prerequisites and follow toward the master’s degree. Courses in which for CTPR 586ab, the guidelines for CTPR 581abc, CTPR 583, CTPR 584 a grade of C- (1.7) or lower is earned will not CTPR 581abc, and CTPR 586ab. apply toward a graduate degree. CTPR 582abL, One of the following critical studies courses: Time Limit and CTPR 583 in a CTCS 464 Film and/or Television directing or producing Genres 4 Students must maintain satisfactory progress position) 2 CTCS 469 Film and/or Television toward their master’s degree at all times. The CTPR 552 Advanced Directing 2 Style Analysis 4 time limit for completing all requirements is CTWR 553 Advanced Screenwriting 4 CTCS 510 Case Studies in National three years from the first course at USC CTPR 554 Advanced Sound 2 Media 4 applied toward the Master of Fine Arts CTPR 555 Advanced Production CTCS 511 Seminar: Non-Fiction degree. Course work more than seven years Design 2 Film/Video old is invalidated and will not be applied CTPR 556 Advanced Editing 2 CTCS 518 Seminar: Avant-Garde toward the degree. CTPR 557 Advanced Film/Video 4 Graduate Review Cinematography 2 CTCS 564 Seminar in Film and CTPR 558 Advanced Producing 2 Television Genres 4 Graduate students are required to appear CTPR 559 Advanced Graphics 2 CTCS 567 Seminar in Film/Tele- before the Cinema-Television Graduate CTAN 563 Advanced Computer vision and a Related Art 4 Committee one year prior to graduation for a Animation 2 CTCS 569 Seminar in Film and curriculum review and to file appropriate CTPR 568 Advanced Electronic Television Authors 4 forms. Contact the Cinema-Television Imaging 2 CTCS 587 Graduate Television Student Affairs Office for appointments at CTWR 572 Practicum in Directing Seminar 4 (213) 740-8358. Actors for Film 2-4 CTCS 588** Bibliography 2 CTWR 574 Advanced Seminar in Directing Actors for Film 2 **Four units of Cinema-Television electives at the 400 YEAR THREE, FIRST AND SECOND SEMESTERS UNITS or 500 level if CTWR 553 or CTCS 588 chosen. Six One course from the following: units of Cinema-Television electives at the 400 or 500 CTPR 546L Production III (director level if both CTWR 553 and 588 chosen. or different crew position) 6 CTWR 553** Advanced Screenwriting 4

Film, Video and Computer Animation

Master of Fine Arts

The Master of Fine Arts degree in Film, encourages innovation and experimentation, The program requires a minimum of Video and Computer Animation is a three- and emphasizes imagination, creativity and 50 units: 38 units are in prescribed, sequen- year (six semester) graduate program critical thinking. Students should graduate tial courses in Cinema-Television. The other designed for students who have clearly iden- with a comprehensive knowledge of anima- 12 units are electives, four of which must be tified animation as their primary interest in tion from conception through realization; an taken in the division of Critical Studies. A cinema. The program focuses on animation understanding of the history of the medium thesis is required for the M.F.A. degree. production, including a wide range of tech- and its esthetics; the fundamentals of com- niques and aesthetic approaches, from hand puter technology, animation software and the Admission is granted once a year in the fall. drawn character animation to state-of-the-art most important elements of film, video and Approximately 15 students will be enrolled in interactive computer graphics. While embrac- interactive media. each incoming class. In addition to practical ing traditional forms, the program strongly production, the program also provides oppor- tunities for fieldwork experience and intern- ships to facilitate the student’s transition into the profession. Film, Video and Computer Animation 147

Applicants for the M.F.A. in Film, Video and YEAR THREE, SECOND SEMESTER UNITS Grade Point Average Requirements Computer Animation must submit supple- CTAN 522 Animation Department A grade point average of at least 3.0 (A = 4.0) mental application materials. For specific Seminar 1 must be maintained in all USC course work instructions, contact the Cinema-Television CTAN 594b Master’s Thesis 2 toward the master’s degree. Courses in which Animation Program Office, University Park, a grade of C- (1.7) or lower is earned will not Los Angeles, CA 90089-2211, (213) 740-3986, 3 apply toward a graduate degree. Courses web page: http://cinema-tv.usc.edu. below a C must be repeated. *Cinema-Television Electives The application deadline is February 15 for The courses listed above do not constitute the 50 units Time Limit the fall semester. required for the M.F.A. in Animation. Consequently, Students must maintain satisfactory progress students are required to take a minimum of 12 elective toward their master’s degrees at all times. Required Courses units at the 400 and 500 level. Four of those units The time limit for completing all require- YEAR ONE, FIRST SEMESTER UNITS must be taken from the following Critical Studies ments is three years from the first course at CTAN 436 Writing for courses: USC applied toward the Master of Fine Arts Animation 2 degree. Course work more than seven years CTAN 451 History of Animation 2 ELECTIVES UNITS old is invalidated and will not be applied CTAN 482 Basic Motion Picture CTCS 400 Non-Fiction Film and toward the degree. Techniques for Television 4 Thesis Project Animators 2 CTCS 402 Practicum in Film/ CTAN 522 Animation Department Television Criticism 4 In order to begin work on the thesis project, Seminar 1 CTCS 404 Television Criticism students must first successfully propose their CTAN 544 Introduction to Film, and Theory 4 project to a committee of M.F.A. Animation Video and Computer CTCS 407 African-American Cinema 4 Program faculty. The proposal is prepared dur- Animation 3 CTCS 408 Contemporary Political ing the first year of study in the program and Film and Video 4 submitted at the beginning of the second year. 10 CTCS 409 Censorship in Cinema 4 Throughout the three years of study, students CTCS 464 Film and/or Television will meet regularly with M.F.A. Animation YEAR ONE, SECOND SEMESTER UNITS Genres 4 Program faculty to develop and refine the pro- CTAN 522 Animation Department CTCS 469 Film and/or Television posal and discuss the progress of their work. Seminar 1 Style Analysis 4 The faculty will be members of the thesis CTAN 523 Principles of Computer CTAN 501 Creative Interactive committee. Animation 2 Animation 2 CTAN 547 Animation Production I 3 CTCS 501 History of the Interna- The proposal itself will include a written CTAN 579 Expanded Animation 2 tional Cinema: Silent treatment of the project with a discussion of Elective* Film 2 similar work in the field and its relationship CTCS 502 History of the Interna- to the proposed project. It will describe 8 tional Cinema: Sound esthetic issues to be explored and specific Film 2 techniques to be employed in its realization. YEAR TWO, FIRST SEMESTER UNITS CTAN 502ab Virtual Reality and The proposal must also include a storyboard, CTAN 522 Animation Department Stereoscopic Animation 2-2 budget and schedule in addition to support- Seminar 1 CTCS 503 Survey History of the ing materials created by the student demon- CTAN 524 Contemporary Topics in American Sound Film 2 strating his or her ability to pursue the pro- Animation 2 CTCS 510 Case Studies in National ject. The faculty committee will make com- CTAN 548 Animation Production II 3 Media 4 ments and decide whether the student may CTAN 577a Character Animation 2 CTCS 511 Seminar: Non-Fiction go forward with his or her project. Upon Film/Video 4 acceptance, the student will begin work on 8 CTCS 518 Seminar: Avant-Garde the project, otherwise revising and meeting Film/Video 4 again with the committee. YEAR TWO, SECOND SEMESTER UNITS CTCS 564 Seminar in Film and CTAN 522 Animation Department Television Genres 4 Seminar 1 CTCS 567 Seminar in Film/ CTAN 549 Animation Production Television and a III 3 Related Art 4 Elective* CTCS 569 Seminar in Film and Television Authors 4 4 CTAN 576 Seminar in Film/ Television and New YEAR THREE, FIRST SEMESTER UNITS Technologies 4 CTAN 522 Animation Department CTAN 577b Character Animation 2 Seminar 1 CTCS 585 Seminar in Film/ CTAN 593 Directed Studies in Television, Critical Animation 2 Theory and Production 4 CTAN 594a Master’s Thesis 2 5 148 USC School of Cinema-Television

A mid-residency review of the thesis project In the third and final year, students concen- A final review of the completed work will will take place in the second year of study. trate on their thesis projects, completing pro- take place in the second semester of the third The student must show that deadlines set in duction and post-production. All sound or year. The committee will meet and the stu- the proposal have been met and that progress music, final high-resolution rendering (for dent must show and defend the work. consistent with the proposal has been made. computer animation), final film or video out- The committee may, if necessary, suggest put, and compositing, titles or subtitles, will modifications to the project, which the stu- be done during this time. dent is then obligated to implement.

Filmic Writing

Bachelor of Fine Arts

The philosophy of the Filmic Writing (3) began college earlier but transfer to USC YEAR TWO, FIRST SEMESTER UNITS Program, a degree program for screen and in the summer of 2000 or later, must satisfy CTCS 200 History of the Inter- television writing, is that the writer has the the requirements of the new general educa- national Cinema I 2 original vision; that the art of film is most tion program. Other students whose sched- CTWR 206a Filmic Writing II 4 fully realized through a blending of film form ules permit are encouraged to follow the new CTWR 213 Content and Consciousness 2 and film content; and that the script needs to program as well. However, continuing and CTWR 319 Directing for Writers: embody this unity of form and content. transfer students who began college full-time Pre-production 2 before summer 1997 and enter USC before Each fall (there are no spring admissions), a summer 2000 may elect to satisfy a “transi- 10 class of 24 undergraduate writing students is tional” plan instead, which is outlined on selected to begin the program. The students page 172. YEAR TWO, SECOND SEMESTER UNITS move from writing synopses and treatments CTCS 201 History of the Interna- Required Production Course to full-length screenplays and documentaries tional Cinema II 2 and from experimentation with non-verbal Undergraduate writing students are required to CTWR 205 Introduction to Filmic communication to integrating complex visual take CTPR 290 Cinematic Communication. Design 4 designs into advanced projects. A total of This is an introductory production course CTWR 206b Filmic Writing II 2 128 units is required for completion of the which must be taken during the sophomore CTWR 215 Practicum in Writing Bachelor of Fine Arts degree; 68 of these year. Short Films 2 units are taken in a prescribed sequential order. Students work with writing faculty as In CTPR 290 students are taught the princi- 10 well as with professional writers from the film ples of filmmaking through lectures and and television industries. hands-on production. Each student makes YEAR THREE, FIRST SEMESTER UNITS five Super 8mm non-dialogue films using his CTWR 306a Filmic Writing III 4 Applicants must submit supplemental appli- or her own equipment. At minimum, a Super CTWR 318 Acting Experience for cation materials to the Filmic Writing 8 camera, projector, tripod, viewer and splicer Writers 2 Program. For specific instructions, contact will be needed, plus substantial funds for CTWR 419 Directing for Writers: the Filmic Writing Program, University Park, film and processing (approximately $800). A Post-production 2 Los Angeles, CA 90089-2211 or telephone tape recorder is highly recommended. CTCS 367 Film and the Other Arts, (213) 740-3303, web page: cinema-tv.usc.edu. or Four-Year Major Requirements for the CTCS 464 Film and/or General Education Requirements B.F.A. in Filmic Writing Television Genres 4 The university’s general education program YEAR ONE, FIRST SEMESTER UNITS provides a coherent, integrated introduction CTWR 106a Filmic Writing I 4 12 to the breadth of knowledge you will need to consider yourself (and to be considered by 4 other people) a generally well-educated per- son. This new program requires six courses in YEAR ONE, SECOND SEMESTER UNITS different categories, plus writing and diversi- CTCS 190 Introduction to Cinema 4 ty requirements, which are described in CTWR 105 Non-Verbal Thinking: detail on pages 167 through 172. Visual and Aural 2 CTWR 106b Filmic Writing I 4 All students who (1) entered the School of Cinema-Television as freshmen in the 10 summer of 1997 or later; or (2) began college elsewhere in the summer of 1997 or later; or Writing for Screen and Television 149

YEAR THREE, SECOND SEMESTER UNITS YEAR FOUR, SECOND SEMESTER UNITS CTWR 433 Adaptations: Transferring CTPR 290 Cinematic Communication 4 CTWR 418b Filmic Writing Senior Existing Work to the CTWR 306b Filmic Writing III 2 Thesis 4 Screen 2 CTWR 316 The Affective Domain 2 CTWR 459b Entertainment Industry CTWR 434 Comedy Writing 2 CTWR 434 Comedy Writing, or Seminar 2 CTWR 435 Writing for Television CTWR 435 Writing for Film and Genres 2, max 8 Television Genres 2 6 CTWR 437 Writing the Situation Comedy Pilot 2 10 Electives A minimum of 20 elective units is required. Grade Point Average Requirements YEAR FOUR, FIRST SEMESTER UNITS Suggested electives in Cinema-Television A minimum grade of C (2.0) must be earned CTWR 301 Creating the include: in all required and prerequisite courses (a Non-Fiction Film 4 CTWR 431 Screenwriters and Their grade of C- or lower will not fulfill a major CTWR 418a Filmic Writing Senior Work 2 requirement). Thesis 4 CTWR 459a Entertainment Industry Seminar 2 10

Writing for Screen and Television

Master of Fine Arts

The Master of Fine Arts with a major in Graduate Production Preparation Course YEAR ONE, SECOND SEMESTER UNITS Writing for Screen and Television is granted In addition to the 42 units, students are CTCS 503 Survey History of the by the School of Cinema-Television. It is a required to take a four-unit undergraduate American Sound Film, two-year program which concentrates in writ- prerequisite production course, CTWR 291 or 2 ing for narrative film and television. The cur- Beginning Dramatic Production, in the first CTCS 464 Film and/or Television riculum covers the writing of dramatic scenes, semester. Genres, or 4 story structure and the full array of tools CTCS 469 Film and/or Television available to the storyteller for heightening This course reviews the basic aspects of film- Style Analysis 4 audience interest, involvement and participa- making through lectures and hands-on pro- CTWR 459b Entertainment Industry tion. Graduate screenwriting students duction using 8mm video. A minimum grade Seminar 2 advance from learning the basics of visual of B (3.0) is required in CTWR 291 in order CTWR 514 Basic Dramatic storytelling to writing short scripts, treat- for a student to continue in the Master of Screenwriting 2 ments and scripts for both dramatic and com- Fine Arts program. CTWR 291 is not a gradu- CTWR 516 Advanced Motion edy TV series and pilots, and finally feature- ate level course and will not count toward the Picture Script Analysis 2 length screenplays. total 42 units required for the degree. Grades received in this course will not be included in 8-10 Each fall 30 students are selected to begin calculating the student’s grade point average. the Graduate Writing for Screen and YEAR TWO, FIRST SEMESTER UNITS Course Requirements Television Program; there are no spring CTCS 502 History of International admissions. Applicants must submit supple- YEAR ONE, FIRST SEMESTER UNITS Cinema: Sound Film 2 mental application materials to the Graduate CTWR 291* Beginning Dramatic CTWR 434 Writing the Situation Writing for Screen and Television Program. Production 4 Comedy, or For specific instructions, contact the CTWR 459a Entertainment Industry CTWR 437 Writing the Situation Graduate Writing for Screen and Television Seminar 2 Comedy Pilot 2 Program, University Park, Los Angeles, CA CTCS 501 History of International CTWR 515a Practicum in 90089-2211, or telephone (213) 740-3303, Cinema: Silent Film 2 Screenwriting 4 web page: http://cinema-tv.usc.edu. CTWR 513 Writing the Short Script 2 CTWR 536 Editing for CTWR 572 Practicum in Directing Scriptwriters, or A total of 42 units in cinema-television at the Actors for Film 2 CTWR 575 Directing for 400 and 500 level is required. In addition to Scriptwriters 2 the writing courses, course work includes 8 instruction in: video equipment, uses and 10 technology; acting and the direction of actors; *The 4 units for CTWR 291 do not count toward the directing; film economics; and history and M.F.A. theory of film. 150 USC School of Cinema-Television

YEAR TWO, SECOND SEMESTER UNITS CNTV Electives In lieu of a thesis, the student is required to CTWR 435 Writing for Film and A minimum of 8 or 10 elective units at the complete a full-length screenplay which will Television Genres 2 400 and 500 level is required, determined by be developed in CTWR 515ab and must be CTWR 515b Practicum in which options the student selected accepted by the Division of Writing Graduation Screenwriting 4 Committee. Grade Point Average Requirement 6 An overall grade point average of 3.0 (A = Time Limit 4.0) must be maintained in all courses. In Students must maintain satisfactory progress Total: 42 units required for degree addition, an overall grade point average of 3.0 toward their master’s degrees at all times. in all units attempted is required to qualify Students are required to complete CTWR for registration in CTWR 515ab. Courses in The degree must be completed three years 435 and either CTWR 434 or CTWR 437 for which a grade of C- (1.7) or lower is earned after the beginning of graduate work at USC. the degree. will not apply toward a graduate degree. Course work more than seven years old is automatically invalidated and may not be applied toward the degree.

The Peter Stark Producing Program

Master of Fine Arts

The Peter Stark Producing Program is an with the Production Department instead of Inquiries regarding the program should be innovative two-year (four semester) full-time the first semester of this class. addressed to: Kathy Fogg, Assistant Director, graduate program designed to prepare a The Peter Stark Program, USC School of select group of highly motivated students for In lieu of a thesis, the completion requirement Cinema-Television, University Park, Los careers as independent film and television is a fully-developed film project with an atten- Angeles, CA 90089-2211. Telephone (213) producers or as executives in motion picture dant budget and marketing/distribution plan. 740-3304, FAX (213) 745-6652, web page: and television companies. cinema-tv.usc.edu. An internship period between school years Approximately 25 Peter Stark Program stu- gives students an opportunity to observe Sample Two-Year Requirements for the dents are enrolled each fall (there are no actual producing and executive operations M.F.A. in Motion Picture Producing spring admissions). The curriculum places with participating independent producers and YEAR ONE, FIRST SEMESTER UNITS equal emphasis on the creative and the man- film companies. The internship period is of CMPP 541aL Production Workshop 2 agerial, to enhance and develop artistic skills eight weeks’ duration during the months of CMPP 550 Script Analysis for the and judgment while providing a sound back- May, June and July. The internships are sub- Producer 4 ground in business essentials. Each course is ject to availability and academic performance CMPP 568 Producing for Television 2 continually updated to ensure that the Stark in the first year of studies. CMPP 589a Graduate Film Business program remains responsive to the needs of Seminar 4 our students and the ever-changing motion During the second year, Peter Stark picture, television and communications field. Producing Program students have an oppor- 12 tunity to initiate and produce a 20-minute A minimum of 44 units of 400- and 500-level synchronous sound film financed by the pro- YEAR ONE, SECOND SEMESTER UNITS courses is required for the Peter Stark gram. Projects to be produced are selected on CMPP 541bL Production Workshop 4 Producing Program leading to the M.F.A. a competitive basis. CMPP 560 Script Development 2 degree. There are no prerequisites. Students CMPP 567 Studio Management 2 are required to take a two-semester sequence Films must be produced by a Stark student or CMPP 589b Graduate Film Business of production courses, CMPP 541aL and team of Stark students. Scripts may be written Seminar 4 541bL Production Workshop, in their first by a cinema-television student from the year. CMPP 541aL covers the basics of visual Division of Writing or a Stark student. The 12 communication and students produce two or director must be a graduate student from the three Super 8mm, non-synchronous sound Cinema-Television Production Program or a YEAR TWO, FIRST SEMESTER UNITS films. In CMPP 541bL, second semester Stark student. The Stark student may only CMPP 561 Motion Picture students work in teams, making two 8-10 perform one major task on the film, i.e., direc- Marketing 2 minute 16mm non-synchronous sound films. tor or writer or producer. Each team has a pro- CMPP 562 Entertainment Law 2 Equipment for both courses is provided by fessional advisor available as needed. CMPP 565 Production Budgeting 4 the school. Students with sufficient produc- Completed films are screened at “First Look.” CMPP 566 Finance and Financing tion experience may, with departmental Films 2 approval, opt to produce a film in conjunction 10 Minor Programs 151

YEAR TWO, SECOND SEMESTER UNITS Grade Point Average Requirement Time Limit CMPP 563 Producing Symposium 2 An overall GPA of 3.0 (A = 4.0) is required for Students must maintain satisfactory progress CMPP 564 Producing Business graduation. Courses in which a grade of C- toward their master’s degrees at all times. Procedures, or approved (1.7) or lower is earned will not apply toward graduate-level CMPP a graduate course. Courses cannot be repeat- The degree must be completed three years course 2 ed. A grade of C-, D or F in any course may after the beginning of graduate work at USC. CMPP 569 Seminar on Non- be cause for termination. Course work more than seven years old is Mainstream Producing 2 automatically invalidated and may not be CMPP 592 Individual Project applied toward the degree. Seminar 4 10

Minor Programs

Minor in Cinema-Television Course Requirements for the Minor PRODUCTION UNITS The minor in cinema-television combines an A total of 24 units, eight in required lower CNTV 483 Interactive introduction to this exciting and influential division and 16 in upper division, are Entertainment and field with a diversified set of classes in pro- required for the minor in cinema-television. Multimedia 4 duction, screenwriting, the film-television CTPR 327 Motion Picture Camera 3 industry and critical studies. The curriculum Required Lower Division Courses (8 units) CTPR 335 Motion Picture Editing 3 is purposely flexible; students may choose to REQUIRED COURSES UNITS CTPR 371 Directing for Television 4 sample two or more different aspects of the CTCS 190* Introduction to Cinema 4 CTPR 375 Functions of a Director 4 world of cinema and television in their upper CTCS 191 Introduction to Television CTPR 385 Colloquium: Motion division class choices or to concentrate their and Video 4 Picture Production upper division course work in an area of pri- Techniques 4 mary interest, such as production. *Gateway course CTPR 422 Makeup for Motion Pictures 2 A student attending USC may apply to minor Required Upper Division Courses (16 units) CTPR 423 Introduction to Special in cinema-television if he or she has a mini- A minimum of 16 units is required from the Effects in Cinema 2 mum GPA of 2.75 and is maintaining normal classes listed below. Courses may be taken CTPR 455 Introduction to degree progress. Cinema-television minor from more than one category. Production Design 2 applications are evaluated by a panel of facul- CTPR 456 Introduction to Art ty members. Admissions are made for the fall CRITICAL STUDIES UNITS Direction 2 and spring semesters. CTCS 392 History of the American CTPR 470 Practicum in On-Screen Film, 1925-1950 4 Direction of Actors 4 Application Procedures CTCS 393 History of the American To be considered for admission to the cine- Film, 1946-1975 4 WRITING UNITS ma-television minor program, the applicant CTCS 400 Non-Fiction Film and CTWR 315x* Filmwriting 3 will be required to submit the following Television 4 CTWR 412 Introduction to materials: (1) departmental application, CTCS 407 African American Screenwriting 2 (2) academic records, including current Cinema 4 CTWR 414 The Screenplay 2 USC transcripts, (3) personal statement, and CTCS 409 Censorship in Cinema 4 CTWR 416 Motion Picture Script (4) two letters of recommendation. CTCS 464 Film and/or Analysis 4 TelevisionGenres 4 CTWR 431 Screenwriters and Admission applications and information may CTCS 469 Film and/or Television Their Work 2 be obtained from the USC School of Cinema- Style Analysis 4 CTWR 494x* Practicum in Screenplay Television, Office of Student Affairs, Carson Development 2 Television Center, Garden Level 106, or tele- phone (213) 740-8358. *CTWR 315x and 494x cannot be applied toward degree credit for cinema-television majors. 152 USC School of Cinema-Television

THE FILM-TELEVISION INDUSTRY UNITS Most students will enter the minor in anima- Course Requirements CTPR 386 Art and Industry of tion program in their sophomore year at USC. The following courses are to be taken in a the Theatrical Film 4 A portfolio of work (prints, slides, film, and/or prescribed sequential order. Thirty-two units CTPR 410 The Movie Business: video) is required. are required. From Story Concept to Exhibition 2 A student enrolled on the undergraduate COURSES UNITS CTPR 425 Production Planning 2 level at USC may apply to minor in anima- AHIS 120 Foundations of Western CTPR 460 Film Business tion if he or she (1) has a minimum grade Art 4 Procedures and point average of 2.75 and is maintaining nor- AHIS 121 Inttroduction to Western Distribution 2 mal degree progress and (2) is not undergoing Art: 1500 to the Present 4 CTPR 461 Television Station any type of departmental, academic or uni- CTCS 190 Introduction to Cinema 4 Management 2 versity disqualification. CTPR 385 Colloquium: Motion CTCS 466 Theatrical Film Picture Production Symposium 4 Animation minor applications are reviewed by Techniques 4 a panel of faculty members, with admissions CTAN 436 Writing for Animation 2 made for the fall semester only. A maximum CTAN 448 Introduction to Film Grade Point Average Requirement of 12 students will be admitted per year. Graphics–Animation 4 A minimum grade of C (2.0) in each course is CTAN 450 Animation Theory and required. A grade of C- (1.7) or lower does Application Procedures Techniques 2, max 6 not fulfill a minor requirement. To be considered for admission to the minor CTAN 452 Introduction to Computer in animation program, the applicant is Animation 2 Film, Video and Computer Animation Minor required to submit the following materials: CTAN 451 History of Animation 2 The minor in animation offers students an (1) departmental application, (2) academic introduction to the theory and practice of ani- records including current USC transcripts, (3) mation, including its relationship to the histo- personal statement, (4) two letters of recom- Minor in Performing Arts Studies ry of art and cinema, creative writing and mendation, and (5) portfolio (prints, slides, The minor in Performing Arts provides an basic film production. It provides students film and/or video). interdisciplinary inquiry into the nature and with an opportunity to create both personal aesthetics of the performing arts. It combines and collaborative work in a wide range of Grade Point Average Requirement the disciplines of cinema-television, dance, genres, from traditional character to contem- A minimum grade of C (2.0) in each course is music and theatre. The minor is a unique porary experimental and computer animation. required. A grade of C- (1.7) or lower does course of study that looks at how the per- This includes painting, cel, stop motion, col- not fulfill a minor requirement. forming arts contribute to a culturally literate lage, mixed media, 2- and 3-D computer ani- society. See School of Theatre, page 756, for mation software and interactive digital media. requirements. Successful completion of a final project is required.

Courses of Instruction

The terms indicated are expected but are not 483 Interactive Entertainment and Multi- 590 Directed Research (1-12, FaSpSm) guaranteed. For the courses offered during any media (4, FaSpSm) Introduction to creative Research leading to the master’s degree. given term, consult the Schedule of Classes. and technical aspects of new interactive tech- Maximum units which may be applied to the nology: multimedia; digital video and sound; degree to be determined by the department. Note: Instructor availability for a particular producing and designing for interactive Graded CR/NC. course or section cannot be guaranteed. TV/cinema; virtual reality technique. 594abz Master’s Thesis (2-2-0, FaSpSm) 490x Directed Research (2-8, max 8, Credit on acceptance of thesis. Graded CINEMA-TELEVISION (CNTV) FaSpSm) Individual research and readings. IP/CR/NC. Not available for graduate credit. Prerequisite: 390 Special Problems (1-4, Irregular) Super- departmental approval. vised, individual studies. No more than one ANIMATION (CTAN) registration permitted. Enrollment by peti- 498 The Visiting Artist Seminar (2, max 4, tion only. FaSp) Analysis of a particular cinema or tele- 436 Writing for Animation (2, FaSp) Work- vision artist’s work and creative philosophy; shop exploring concept and structure of long 482 Designing Online Multiplayer Game screenings and informal discussions with the and short form animated films through practi- Environments (2, Sp) Grouped into teams, artist. cal writing exercises. (Duplicates credit in students will study and design an original multi- former CTWR 436.) player game environment suitable for online 589 Graduate Film Seminar (2 or 4, max 8, usage. FaSp) Detailed investigations and discussion 448 Introduction to Film Graphics — of various aspects of film. Animation (4) Practical course in concepts, media, and techniques related to the graphic film; symbology, composition, kinestasis, ani- mation, typography, color, and materials. Sur- vey; lecture; production. Courses of Instruction 153

449 Advanced Production in Film Graphics 523 Principles of Computer Animation 577ab Character Animation (2-2, FaSp) The (2 or 4, max 8) Concentration on one area (2, Sp) Fundamental computer concepts, exploration of the techniques of the art of of graphic concept or advanced exploration principles of modeling, rendering, lighting, character animation with an emphasis on dis- of media and techniques. Prerequisite: texture mapping, animation, digital composit- cipline, performance and personality observa- CTAN 448. ing, visual effects, and input/output using 3- tion, specializing in classical Hollywood ani- D interactive computer graphics techniques. mation. Open only to M.F.A. Animation stu- 450abc Animation Theory and Techniques Open only to M.F.A. Animation students. dents. Prerequisite: CTAN 547. (2-2-2, FaSp) Explores the aesthetics and Graded CR/NC. Prerequisite: CTAN 482. techniques of animation, ranging from tradi- 579 Expanded Animation (2, Sp) A survey of tional character to contemporary experimen- 524 Contemporary Topics in Animation animation across media; applications to live tal and computer animation genres, through (2, FaSp) A seminar course focusing on con- action film, the fine arts, architecture; link- lectures, exercises and projects. temporary issues affecting animation, espe- ages with modern art, postmodern theory and cially digital cameras and new interactive social history. Open only to M.F.A. Animation 451 History of Animation (2, FaSp) In-depth technology. Interdisciplinary viewpoints from students. Prerequisite: CTAN 451. survey of historical developments, styles, artists, scientists, theorists and others. techniques, theory and criticism of animation 592 Master Class (2-6, max 12, Fa) A special as an art form. 543 Intermediate Computer Animation projects course in which students produce (2, Irregular) The study of computer anima- a major work through weekly meetings 452 Introduction to Computer Animation tion including storyboarding, geometric mod- with a master artist/animator. Topics must be (2, Sp) Lecture and laboratory in computer eling, choreography, lighting, texture map- approved prior to enrollment. Prerequisite: animation: geometric modeling, motion spec- ping, background creation and rendering. Pre- departmental approval; recommended prepara- ification, lighting, texture mapping, render- requisite: CTPR 508x. tion: previous advanced animation production ing, compositing, production techniques, sys- experience. tems for computer-synthesized animation. 544 Introduction to Film, Video and Com- Prerequisite: departmental approval. puter Animation (3, Fa) Fundamentals of 593 Directed Studies in Animation film, video and computer animation produc- (2, max 4, FaSp) Individual exploration 482 Basic Motion Picture Techniques for tion. Orientation to assist students in deter- in the areas of contemporary technology, ani- Animators (2, Fa) Introduction for animation mining future emphases and specialties. mation techniques or experimental film majors to the basic techniques and processes Open only to M.F.A. Animation students. through internships, residencies or directed of film, video and computer systems, includ- studies. ing cinematography, editing and sound. 547 Animation Production I (3, Sp) Practicum in film, video and computer animation empha- 594abz Master’s Thesis (2-2-0) Credit on 499 Special Topics (2-4, max 8, FaSpSm) sizing the production process through individ- acceptance of thesis. Graded IP/CR/NC. Detailed investigation of new or emerging ual projects. Open only to M.F.A. Animation aspects of cinema and/or television; special students. Prerequisite: CTAN 544. 599 Special Topics (2-4, max 8, Irregular) subjects offered by visiting faculty; experi- Detailed investigation of new or emerging mental subjects. 548 Animation Production II (3, Fa) Tw o aspects of cinema; special subjects offered by person intermediate practicum in film, video visiting faculty; experimental subjects. 501 Creative Interactive Animation (2, FaSp) and computer animation, emphasizing con- Introduces basic interactive and non-linear tent and form. Open only to M.F.A. Anima- approaches to animation through a series of tion students. Prerequisite: CTAN 547. CRITICAL STUDIES (CTCS) lectures and exercises, culminating in a group project. Recommended preparation: Photoshop/ 549 Animation Production III (3, Sp) Crew 190 Introduction to Cinema (4, FaSpSm) Director (software). constituted advanced practicum in film, Gateway to the majors and minors in cinema- video, and computer animation. Open only television. Technique, aesthetics, criticism, 502ab Virtual Reality and Stereoscopic to M.F.A. Animation students. Prerequisite: and social implications of cinema. Lectures Animation (a: 2, Fa; b: 2, Sp) a: An in-depth CTAN 548. accompanied by screenings of appropriate exploration of aesthetics and techniques films. involved in the conceptualization, design and 563 Advanced Computer Animation production of immersive virtual environ- (2, Irregular) Investigation of advanced com- 191 Introduction to Television and Video ments and stereoscopic animation. Prerequi- puter techniques related to character repre- (4, FaSp) Exploration of the economic, tech- site: departmental approval. b: Review of sentation and various types of algorithmically nological, aesthetic, and ideological character- techniques and aesthetic issues pertinent to defined animation produced on either film or istics of the television medium; study of his- immersive virtual reality and stereoscopic videotape. Prerequisite: CTAN 543. torical development of television and video animation. Students realize an original project including analysis of key works; introduction proposed in CTAN 502a. Prerequisite: CTAN 576 Seminar in Film/Television and New to TV/video theory and criticism. 502a and departmental approval. Technologies (4, Sp) Focus on film’s relation- ship to general technological developments, 192m Race, Class, and Gender in American 522 Animation Department Seminar what it owes to technologies that preceded it, Film (4, Sp) Analyzes issues of race, class and (1, max 6, FaSp) A weekly seminar required how it continues to develop in relation to gender in contemporary American culture as of all M.F.A. Animation students. This course emerging technologies and how it influences represented in the cinema. includes guest speakers, faculty and student the shape of these newer technologies. Pre- presentations followed by lively and critical requisite: departmental approval. discussion. Graded CR/NC. 154 USC School of Cinema-Television

200 History of the International Cinema I 406 History of American Television (4, Fa) 478 Culture, Technology and Communica- (2, Fa) The development of international History of television as an entertainment, tions (4, Fa) Cultural study of communica- cinema from its beginnings to World War II. information, and art medium. Emphasis on tions technology and its relationship to soci- Lectures, screenings, and discussions. programming and institutional history, includ- ety. Evaluation of the social and cultural Required for majors; recommended for ing issues of regulation, censorship, aesthetics impact of technologies from the telegraph to non-majors. and activism. the Internet.

201 History of the International Cinema II 407 African American Cinema (4, Fa) Inten- 499 Special Topics (2-4, max 8, FaSpSm) (2, Sp) The development of international sive survey of African American cinema; top- Detailed investigation of new or emerging cinema from World War II to the present. ics include history, criticism, politics, and cin- aspects of cinema and/or television; special Lectures, screenings, and discussions. ema’s relationship to other artifacts of African subjects offered by visiting faculty; experi- Required for majors; recommended for American culture. mental subjects. non-majors. 408 Contemporary Political Film and Video 500 Seminar in Theory and Textual Analysis 367 Global Television and Media (4, Sp) (4) Examination of a variety of politically (4, Fa) Introduction to classical and contem- Studies in the global configurations of tele- engaged films and videotapes recently pro- porary film theory; exploration of their rela- vision industries and cultures, including duced in the U.S. and abroad, with particular tionship to close textual analysis and filmic new technologies and the textual and socio- emphasis on aesthetic strategies. experimentation. logical analysis of global media events and programming. 409 Censorship in Cinema (4, Fa) An inquiry 501 History of the International Cinema: into the practice and patterns of censorship in Silent Film (2, FaSp) Historical survey of 392 History of the American Film, 1925-1950 cinema. international film from its beginning to the (4, Fa) Screenings of American film classics advent of sound. and their relationship to society. Lectures and 411 Film, Television and Cultural Studies discussions. (4, Fa) Detailed examination of film/televi- 502 History of the International Cinema: sion from the perspectives and insights of Sound Film (2, FaSp) Historical survey of 393 History of the American Film, 1946-1975 Cultural Studies; focus on the production and international film from the advent of sound (4, Fa) Cinematic and extra-cinematic deter- reception of cultural texts, practices, and to the present. minants of Post-Classical and Modernist Hol- communities. lywood studio and independent genres, 503 Survey History of the American Sound styles, and the star-phenomenon and their 464 Film and/or Television Genres (4, max 8, Film (2, Sp) A survey history of the American relationship to American history and culture. FaSpSm) Rigorous examination of film and/or film from 1927 to the present, with emphasis television genres: history, aesthetics, cultural upon film as art form, economic institution, 394 History of the American Film, context, social significance, and critical technology, and cultural product. 1976–present (4, Sp) Cinematic and extra- methodologies. Prerequisite: departmental cinematic determinants of Postmodernist approval. 504 Television, New Media and Culture Hollywood studio and independent genres, (2, FaSp) An exploration of the historical, cul- styles, and the star-phenomenon and their 465 Informational Film Symposium (2 or 4) tural, business, creative, and technological relationship to American history and culture. Lectures and readings on creative problems aspects of commercial television and the new Prerequisite: departmental approval. in the informational film industry; interviews interactive media. with visiting filmmakers. 400 Non-Fiction Film and Television (4, Fa) 510 Case Studies in National Media An international survey of documentary, 466 Theatrical Film Symposium (4, max 8, (4, max 8, FaSpSm) Seminar in traditions, informational, and independent experimental FaSp) Lectures and readings on creative achievements, and trends of film and/or elec- film, video and television. problems in the motion picture industry; cur- tronic media in a particular country; a differ- rent films; interviews with visiting producers, ent country to be studied each semester. Pre- 402 Practicum in Film/Television Criticism directors, writers, performers. requisite: departmental approval. (4, max 8, FaSp) Exercise in writing film and television criticism using new and classic 469 Film and/or Television Style Analysis 511 Seminar: Non-Fiction Film/Video (4, Fa) films and television programs. Prerequisite: (4, max 8, FaSpSm) Intensive study of the Aesthetic, rhetorical, and ideological issues in departmental approval. style of an auteur, studio, film or television non-fiction film and video. (Duplicates credit making mode in terms of thematic and for- in former CNTV 511ab.) 403 Studies in National and Regional Media mal properties and their influences upon the (4, Fa) Detailed investigation of traditions, art of film. Prerequisite: departmental 518 Seminar: Avant-Garde Film/Video (4, Sp) achievements, and trends of film and/or elec- approval. Aesthetic, historical and ideological issues in tronic media in a particular country or region. avant-garde film and video. (Duplicates 473 Film Theories (4, Fa) Influential ideas credit in former CNTV 511ab.) 404 Television Criticism and Theory (4, Sp) and theoretical approaches that have shaped The evaluation of television programs and the making and study of film. Prerequisite: 564 Seminar in Film and Television Genres their reception from various theoretical per- CTCS 190. (4, max 8, FaSpSm) Advanced study of a spectives which may include cultural studies, selected genre of film and/or television — race and ethnic studies, psychoanalysis, gen- its relationship to history, society, and culture, der and queer studies, and semiotics. Prereq- as well as to genre theory. uisite: departmental approval. Courses of Instruction 155

567 Seminar in Film/Television and a Related 678 Seminar in Film Theory and Medium 240x Practicum in Production (2 or 4, Sm) Art (4, max 8, Irregular) Historical, critical, Specificity (4, Irregular) Explores the way Basic production techniques: introduction to aesthetic, and theoretical issues raised by a film has been theorized in relationship to tra- the cinematic elements, production tech- comparison of cinema and television and ditional media that preceded it and electronic niques, and equipment; film and/or videotape other allied art forms. media that followed. Prerequisite: CTCS 500, production. Not available for major credit to departmental approval. CTPR majors. 569 Seminar in Film and Television Authors (4, max 8, FaSpSm) Seminar in the style of 679 Seminar in Genre Theory (4, Sp) Seminar 241 Fundamentals of Film (2-4, FaSp) an auteur, studio, filmmaking, or televisual in media and literary genres; focus on genre as Introduction to cinematic elements, produc- mode in terms of thematic and formal proper- a historical and theoretical category for analy- tion techniques and equipment, areas of film ties and their influences upon the art of film sis. Prerequisite: departmental approval. research, idea and vocabulary development; and/or television. experience in communication using images 688 Seminar in Historiography (4, Fa) Semi- and sound. 585 Seminar in Film/Television Critical nar in theories and methods of film and tele- Theory and Production (4, Fa) A conjoint vision history; focus on interpretation in his- 290 Cinematic Communication (4-6, FaSp) theory/production seminar, in which the tory and reception studies. Prerequisite: Introduction to filmmaking as related to cine- study of media texts will be combined with departmental approval. matic expression, aesthetics, criticism, and media production informed by the theoretical ethics. Individual film projects. Open to Cin- study. Specific themes and area of focus may 690 Special Problems (1-12, FaSpSm) Field ema-Television majors only. vary. Prerequisite: departmental approval. production; organization and administration of local film-producing units; experimental 309 Introduction to Interactive Media 587 Graduate Television Seminar (4, Sp) aspects of film communication; advanced (4, FaSp) Foundations of interactive multi- Detailed investigation and discussion of vari- work in film history and criticism; teaching media, including its historical evolution, ous aspects of television. cinema. Graded CR/NC. design concepts, performance issues, resource programs and tools for critical analysis. 588 Bibliography (2, Fa) Processes at work in 691 Seminar in Close Textual Analysis library and archival research of film and tele- (4, Irregular) Methods of analyzing and 310 Intermediate Film and Video Production vision; exploration of research methods and teaching media texts; emphasizes the (4, FaSp) Basic principles of visual and audio materials available for film and television. use of new technologies and formats. Prereq- communication; idea development using Prerequisite: departmental approval. uisite: departmental approval. image, movement, pace, the spoken word and other sounds; action and sound rela- 592 Seminar in Film Research and Testing 699 Special Topics (2-4, max 8, FaSpSm) tionships; individual projects. Prerequisite: (2, Fa) History of film research; experimental Seminars on special subject areas; focus CTPR 241, CTPR 290, and CTWR 413; approach to audience analysis; preproduction on advanced research in film, television, corequisite: CTPR 376. and postproduction testing; film evaluation; literature, and culture. Prerequisite: depart- research methodology; practical problems. mental approval. 324 Still Photography I (4, FaSpSm) History, storytelling, critical evaluation, technology 599 Special Topics (2-4, max 8, Irregular) 790 Research (1-12, FaSpSm) Research lead- with the still camera; communication, aes- Detailed investigation of new or emerging ing to the doctorate. Maximum units which thetics, and composition; individual projects. aspects of cinema; special subjects offered by may be applied to the degree to be deter- visiting faculty; experimental subjects. mined by the department. Graded CR/NC. 327 Motion Picture Camera (3, FaSpSm) Use of motion picture camera equipment; princi- 600 Advanced Seminar in Theory and Tex- 791 Historical and Critical Research Meth- ples of black-and-white and color cinematog- tual Analysis (4, Fa) Advanced studies in ods (2, max 4, FaSp) Methods and proce- raphy. Individual projects. classical and contemporary film theory; explo- dures for historical and critical research in the ration of their relation to close textual analy- visual media. Required tutorial with Ph.D. 335 Motion Picture Editing (3, FaSpSm) sis and filmic experimentation. Prerequisite: student’s dissertation committee chair, Theory, techniques, and practices in picture departmental approval. designed to assist initial work on dissertation. editing; use of standard editing equipment; Prerequisite: departmental approval. individual projects. 673 Topics in Theory (4, max 8, FaSp) Con- temporary theoretical frameworks and their 794abcdz Doctoral Dissertation (2-2-2-2-0, 371 Directing for Television (4, FaSpSm) relationship to film and television studies. FaSpSm) Credit on acceptance of disserta- Preparation of director’s preproduction block- Topics differ from semester to semester. Pre- tion. Graded IP/CR/NC. out; study of direction for live, tape, and film requisite: CTCS 500 or CTCS 600 and depart- production, for both dramatic and informa- mental approval. tional television. Prerequisite: departmental PRODUCTION (CTPR) approval. 677 Cultural Theory (4, Sp) Seminar in theo- retical approaches to cultural studies; focus 235 Techniques in Motion Picture Production 375 Functions of a Director (4, Sp) Theo- on interdisciplinary research of media and (2 or 4, max 4, Sm) Introduction to basic retical considerations of the director in rela- audiences, covering a range of methods and techniques used in films. tionship to the multiple facets of film produc- theoretical frameworks; concentration varies. tion. Prerequisite: departmental approval. Prerequisite: departmental approval. 156 USC School of Cinema-Television

376 Intermediate Film and Video Cinema- 422 Makeup for Motion Pictures (2, FaSp) 445ab The Filmmaker and the Motion Pic- tography (4, FaSp) Intermediate cinematog- Lecture-laboratory in makeup relating it to ture Laboratory (2-2) Laboratory equipment raphy workshop; practical problems and mood of the story and emulsion of the cam- and procedures; color theory and application; assignments encompassing both film and era stock. photographic solutions and controls; sensito- video formats. Prerequisite: CTPR 241, CTPR metry; photographic aspects of sound; film/ 290 and CTWR 413; corequisite: CTPR 310. 423 Introduction to Special Effects in Cin- video post-production. Lectures, demonstra- ema (2, FaSp) Introductory workshop in the tions, field trips. 380 Television Editing (4) Theory and prac- aesthetics and practices of special effects, tice of editing tape and film for television. embracing both the classical and contempo- 446 Preservation and Exhibition of Pho- Prerequisite: CTPR 310, CTPR 376. rary modes. Prerequisite: CTPR 290 or tographs (4, Sp) A course for photographers, CTPR 327. artists, and designers, in the methods of pho- 384 The Cinematic Structure of a Scene tographic exhibition including gallery design (4, Sm) Writing and directing scenes as the 424 Advanced Camera and Lighting and display techniques, marketing, curating basis for study of their cinematic structure (4, Irregular) Camera and lighting principles and restoration. emphasizing tension, construction, camera and techniques in commercial, educational, placement, editorial structure, and contribu- and dramatic films; achieving realism with 453 Personal Voice: Documentary/Experi- tion of sound and color. Prerequisite: depart- quality under studio and field conditions; cre- mental Production (4) A production workshop mental approval. ative cinematography; new developments. that trains students to use personal experience Prerequisite: CTPR 376. as the basis for their story material and video 385 Colloquium: Motion Picture Production products in the tradition of diaristic literature, Techniques (4, FaSpSm) Basic procedures 425 Production Planning (2, FaSp) Theory, solo theatrical performance and personal voice and techniques applicable to production of discussion, and practical application of pro- media. Prerequisite: THTR 479. all types of films; demonstration by produc- duction planning during preproduction and tion of a short film from conception to production of a film. 454 Acting for Film and Television (4, FaSp) completion. Intensive examination of skills and techniques 438 Practicum in Shooting Script Develop- necessary for successful performances in film 386 Art and Industry of the Theatrical Film ment (2 or 4, max 8, FaSp) Screenwriters and television. Practical application through (4, FaSp) Detailed analysis of one theatrical and directors work together, creating and in-class exercises and assigned projects. film from conception through critical recep- rewriting a shooting script concurrently in tion to develop an understanding of motion production in an upper-level production class. 455 Introduction to Production Design pictures as art, craft, and industry. Prerequisite: CTWR 414 or CTWR 514. (2, FaSp) Structure of the filmic art depart- ment, fundamentals and application of design 405 Filmic Expression (4, Irregular) Creative 439 Seminar in Computer Editing (2, Sp) principles to film and television, including aspects of film production; analysis of audio Examines the differences between linear and script breakdown, design concepts and and visual forces that make the film an non-linear editing systems through practical storyboarding. expressive means of communication; individ- exercises, lecture, and demonstrations. ual projects. Lecture-demonstration. Prerequi- 456 Introduction to Art Direction (2, FaSp) site: CTPR 310, CTPR 376. 440 LightWorks Editing (2, Fa) Theory and Introduction to computer drafting, set design, practice of LightWorks computerized editing. rendering and model-making for students 409 Practicum in Television Production (2 or Students will study editing, input, output, with diverse abilities. Guest lectures, group 4, FaSp) Television production laboratory and file management. Prerequisite: CTPR 310 discussions and hands-on workshop. course for students with a major production or CTPR 508; recommended preparation: com- commitment with Trojan Vision. Requires puter literacy. 460 Film Business Procedures and Distribu- station management and Chair of Production tion (2 or 4, max 8, FaSpSm) Financing, approval. 442 Advanced Still Photography (4, FaSpSm) budgeting, management as applied to films; A seminar and workshop on still photography problems of distribution, including merchan- 410 The Movie Business: From Story Con- and photographic technique. Individual pro- dising, cataloging, evaluation, and film library cept to Exhibition (2, FaSp) Examination of jects and technical critique, studio and dark- management. the industry from story ideas through script room demonstrations. Prerequisite: CTPR 324 development, production and exhibition; or departmental approval. 461 TV Station Management (2, FaSp) evaluation of roles played by writers, agents, Station organization and management of studio executives, marketing and publicity. 443 Large Format Photography (4, Irregular) locally produced programs. Topics include The aesthetics, techniques and laboratory program development, financing and distrib- 420 Photojournalism (4, Sp) Lecture and practices of large format still photography ution, network relations and program acquisi- laboratory in news and documentary still including commercial illustration, architec- tion issues. photography. tural photography, portraiture and fine art applications, demonstrations, and individual 463 Production for Non-Profit Organiza- 421 Intermediate Motion Picture Editing projects. Prerequisite: CTPR 324; corequisite: tions (2-4) Write, direct or produce a public (3, FaSp) Intermediate motion picture editing CTPR 442. service commercial for television broadcast or workshop; practical problems and assignments a short video for a non-profit community ser- encompassing film, video, and non-linear 444 Color Photography (4, FaSm) A study of vice organization. Creation from concept editing techniques. Intermediate editing class color still photography including color print- through completed production. Prerequisite: for undergraduates. Open to CNTV Produc- ing, processing, quality control and the aes- CTPR 310 or CTPR 508 or departmental tion students only. Prerequisite: CTPR 310. thetics and history of the medium. Darkroom approval. demonstrations and individual projects. Courses of Instruction 157

467 Television Programming (2, Sp) Explo- 480 Production Workshop I (4, max 12, 497 Music Video Production (2, FaSp) Writ- ration of programming strategies, practices, FaSp) Intermediate practical work in film ing the concept, budgeting, shooting, editing sources, and services at local and national lev- production; creative use of camera, sound, and directing a music video. Also covered: els; network, public, and independent broad- editing, and production planning. Open to getting the job, dealing with the band, work- cast and cable operations; audience research; Cinema-Television majors only. Prerequisite: ing with the record company. Prerequisite: schedule development. CTPR 310, CTPR 376. CTPR 241, CTPR 290, CTPR 310.

468 The Film Makers (4, FaSp) To define the 481abL Cinema Workshop (2-2, FaSpSm) 499 Special Topics (2-4, max 8, FaSpSm) roles and goals of production designers, cine- Practical experience in motion picture pro- Detailed investigation of new or emerging matographers, editors, and directors by meet- duction. (Duplicates credit in CMPP aspects of cinema and/or television; special ing and discussing with them their responsi- 541abL.) subjects offered by visiting faculty; experi- bilities in the filmmaking process. Prerequisite: mental subjects. CTPR 290. 484 Advanced Multi-Camera Television Workshop (4, max 8, FaSp) Exercises and 505 Creative Cinema (4, FaSp) Advanced 470 Practicum in On-screen Direction of practical application for writing and produc- problems in creative use of visuals and sound. Actors (4, FaSp) Concentration on the basic ing a multi-camera television project. Special Individual experimental production, live or skills in working with actors from a director’s attention to the development of the sitcom. animated action. Prerequisite: CTPR 376. point of view. Prerequisite: CTPR 371. 506 Visual Expression (2, FaSp) Definition, 471 Directing of Informational Motion Pic- 485 Production Workshop II (4, FaSp) Inter- analysis, and structure of the visual compo- tures (2) Directing educational, industrial, mediate experience in group filmmaking nents that make film an expressive medium; and informational films; volunteer cast and affording expanded areas of responsibilities. theory and practical application; individual uncontrolled situations; viewing and discus- Take directorial responsibility or two areas projects and lecture/demonstration. To be sion of selected films. Prerequisite: departmen- different from those taken in CTPR 480. taken in the second year. Prerequisite: CTPR tal approval. Lecture and laboratory workshop in conjunc- 508x and CTAN 547. tion with CTPR 480. Prerequisite: CTPR 480. 472 Non-Theatrical Aspects of Film and TV 507x Production I (6, FaSp) A practical Producing (2, max 4, FaSpSm) Basic film and 486 Senior Television Drama Production II exploration for graduate students of the fun- TV business procedures: financing, produc- (4, FaSp) Advanced workshop with in-depth damental technical and aesthetic principles of tion design, planning, management, and mar- experience in specific production phases. Pre- motion picture production. Involves individ- keting of non-theatrical film and television requisite: CTPR 480. ual and group projects. For graduate students products. only; not available for degree credit. 487 The Recording Studio in Film and Video 473 Directing the Composer (2, Sp) Production (2) Exploration of the role of the 508x Production II (6, FaSp) Practicum in Acquaints aspiring filmmakers (who have no recording studio in professional film and group production for graduate students, musical background) with the fundamental video productions. Emphasis on technical emphasizing the collaborative process and concepts of film music from theoretical, cre- and hardware considerations. Prerequisite: the expressive use of sound and image. For ative, and pragmatic standpoints. Open to departmental approval. graduate students only; not available for Cinema-Television majors only. degree credit. Prerequisite: CTPR 507x and 488 Interactive Game Design (2, Sp) Theory CTWR 528. 475 Directing: Mise-en-Scene (4, FaSpSm) and evaluation of interactive game experi- Intensive look at the dramatic scene and how ences and principles of game design utilizing 512 Television Management (2, Fa) Prob- it is realized in terms of framing, staging, and the leading software approaches and related lems of station and network management; camera placement. Prerequisite: CTPR 310, technologies. Recommended preparation: prerogatives and responsibilities in entertain- CTPR 376. CTPR 309, CNTV 483. ment programming.

476 Ethnographic Film Production 489 Television Docudrama Production (4) 525 Independent Feature Workshop (4, Irregular) Problems, requirements, and Research, planning, and production of the (2, FaSp) A practical examination of the methods necessary to meaningful recording docudrama. independent and low-budget feature film, of societies and cultures for anthropological including development of individual projects study; film as a research tool. 493 Senior Television Seminar (2 or 4, max 4, and discussions with industry professionals. FaSp) Detailed investigation and discussion Open only to Cinema-Television majors. 477 Special Problems in Directing (2 or 4, of various aspects of television. Prerequisite: CTWR 414 or CTWR 514 or max 8, FaSp) Detailed investigation and CTWR 529. analysis of problems in directing. Individual 495 Internship in Cinema/Television (2 or 4, projects. Prerequisite: CTPR 310 and FaSpSm) On-the-job film and television 526 Seminar in Camera (2, Sp) Selected CTPR 376. industry experience in the areas of interest of problems in technical and artistic use of the respective student. Production emphasis camera and lighting in film production. 479 Practicum in Film Preproduction (2 or 4, seniors and graduate students only. Prerequisite: CTPR 310 and CTPR 376. FaSp) Preproduction of a film from concept through distribution including breakdown, 496 The Film Industry: Career Challenges 527 Special Effects in Cinema (2 or 4, max 4, budget, shooting schedule, location, and cast- and Choices for Women (2, FaSp) This class FaSp) Lecture, discussion, and exercises in ing. Prerequisite: CTPR 310 and CTPR 376. discusses women’s roles in the entertainment optical and/or mechanical special effects. industry and career opportunities available Prerequisite: CTPR 241 and CTPR 290. for women in the business, corporate and cre- ative sectors. 158 USC School of Cinema-Television

530 Producing for Independent Films 542 Intermediate Electronic Imaging 558 Advanced Producing (2, FaSp) Defines (2, FaSp) Producing film, television and (2, Irregular) Technical and creative aspects and examines the role of the Executive/ multi-media productions. Focuses on busi- of electronic imaging such as high definition Feature Producer through the preproduction, ness procedures, production design, planning, television, multi-media, and digital television. production and post production phases. budgeting, management, marketing, financ- Emphasis on understanding potential and Prerequisite: CTPR 538 or CTPR 546L or ing, and the structures and practices of the limitations of state-of-the-art technologies. CTPR 545. industry. Prerequisite: CTPR 508x. 559 Advanced Graphics (2, Irregular) 531 Planning the Production (2, max 6, 545 Intermediate Multi-Camera Television Advanced study in graphic film/video produc- FaSp) A preproduction workshop in which Workshop (4, FaSp) Practicum in the cre- tion including writing, graphic arts, camera, students complete the research and planning ative usage of multi-camera and single cam- editing and sound. Prerequisite: CTPR 539. of an intermediate project to be executed in era electronic production techniques. Stu- CTPR 546L. Prerequisite: CTPR 508x. dents will complete an 8-12 minute video 560 Seminar in Motion Picture Distribution, piece using three camera production proce- Budgeting, and Management (2 or 4, 532 Intermediate Directing (2, FaSp) Practi- dures. Open to production majors only. Pre- max 8, FaSp) Problems of location produc- cal experience in staging dramatic narrative requisite: CTPR 508x. tion, foreign release, and packaging. scenes, emphasizing text and subtext, and the scene’s relationship to the scenario as a 546L Production III (6, max 12, FaSp) An 561 Publicity for Cinema and Television whole. Prerequisite: CTPR 508x. intensive workshop experience in which stu- (4, Sp) Analysis and preparation of advertis- dents, crewing in their area of specialization, ing and publicity campaigns for entertain- 534 Intermediate Production Design complete the shooting and postproduction of ment films and television. (2, Irregular) Exercises in production design projects up to 30 minutes in length. Prerequi- concentrating on practical and aesthetic site: CTPR 508x. 562 Seminar in Motion Picture Business approaches to designing for film, television (2 or 4, max 8, FaSp) Problems of studio and commercials. Prerequisite: CTPR 508x. 551 Planning the Advanced Production operation, production, distribution, exhibi- (2, FaSp) An advanced preproduction work- tion, or legal procedures relating to the 535 Intermediate Editing (2, FaSp) Editorial shop in which students complete the plan- motion picture. construction of film sequences to analyze the ning of an advanced project to be executed in interrelationships of the various film ele- CTPR 586ab, CTPR 581ab, CTPR 583, or 565 Seminar in Film Analysis (4, max 8, ments, both visual and aural. Prerequisite: CTPR 584. Prerequisite: CTPR 546L, CTPR FaSpSm) Analysis of a current film; script, CTPR 508x or CTAN 547. 541 or CTPR 545. budget, casting, direction, camera, sound, dis- tribution, critical reception. 537 Intermediate Cinematography (2, FaSp) 552 Advanced Directing (2, FaSp) An in- Close study through practical exercises of the depth directing workshop involving the cast- 568 Advanced Electronic Imaging technical and aesthetic principles of cine- ing, mounting and realization of a sequence (2, Irregular) Electronic imaging in high matography. Prerequisite: CTPR 508x or from a feature screenplay emphasizing char- definition television, interactive multi-media, CTAN 547. acterization and shot design. Prerequisite: and computer animation. Emphasis on cre- CTPR 532. ative use of the technologies for new forms of 538 Intermediate Producing (2, FaSp) Defi- expression and communication. Prerequisite: nition, examination and practical experience 554 Advanced Sound (2, FaSp) Study of the CTPR 542. in the role of the line producer as it relates to technical and aesthetic elements of sound preproduction, production and post produc- design at the professional level. Intended for 570 Studies in the Functions of a Director tion. Prerequisite: CTPR 508x. those contemplating a career in the field of (2, Fa) Analysis of the director’s relationship audio. Prerequisite: CTPR 540 or CTPR 545 to the multiple facets of film production. 539 Intermediate Graphics (2, Irregular) An or CTPR 546L. investigation into the nature and meaning of 571 Personal Expression through Video graphic concepts relative to their use in film 555 Advanced Production Design Art (2) Examines innovative format and tech- and video. Prerequisite: CTPR 508x. (2, Irregular) Execution of a complete produc- niques in television and video art; facilitates tion design including script breakdown, story- development of a personal voice and point- 540 Intermediate Sound (2, FaSp) Practical boards, production sketches, plans, elevations of-view. Open only to CTPR majors. Prereq- and aesthetic considerations relating to and a color model. Prerequisite: CTPR 534. uisite: CTPR 508x. recording, editing and sound design. Prerequi- site: CTPR 508x or CTAN 547. 556 Advanced Editing (2, FaSp) Advanced 578 Non-linear Electronic Editing (2, max 4) editorial theory and practice intended for Practical and aesthetic construction of motion 541 Intermediate Interactive Multimedia those specializing in film and electronic edit- pictures using a system for non-linear elec- Workshop (4, FaSp) Practicum in the cre- ing. Prerequisite: CTPR 535 or CTPR 546L or tronic editing. Prerequisite: CTPR 535 and ative and technical aspects of interactive CTPR 545. departmental approval. media technology: multimedia; digital video; producing and designing for interactive 557 Advanced Cinematography (2, FaSp) 580abL Graduate Production Workshop TV/cinema/cd/online. Students will design an Advanced camera and lighting techniques for (4-4, FaSp) Group film production. Prerequisite: interactive piece. Open to production majors those considering a professional career in cin- CTPR 480. only. Prerequisite: CTPR 508x. ematography. Prerequisite: CTPR 537 or CTPR 546L or CTPR 545. Courses of Instruction 159

581abc Individual Production Workshop 205 Introduction to Filmic Design (4, Sp) 318 Acting Experience for Writers (2, Fa) (4, 2, 2, FaSpSm) Individual experimental The visual structure of film; basic compo- Basic acting theory and techniques to acquaint projects involving the creative use of visuals nents: space, line, color, contrast/affinity. Film the writer with the needs and techniques of (live action or animated) and sound. Open to and video projects. Prerequisite: CTWR 105. the performer. production majors only. A and b graded IP. Prerequisite: CTPR 532, CTPR 546L, 206ab Filmic Writing II (a: 4, Fa; b: 2, Sp) 319 Directing for Writers: Pre-production CTPR 551. a: Development of synopsis and treatment (2, Fa) Understanding the director’s role and for a theatrical or documentary screenplay: responsibilities in preparing a script for pro- 582abL Advanced Production Seminar theme, plot, character, mise-en-scene and uti- duction, and beginning the shoot; learning (2-2, Irregular) Advanced individual film or lization of filmic elements. Prerequisite: the process of translating the script into film; video projects under the guidance of a faculty CTWR 106ab. b: Creation of feature-length the challenges and opportunities of working mentor, without benefit of university equip- theatrical or documentary screenplay based with actors and a production team. Filmic ment or resources. Prerequisite: CTPR 546L, on treatment developed in CTWR 206a. Writing students only. CTPR 551. Prerequisite: CTWR 206a. 412 Introduction to Screenwriting (2) Intro- 583 Graduate Television Production (6, FaSp) 213 Content and Consciousness (2, Fa) duction to the formal elements of writing the Advanced television group production work- Inquiry into the relationship between cogni- short film. shop for students who want to produce an tive and affective knowledge as it relates to advanced multi-camera project. Open to pro- the art of screenwriting and the screenwriter. 413 Writing the Short Script I (2, FaSp) duction majors only. Prerequisites: directing Preparation of scripts for short films: form, and producing positions: CTPR 532, CTPR 215 Practicum in Writing Short Films (2, Sp) structure, planning. 551 and CTPR 546L or CTPR 545; other Developing stories less than feature length; positions: CTPR 546L or CTPR 545. writing screenplays from them; understand- 414 The Screenplay (2, FaSpSm) Students ing what length each story demands; creating study story structure and develop several 584 Graduate Interactive Group Project idiosyncratic forms and styles. Filmic Writing story outlines, and a short script for possible (6, FaSp) Advanced interactive group work- students only. CTPR 480 production. They will also write a shop for students who want to produce and detailed, 15-25 page treatment for a feature complete an advanced interactive media pro- 291 Beginning Dramatic Production (4, Fa) film. Prerequisite: CTWR 412 or CTWR 413. ject. Open to production majors only. Prereq- Introductory production projects, from con- uisite: CTPR 541, CTPR 551. cept through actual production; aesthetic 415ab Advanced Writing (4-2, FaSpSm) evaluation. a: Principles of the two-hour story for film 586ab Production IV (6-0, FaSpSm) Advanced and television, creating theme, character, and group production workshop for students who 301 Creating the Non-Fiction Film (4, Fa) structure that combine into a feature-length have successfully completed Production III. Research and writing challenges of non-fic- story. Prerequisite: CTWR 414. b: Creating a Prerequisite: directing position: CTPR 532, tion film (documentary, educational, indus- feature-length script for film or television, CTPR 546L, CTPR 551; non-directing posi- trial, political, etc.), from treatment to fin- using the craft of the screenwriter to convey tions: CTPR 546L and related intermediate ished script. mood, energy, character, structure, and intent. seminar. Prerequisite: CTWR 415a. 306ab Filmic Writing III (a: 4, Fa; b: 2, Sp) 594abz Master’s Thesis (2-2-0) Credit on a: Developing, revising the feature length 416 Motion Picture Script Analysis (2 or 4, acceptance of thesis. Graded IP/CR/NC. treatment and screenplay for film or televi- FaSp) Evaluation of completed scripts prior sion; writing the first draft screenplay. b: Ana- to their production; evaluation of existing 599 Special Topics (2-4, max 8, Irregular) lyzing, rewriting the screenplay developed in classic scripts. Detailed investigation of new or emerging CTWR 306a through final draft. Filmic Writ- aspects of cinema; special subjects offered by ing students only. Prerequisite: CTWR 206ab. 418ab Filmic Writing Senior Thesis (a: 4, Fa; visiting faculty; experimental subjects. b: 4, Sp) a: Creation of feature-length treat- 315x Filmwriting (3, FaSpSm) The basics ment and first draft senior thesis screenplay, of screenwriting: theme, story structure, char- including “pitching” experiences. b: Comple- WRITING (CTWR) acterization, format, dialogue, and scene tion and revision of senior thesis project and description. A character profile, short treat- introduction to motion picture industry pro- 105 Nonverbal Thinking: Visual and Aural ment, and first 30 pages of the screenplay are cedures and practices through interaction (2, Sp) An introduction to non-verbal ele- written. Lectures, screenings, and in-class with industry representatives. Prerequisite: ments of images and sounds which convey readings. Not for degree credit for Cinema- CTWR 306ab. Filmic Writing students only. meaning, mood, and emotion. Television majors. 419 Directing for Writers: Post-production 106ab Filmic Writing I (4-4, FaSp) a: Introduc- 316 The Affective Domain (2, Sp) The (2, Fa) Understand the impact of the produc- tion to and overview of the elements of theme, writer’s own self as a source of raw material; tion process, staging, shooting, lighting, per- plot, character, and dialogue in dramatic writ- individual and group guided exercises to formance and post-production on the realiza- ing for film. b: Exercises in dramatic writing: stimulate explorations of experiences and tion of a script; examine how scenes “play” or theme, plot, character, dialogue and images. emotional behavior essential to the creative fail. Filmic Writing students only. Integration of these elements into scenes and process. Filmic Writing students only. sequences. Filmic Writing students only. 160 USC School of Cinema-Television

430 The Writer in American Cinema and 509 Understanding the Process of Film- 533ab Writing the Feature Script (4-2, FaSp) Television (2, FaSp) American and interna- making (2, Sp) An introduction for screen- Advanced screenwriting workshop. a: Devel- tional writers in cinema; screenwriting; politi- writers to the process of creating a feature opment of treatment and first act for feature- cal and economic aspects of the writer in the film, from script through release print, length script. Prerequisite: CTPR 508x and motion picture industry. Lectures, guest including pre-production, production and CTWR 529. b: Completion of second and speakers, screenings. post-production. third acts and revision. (Duplicates credit in former CNTV 553a.) Prerequisite: 431 Screenwriters and Their Work (2, FaSp) 513 Writing the Short Script (2, Fa) Prepara- CTWR 533a. Lectures and readings on creative problems tion of scripts for short films; dramatic, infor- in screenwriting: current scripts; interviews mational, experimental, and other forms. 536 Editing for Scriptwriters (2, FaSp) Prin- with visiting screenwriters. ciples, techniques, practices and theories of 514 Basic Dramatic Screenwriting (2 or 4, editorial construction of film and TV scenes 433 Adaptations: Transferring Existing FaSp) Dramaturgy for the fiction and non- and sequences. Lecture, 2 hours; laboratory, Work to the Screen (2, Fa) An examination fiction work. Techniques for creating the 1 hour. of motion picture adaptations; problems original or adapted theatrical length script. attendant upon translating a novel, play, or 541 Writing from the Unconscious (2, FaSp) other creative forms into screenplays. Prereq- 515abcd Practicum in Screenwriting (4-4-1-1, Students are introduced to unique problem uisite: CTWR 206b or CTWR 414 or CTWR FaSp) a: Creation of a feature screenplay solving methods over a broad spectrum of 514 or departmental approval. from presentation through treatment, includ- subject matter and integrate the results in ing some scene work. b: Comprehensive specific creative writing assignments. 434 Comedy Writing (2, FaSp) Exploration rewriting of a second and third draft of a fea- into filmic comedy; writing by committee; ture screenplay leading to a polished and pro- 553 Advanced Screenwriting (4, FaSp) developing comedic timing; using humor as a fessional piece. c and d: Supervised rewrite of Advanced feature screenwriting, emphasizing style of filmmaking. Prerequisite: CTWR 206b feature screenplay. Prerequisite: CTWR 513 or the rewrite of a first draft script. (Duplicates or CTWR 414 or CTWR 514 or departmental CTWR 514; CTWR 515a for CTWR 515b; credit in former CNTV 553b.) Prerequisite: approval. CTWR 515b for CTWR 515c and d. CTWR 533ab.

435 Writing for Film and Television Genres 516 Advanced Motion Picture Script Analy- 572 Practicum in Directing Actors for Film (2 or 4, max 8, FaSp) Preparation of propos- sis (2 or 4, FaSp) Detailed evaluation of com- (2 or 4, FaSp) Seminar in directing actors for als and scripts for different types of film and pleted scripts prior to their production; evalu- film; emphasis on demonstration and labora- television programming: emphasis on concep- ation of existing classic scripts. (Duplicates tory exercises, script analysis, and detailed tion, structure, characterization and format. credit in CMPP 550.) study in character motivations. Prerequisite: CTWR 206b, CTWR 414 or CTWR 514 or departmental approval. 517 Studio Communications (2, FaSp) Com- 574 Advanced Seminar in Directing Actors prehensive examination of forms; methods for Film (2, FaSp) Emphasis on detailed 437 Writing the Situation Comedy Pilot used by motion picture companies to dissem- script analysis and character motivation. Indi- (2, FaSp) Essentials of television comedy inate literary, business, production, and other vidual projects. Prerequisite: CTWR 572, with in-depth study of ideas, character, and information. CTCS 673 or CTPR 532. venues. Students will write an original story outline, treatment and polish. 520 Advanced Scene Writing Workshop 575 Directing for Scriptwriters (2, Sp) Prac- (2, SpSm) Intensive workshop oriented tical experience in directing for screen; spe- 459ab Entertainment Industry Seminar specifically to writing and rewriting the most cial attention to framing, staging and use of (2, Fa - 2, Sp) Examination and analysis of effective and telling dramatic scenes to camera. Group projects in video or film. various topics, issues and resources pertaining heighten audience participation and greater Prerequisite: CTWR 572. to creative, legal and business perspectives story impact. Prerequisite: CTWR 414, CTWR for writers in the entertainment industry. 514, or CTWR 529. 599 Special Topics (2-4, max 8, Irregular) Preparation: admission to the M.F.A. in Writ- Detailed investigation of new or emerging ing for Screen and Television. Prerequisite: 521 Seminar in Writing Drama for Tele- aspects of cinema; special subjects offered by 459a for 459b. vision (4) Writing for a variety of television visiting faculty; experimental subjects. formats: the series, the individual drama, the 494x Practicum in Screenplay Development musical, children’s programs; working within (2, Sm) Development of writing skills learned television time constraints; use of established CINEMA-TELEVISION MOTION in CTWR 315x; students will develop and characters as required. PICTURE PRODUCING PROGRAM write the second and third acts of a screen- (CMPP) play begun in CTWR 315x. Prerequisite: 528 Screenwriting Fundamentals (2, FaSp) CTWR 315x. Not for degree credit for Introduction to the principles of screenwrit- 541abL Production Workshop (2, 4, FaSp) Cinema-Television majors. ing with special emphasis on story, characteri- Practical experience in motion picture pro- zation and dramatization. duction as it relates to the producer. Open to 499 Special Topics (2-4, max 8, FaSpSm) MPPP students only. (Duplicates credit in Detailed investigation of new or emerging 529 Intermediate Screenwriting (2, FaSp) CTPR 481abL.) aspects of cinema and/or television; special Emphasizes structural elements crucial to the subjects offered by visiting faculty; experi- feature film. Techniques for creating an origi- 550 Script Analysis for the Producer (4, FaSp) mental subjects. nal and adapted theatrical-length script. Pre- Detailed evaluation of completed scripts and requisite: CTPR 507x and CTWR 528. of the producer’s role in bringing them to fruition. Open to MPPP students only. Courses of Instruction 161

560 Script Development (2, FaSp) From idea and story to finished shooting script. Open to MPPP students only.

561 Motion Picture Marketing (2, Sp) Analy- sis and preparation of marketing campaigns from concept to budgeting for various media. Open to MPPP students only.

562 Entertainment Law (2, FaSp) Study of fundamental legal aspects of the film indus- try. Open to MPPP students only.

563 Producing Symposium (2, FaSp) Lec- tures on creative and business problems asso- ciated with producing, including agents, cast- ing, pitching, unions. Departmental approval required.

564 Producing Business Procedures (2, FaSp) Seminars on various management and entre- preneurial techniques, including exhibition. Open to MPPP students only.

565 Production Budgeting (4, FaSp) Con- cept and preparation of a complete budget and production board. Open to MPPP stu- Critical studies students gain insight into the power and aesthetics of mass media through their study and dents only. analysis of texts and of the processes behind the creation of film. Marsha Kinder, professor of critical studies (center), teaches film theory. 566 Finance and Financing Films (2, FaSp) Seminar on financial aspects of film industry 569 Seminar on Non-Mainstream Producing 592 Individual Project Seminar (4, Sp) and methods of financing films. Open to (2, FaSp) Discussions on non-major studio Directed research project and seminars in MPPP students only. producing options, including non-traditional related topics. Open to MPPP students only. financing and non-theatrical producing. Open 567 Studio Management (2, FaSp) Detailed to MPPP students only. 599 Special Topics (2, max 4, Irregular) study of major studio operation and manage- Investigation of new and emerging aspects of ment. Open to MPPP students only. 589ab Graduate Film Business Seminar producing motion pictures and television; (a: 4, Fa; b: 4, Sp) Economic structure and special and experimental subjects. Open to 568 Producing for Television (2, Fa) Discus- history of the film industry. Open to MPPP MPPP students only. sions of the creative and financial aspects of students only. television producing. Open to MPPP stu- dents only. 591 Producing Practicum (2, Irregular) Pro- ducing workshop encompassing all aspects of producing, including script development, budgeting, casting and actual production.