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II. Office Information Communications/Music Bldg, Room 428R, 504.865.2720 Office Hours: TUE-THU 12:30-01:30Pm, WED 12:00 Noon-2:00Pm, and by Appointment

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II. Office Information Communications/Music Bldg, Room 428R, 504.865.2720 Office Hours: TUE-THU 12:30-01:30Pm, WED 12:00 Noon-2:00Pm, and by Appointment COLLEGE OF MUSIC & FINE ARTS LOYOLA UNIVERSITY NEW ORLEANS MUGN-M430-001: Writing/Directing for New Media (2 hrs) I. Instructor Jim Gabour, [email protected] or [email protected] II. Office Information Communications/Music Bldg, Room 428R, 504.865.2720 Office Hours: TUE-THU 12:30-01:30pm, WED 12:00 noon-2:00pm, and by appointment III. Term of current Course 28 AUG 2012 - 13 DEC 2012 IV. Class Meeting Time & Location TR 02:00-03:15pm, Library 113 (Mac Lab) V. Bulletin Description An intensive practical experience in writing & directing in digital filmmaking, video & other new media. VI. Prerequisites Introduction to Digital Filmmaking (MUGN-M415), or permission of instructor. VII. Textbooks and other materials to be purchased by student: (1) Recommended highly, though not required: Directing; Film Techniques and Aesthetics th (3rd Edition – NOT 4 ); Michael Rabiger; Focal Press; ISBN: 978-0-240-80882-6. $22.90. Much cheaper used online. New reprint copies available @ Loyola Bookstore. (2) PEN/PENCILS AND NOTEBOOK are required for some in-class exercises. (3) Min 40 GB External Hard Drive, similar flash drive, or approx 6 DVD-RWs VIII. Course requirements/Types of Assignments Lectures, interactive class demonstrations, guest speakers, multimedia presentation and discussion, assigned reading & projects, quizzes to assess understanding and retention, multiple practical production exercises. All assignments receive grades adding toward semester total. Late completion of assignments is reflected in lower grade. Projects must be completed in time alloted. First half of the semester devoted to writing formats peculiar to the film/video/new-media industry, with practical exercises in execution. Second half of the semester devoted to directing projects developed in the first eight weeks, very hands-on. IX. Special Accommodations If you have a disability and wish to receive accommodations, please contact Sarah Mead Smith, Director of Disability Services at 504- 855-2990. If you wish to receive test accommodations (e.g., extended test time), you will need to give the course instructor an official Accommodation Form from Disability Services. The Office of Disability Services is located in Monroe Hall 405. Please see me if you need further information. X. Content Disclaimer This class contains content which the instructor believes may be problematic for some students. Please read the attached statement carefully and inform your instructor if you require further information or if you feel unable to participate in any or all of the requirements of the class. XI. Academic Integrity All work you do for this class is expected to be your own, and academic dishonesty (including, but not limited to, plagiarism on papers or cheating on exams) will be punished. A summary of the University’s definitions and procedures concerning academic integrity can be found in the Undergraduate Bulletin (pp. 46-47 of the 2003-5 Bulletin). If you are uncertain how to use and cite the work of others within your own work, consult reference works such as Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed., revised and by John Grossman and Alice Bennett, Chicago Guides to Writing, Editing, and Publishing (Chicago: University of Chicago Press, 1996), or see the instructor. XII. Evacuation Statement In the event that there is an interruption to our course due to the cancellation of classes by the university as a result of an emergency, we will continue our course on Blackboard within 48 hours after cancellation. All students are required to sign on to Blackboard and to keep up with course assignments within 48 hours of evacuation and routinely check for announcements and course materials associated with each class. Class handouts will be posted under “course materials”. Students should be familiar with their responsibilities during emergencies, including pre-evacuation and post-evacuation for hurricanes. This information is available on the Academic Affairs web site: http://academicaffairs.loyno.edu/students-emergency-responsibilities Additional emergency-planning information is also available: http://academicaffairs.loyno.edu/emergency-planning XIII. Course objective An intensive practical experience in writing and directing for digital film, video & new media. Lectures, interactive class demonstrations, guest speakers, multimedia presentation and discussion, assigned reading & projects, quizzes to assess understanding and retention, multiple practical production exercises. First half of the semester devoted to writing formats peculiar to the film/video/new-media industry, with practical exercises in execution. Second half of the semester devoted to directing the projects originally developed in the first eight weeks. This Digital Filmmaking course offers a detailed experience of the practical aspects of developing a digital film from word on the page to image on the various screens now available, using a variety of methods and media sources/formats. Students learn to pitch their projects to financiers, to write one-page and timed treatments, to develop a budget, to write an actual working script in proper format, and to conceive and execute storyboards and complex production shot lists. Each student personally writes, produces, and directs the three major visual forms: a non-fiction documentary/interview, a live performance, and a final conceptual/fiction project. Students also develop confidence and expertise by each conceiving and directing multiple shoots, reflecting the real-life process by which writer/directors are hired and do business. XIV. Expected Student Learning Outcome This course offers a more advanced study of two specific aspects of developing projects for new media, using a variety of methods and raw input: (1) writing, both creative/descriptive and logistical/technical for production of fiction/conceptual films, live performance and documentaries, including complete scripts; and (2) directing, as differentiated in all three forms above. Emphasis will be placed on commercial applications of visuals in contemporary media marketplace. For their final project, the fiction/non-fiction piece which they have conceptualized and scripted, they must audition a cast, assemble a crew, find a location, shoot the film and supervise editing it – delivering a completed film of their own making. They walk away from the class with their film both in digital formats, and as an encoded DVD, as concrete proof -- something they can hand to any potential employer -- of the knowledge they have obtained through the course. There is also a Service Learning component to this course. XV. Course Outline (NOTE: Exact calendar sequence of classes may vary slightly, taking into consideration the interests and proficiency of each individual group of students, and the occurrence of field trips.) Week one: Introducing the basic functions of writing vs directing in the development of visual projects TUE 28 AUG 1. Execute “contract” on logistics and chronological progression of class. 2. View http://www.funnyordie.com/videos/f03d464867/total-eclipse-of-the-heart-literal-video-version-original – be aware of gaps in visual vocabulary. 3. View screenwriters’ interview excerpts from “Tales from the Script” (2009): what does a screenwriter actually do? 4. In-class basic film analysis exercise: use film analysis sheets to breakdown components of two completely different films, analyzing the images on the screen versus the words in their scripts. First, analyze “Casablanca” (1942) http://www.vincasa.com/casabla.pdf -- script diverts very little from screen images, but still manages to insert subplots and underlying visual themes into final movie. Next up, Terry Gilliam’s surrealistic “Brazil” (1985) 5. SUGGESTED TEXT READING: Ch 7 pages 127-142, “Screenwriting Concepts” 6. ASSIGNMENT: Complete Filmmaking Aptitude Questionnaire and bring to next class. THU 30 AUG: 1. TURN IN APTITUDE QUESTIONNAIRES, discuss 2. Screen excerpts from “DIRECTORS: Life Behind the Camera” (2009). Terry Gilliam interview. 2. Analyze Gilliam’s “Brazil” (1985) http://sfy.ru/?script=brazil (script) 3. Holds to the general structure of the script but offers constant variations on dialogue, setting and theme. 4. Compare and contrast methods of execution: ie., by what process, and through what filters, do the words on the script become the images on the screen? 5. To you personally as a viewer, which is more successful as a stand-alone work of art? Why? 6. Is your reaction/judgment different when considered intellectually rather than emotionally? 7. WEEK ASSIGNMENTS: a. Complete two film analyses above and bring to class TUE 4 SEP. b. Find any 2000-present film in the library’s DVD collection, plus its corresponding script online at one of the sites listed below, and analyze fifteen minutes of movie, using the Film Analysis Form on Blackboard. Free script sources include: http://sfy.ru/ http://www.simplyscripts.com/movie.html http://www.script-o-rama.com/table.shtml Bring the completed Form, along with those you completed for “Casablanca” & “Brazil”, to next class. 8. SUGGESTED TEXT READING: Ch 8, pages 143-158 “The Writing Process” Week two: first exercises in “show vs tell” – finding the core of the action TUE 4 SEP: 1. Discuss options offered in Filmmaking Aptitude Questionnaire. 2. Hand in three Film Analyses. 3. Review and critique exercises in visual writing. a. Analyze: 02 Joe Sue script example.doc (21.5 Kb) (1) What is wrong with this page of script? (2) Why does it not work as a useful tool for the director? b. Developing a style that boils down story to fewest possible words: ie, Hemingway story of “The Killers”. 4. Four exercises in visual writing, to include storyboarding. 5. ASSIGNMENT: Complete visual writing exercises for next class. THU 6 SEP: 1. Review film analyses, questionnaires, assigned exercises. 2. Review visual writing and storyboards on assigned show/tell stories. 3. Screen Portion of “Mystery Science 3000” film to demonstrate lack of continuity, storyline. Viewther examples appropriate to technique in class. 4. SUGGESTED TEXT READING: Ch 9 “Adaptation from Art or Life” pp159-168. 5. ASSIGNMENT: Study five examples of contemporary script format.
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