USC School of Cinema-Television

he USC School of Cinema-Television offers undergraduate and graduate-level courses in

production, critical studies, producing, interactive media, animation and digital arts, writ- Ting for screen and television. The 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 more than 100 full-length screenplays. USC films made by students receive numerous awards annually from festivals around the world. USC cinema-television alumni are among the most successful filmmakers and scholars working today. Since 1965, there have been only two years when no members of the Trojan Family were nominated for Academy Awards for their work in film.

The USC School of Cinema-Television, which The Cinema-Television Library offers a comprehensive collection of books in English and substantial consistently is ranked number one in U.S. News holdings in other languages. The vast collection of journals, unpublished screenplays and manu- & World Report, prepares students for varied careers in film and television including script materials includes personal papers of industry figures from the silent years to the present and animation, screenwriting and production. studio records from Warner Bros., MGM, Universal and other production companies. The study center also provides student access to the school’s large collection of film and television materials in all film and video formats as well as several thousand recent screenplays. 148 USC School of Cinema-Television

Administration Fran and Ray Stark Endowed Chair: Lawrence Joseph Cohen; Cornelius Cole; Kenneth Elizabeth M. Daley, Ph.D., Dean Turman, B.A. Cosby; Martin Daniel; Elias Davis; Johanna Demetrakas; Sam Denoff; Eva Denst; Offices of Admission/Student Affairs Mary Pickford Foundation Professorship: Doe Richard Edland; Mar Elepano; Bob Enders; Carson Television Center G-130 Mayer, M.A. Peter Exline; Van Flesher; Nina Foch; Kathy (213) 740-2911 Fogg; Mike Ford; William Fraker; Robert Email: [email protected] Professors: Drew Casper, Ph.D.; Barbara Freedman; Ron Friedman; Tracy Fullerton; www.usc.edu/schools/cntv Corday; Elizabeth M. Daley, Ph.D.; John Rene Garcia; Jean-Pierre Geuens; Andrew Furia, Jr., B.A.; Mark J. Harris, B.A.; Given; Marshall Goldberg; Mitch Goldman; Critical Studies Tomlinson Holman, B.S.; Gerald Isenberg, Michael Gonzales; Scott Gorden; Barbara Tara McPherson, Division Chair M.B.A.; David James, Ph.D; Richard Jewell, Greyhosky; Andre Guttfreund; Karen George Lucas Instructional Building 405 Ph.D.; Jeremy Kagan, M.F.A.; Doe Mayer, Halverson; Eric Hanson; Ted Harbert; Hal (213) 740-3334* M.A.; Marsha Kinder, Ph.D.*; K. Kenneth Harrison; Lynn Hendee; Rowdy Herrington; Miura, M.A.; Christine Panushka, M.F.A.; Steve Hirsen; Michael Hoey; Joe Hoffman; Film and Television Production Dana Polan, Ph.D.; Michael Renov, Ph.D.; Todd Hoffman; Michael Hoggan; Karen Barbara Corday, Division Chair Vibeke Sorensen, M.A.H.; Lawrence Horn; Joan Hyler; Joseph Janeti; James George Lucas Instructional Building 404 Turman, B.A. Jansen; Gabor Kalman; Kristy Kang; Lou (213) 740-3317* Kleinman; Randal Kleiser; Jeffrey Korchek; Associate Professors: Tom Abrams, M.F.A.; Leonard Kornberg; Tony Kranz; Matt Kregor; Interactive Media Don Bohlinger, M.F.A.; Todd Boyd, Ph.D.; Richard Krevolin; Stu Krieger; Susan Scott Fisher, Division Chair Midge Costin, M.A.; Pamela Douglas, M.A.; Landau; Clifford Latimer; Lisa Leeman; George Lucas Instructional Building 310 David Howard, M.F.A.; Judy Irola; Tara Alan Lehman; David Lloyd; Lisa Mann; (213) 821-2515* McPherson, Ph.D.; Robert E. Miller, Ph.D.; Julie MacLusky; Frank McAdams; Leonard FAX: (213) 821-2665 Amanda Pope, B.A. Maltin; Andrew Marlowe; Morgan Martin; Phil Messina; Alex Metcalf; David Milton; Writing for Screen and Television Assistant Professors: Priya Jaikumar, Ph.D.; James Mitchell; Jay Moriarty; Dan Howard A. Rodman, Division Chair Curtis Márez, Ph.D. Nienaltowski; Jim O’Keefe; Peter Pampusch; George Lucas Instructional Building 301 Russell Petranto; Rebecca Pollack-Parker; (213) 740-3303 Visiting Faculty: Linda Brown; Jack Epps; Sandy Reisenbach; Vincent Robert; Howard FAX: (213) 740-8035 Scott Fisher; Helaine Head; Norman Hollyn; Rosenberg; Fred Rubin; Alan Rucker; Lionel Georgia Jeffries; Robert Jones; Ed O’Neill; Schaen; Jonathan Schell; Scott Schwartz; Peter Stark Producing Program Howard A. Rodman; Kathy Smith Michael Scroggins; Paul Seydor; Reid Shane; Lawrence Turman, Division Chair Chris Silberman; Fred Silverman; Elliott George Lucas Instructional Building 302 Senior Lecturers/Lecturers: Robert Ballo; Ted Silverstein; Tom Sito; Claudia Spinelli; (213) 740-3304 Braun; David Bondelevitch; Linda Brown; Jason Squire; Eddo Stern; Lucy Stille; FAX: (213) 745-6652 Christopher Chomyn; Jed Dannenbaum; Bill Brandon Stoddard; Erwin Stoff; Noreen Dill; Mary Beth Fielder; Pablo Frasconi; Stone; Howard Storm; Jeffrey Stott; Mark Animation and Digital Arts Robert Gardner; Gary Goldsmith; Brenda Stratton; Chris Swaine; Mark Taft; Ken Christine Panushka, Division Chair Goodman; Don Hall; Carroll Hodge; Mary Tamburri; Jerry Tokofsky; Alison Trope; Marcia Lucas Post Production Building 201 Jansen; Everett Lewis; Mardik Martin; James Duke Underwood; Jon Wagner; Ken Wales; (213) 740-3986 Nathan; Earl Rath; Mark Shepherd; John Peggy Weil; Eric Weissmann; Matthew Tarver; Jennifer Warren; David Weber; Paul Weisman; David Weitzner; Tristan Whitman; *For information regarding admission, call Wolff; William Yahraus William Whittington; Oscar Williams; Holly (213) 740-2911. Willis; Sheldon Wilson; David Zeiger; Robert Research Associate Professor: Richard Weinberg, Zemeckis; Vernon Zimmerman Faculty Ph.D. Steven J. Ross/AOL Time Warner Dean’s Chair in Emeritus Professors: Gene Coe, M.F.A.; Ron Cinema-Television: Elizabeth M. Daley, Ph.D. Adjunct Faculty: Steve Albrezzi; Ioan Allen; Curfman, M.F.A.; Herbert E. Farmer, M.A.; Kate Amend; Tom Anderson; Wendy Apple; Trevor Greenwood, M.A.; Richard Harber, Hugh M. Hefner Chair for the Study of American Jeff Apple; David Baron; Deborah Baron; M.A.; Edward Kaufman, Ph.D.; E. Russell Film: Richard B. Jewell, Ph.D. Carol Baum; Sandra Berg; Alan Berger; Fred McGregor, Ph.D.; Gene Petersen, M.F.A.; Bernstein; Steve Binder; Bruce Block; Mitch Melvin Sloan, M.A.; Wolfram von Hanwehr, Alma and Alfred Hitchcock Chair: Joseph Block; Steve Blume; Peter Bonerz; Cecilia Ph.D.; Daniel Wiegand, M.A.; Morton Andrew Casper, Ph.D. Brainard; Chuck Braverman; Paul Bricault; Zarcoff, M.A. Peter Brinson; Jody Brockway; Robert Brown; Laurie Burton; Richard Burton; Ed Callahan; Roger Christiansen; Duncan Clark; General Requirements 149

Degree Programs

The USC School of Cinema-Television Master of Arts, Cinema-Television Cinema-Television Minor offers professional and academic degree pro- This degree, which allows a track in Critical A minor in cinema-television is available to grams at the bachelor’s, master’s and doctoral Studies, is granted by the USC Graduate USC undergraduate students in all schools levels. School in conjunction with the School of and departments. The minor provides the Cinema-Television. The Critical Studies opportunity for students to become familiar Bachelor of Arts — Cinema Television track requires 32 units. with various aspects of media study. Students can choose either a Film and Admission to the minor program is granted in Television Production or Critical Studies track. Master of Fine Arts, Cinema-Television the fall and spring semesters. The program The degree is granted through the USC The School of Cinema-Television offers this requires 24 units. College of Letters, Arts and Sciences in professional degree in two tracks: Film and conjunction with the School of Cinema- Television Production and Writing for Screen Minor in Film, Video and Computer Animation Television. The B.A. degree requires 128 units. and Television. The Writing for Screen and The minor in animation offers students an Television track requires 44-46 units and the introduction to the theory and practice of ani- Bachelor of Fine Arts — Writing for Screen and Film and Television Production track requires mation, including its relationship to the histo- Television 40 units. ry of art and cinema, creative writing, and This is a unique program designed for stu- basic film production. It provides students dents who wish to receive intensive training Master of Fine Arts, Film, Video and Computer with an opportunity to create both personal for non-fiction and fiction for screen and tele- Animation and collaborative work in a wide range of vision. The B.F.A. in Writing for Screen and This program requires 50 units. genres, from traditional character to contem- Television is granted through the School of porary experimental and computer animation. Cinema-Television and requires 128 units. Master of Fine Arts, Interactive Media The program requires 32 units. This program requires 56 units. Bachelor of Science in Business Administration — Minor in Performing Arts Studies Emphasis in Cinema-Television Master of Fine Arts, Motion Picture Producing The minor in performing arts provides an This program offers a unique coupling of the The Peter Stark Producing Program requires interdisciplinary inquiry into the nature and Marshall School of Business and the School of 44 units. aesthetics of the performing arts. It combines Cinema-Television in a four year joint degree. the disciplines of cinema-television, dance, In addition to the Marshall School of Business Doctor of Philosophy, Cinema-Television (Critical music and theatre. The minor is a unique core classes, the students will also take a total Studies) course of study that looks at how the perform- of 24 units from the School of Cinema- The Ph.D. is based on a program of study ing arts contribute to a culturally literate soci- Television. The competitive program is and research culminating in the completion ety. See the School of Theatre, page 801, for offered to freshmen admitted to the Marshall of a dissertation in the major field of study. requirements. School of Business as Business Scholars. A minimum of 64 semester units (exclusive Upon completion of all requirements, stu- of dissertation registration) beyond the bac- Minor in 3-D Animation dents will receive a Bachelor of Science in calaureate is required. Applicants who have See the School of Engineering, Information Business Administration with an emphasis completed a Master of Arts degree in Technology, page 550. in Cinema-Television. See the Marshall Cinema-Television, or a closely related field, School of Business (page 98) for course may apply to the Ph.D. program. The doctor- requirements. al degree is granted by the Graduate School in conjunction with the School of Cinema- Television.

General Requirements

Acceptance of Transfer Units No transfer credit will be accepted in lieu No transfer credits are accepted for the Peter The School of Cinema-Television does not of CTPR 241, CTPR 242, CTPR 290, Stark producing track, the graduate programs accept courses taken in film and/or television CTPR 310, CTPR 376, CTPR 507x and in animation and digital arts, screenwriting production at other institutions to fulfill CTPR 508x and any advanced production and interactive media. degree and minor requirements. Basic film or courses. television history courses can sometimes be accepted for transfer credit. 150 USC School of Cinema-Television

Transfer policy for the Ph.D. requires advise- course level. Students may attempt to Students who do not satisfy the degree ment and approval of the division chair. improve a grade lower than a C (2.0) only one requirement after repeating a class will be time by registering and retaking the specific disqualified from the program. Waiver of Course Requirements course. Departmental approval is required in Under special circumstances waivers and order to retake a CNTV course. Policy on Films and Videos Produced by substitutions are granted; check with the Students CNTV Office of Student Affairs. All course In addition, a minimum grade point aver- All films, videos and computer disks pro- waivers and substitutions must be approved age must be achieved to earn all cinema- duced with school equipment or facilities are by the Associate Dean of Academic Affairs. television degrees (see the individual program the property of USC. Any income from dis- descriptions). For example, undergraduates tribution of student-produced films, videos The following courses cannot be waived for and graduates must earn a minimum grade and computer disks is used for the benefit of students majoring in Film and Television of C (2.0) in all required Cinema-Television cinema-television students through equip- Production: CTIN 584, CTPR 241, CTPR courses. However, graduate students must ment purchases and so on. Students can pur- 290, CTPR 310, CTPR 376, CTPR 480, also achieve a B (3.0) average in all courses chase copies of their own work. CTPR 507x, CTPR 508x, CTPR 546L, required for the degree. CTPR 581abcz, CTPR 583, CTPR 586ab, Tuition and Fees (Estimated) CTPR 587abcz. Undergraduate students in the film and tele- Students in the School of Cinema- vision production program who achieve a Television’s graduate programs pay differen- Student Advisement grade lower than a C (2.0) in CTPR 241, 242, tial tuition (see the Schedule of Classes for cur- Each program has its own advisement system. 290 (taken concurrently) and CTPR 310, 376 rent tuition rates). Undergraduate programs Check with the program administrator or with (taken concurrently) and graduate students in are assessed the university-wide tuition rate the CNTV Office of Student Affairs. Cinema- the production program who earn a grade with a once-a-semester access fee of $50. In Television student affairs counselors are avail- lower than a C (2.0) in CTPR 507x and addition, some classes are charged lab fees, as able to answer questions about degree pro- CTPR 508x may petition to retake the noted in the Schedule of Classes, and insurance grams, grades, advisement and other matters. required sequence only once. Permission to fees. The university reserves the right to retake any prerequisite or core production assess new fees or charges. The rates listed Grade Point Average Requirements courses requires prior departmental commit- are subject to change without notice by A minimum grade of C, 2.0 (A = 4.0), must tee approval. action of the Board of Trustees. be earned in all required and prerequisite courses in order to progress to the next Students in the graduate screenwriting pro- gram must earn a minimum grade of B (3.0) in CTPR 521.

Critical Studies

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

Bachelor of Arts

Bachelor of Arts, Cinema-Television: Critical Major courses are selected from the curricu- student critical writing or research papers. Studies lum of the School of Cinema-Television. This category may include (but is not limited The Bachelor of Arts degree in Cinema- The degree requires 128 units, including to): CTCS 402, sections of CTCS 464 or Television with a track in Critical Studies is 22 lower division and 24 upper division units CTCS 469 that require a D clearance, CTCS granted by the College of Letters, Arts and in cinema-television. A maximum of 494, CTCS 495 and CTCS 499. Sciences in conjunction with the School of 40 CNTV upper division units will apply to Cinema-Television. Undergraduate students the B.A. degree. Before graduating, critical take their pre-professional courses in the studies majors are encouraged to take at least College of Letters, Arts and Sciences, includ- one small non-lecture class that emphasizes ing the general education requirements. Critical Studies 151

General Education Requirements CTPR 241 Fundamentals of Cinema Grade Point Average Requirements The university’s general education program Technique, taken concur- A minimum grade of C (2.0) must be earned provides a coherent, integrated introduction rently with CTPR 290 2 in all required and prerequisite courses. A to the breadth of knowledge you will need to CTPR 290 Cinematic Communication, grade of C- (1.7) or lower will not satisfy a consider yourself (and to be considered by taken concurrently with major requirement. other people) a generally well-educated per- CTPR 241 4 son. This program requires six courses in Honors Program different categories, plus writing, foreign lan- One course from the following: Critical Studies offers an honors track for guage and diversity requirements, which are CTCS 392 History of the American advanced students. Admission to the honors described in detail on pages 179 through 184. Film, 1925-1950 4 track is made at the end of the junior year CTCS 393 History of the American and requires a 3.75 GPA for courses in the Required Production Courses Film, 1946-1975 4 major (and a 3.5 GPA overall). Completion of Undergraduates admitted to the Critical CTCS 394 History of the American the honors track is dependent upon success- Studies Program are required to take CTPR Film, 1977-present 4 ful completion of a designated honors section 241 Fundamentals of Cinema Technique and of CTCS 495 during the senior year. In this CTPR 290 Cinematic Communication. Four different courses from the following: course, students will work with faculty in a These introductory production courses are CTCS 367 Global Television and seminar environment and produce an taken concurrently during the junior year Media 4 advanced term paper based on original (see description below). CTCS 400 Non-Fiction Film and research and analysis. Television 4 CTPR 241 is an experiential course dealing CTCS 402 Practicum in Film/ Limitations on Enrollment with the technical and aesthetic principles of Television Criticism 4 No more than 40 upper division units can be directing, cinematography, editing and the CTCS 403 Studies in National and taken within the major without prior approval development of ideas through a cinematic Regional Media 4 of the Dean, College of Letters, Arts and vocabulary. CTCS 404 Television Criticism and Sciences. Theory 4 In CTPR 290 students are taught the princi- CTCS 406 History of American Registration in graduate level courses (num- ples of filmmaking through demonstrations, Television 4 bered 500) for undergraduate credit requires hands-on production and critical analysis. CTCS 407 African-American Cinema 4 prior approval of the School of Cinema- Each student makes five digital video non- CTCS 409 Censorship in Cinema 4 Television. dialogue movies using equipment supplied CTCS 411 Film, Television and by the school. Approximately $1,200 should Cultural Studies 4 Curriculum Review be budgeted for miscellaneous expenses, lab CTCS 412 Gender, Sexuality Cinema-Television majors are expected to and insurance fees. and Media 4 meet with an academic advisor every semes- CTCS 464 Film and/or Television ter to review their progress. Contact the REQUIRED COURSES UNITS Genres 4 Student Affairs Office, Carson Television CTCS 190 Introduction to Cinema 4 CTCS 469 Film and/or Television Center, Garden Level, Room G-130, (213) CTCS 191 Introduction to Style Analysis 4 740-8358, for appointments. Television and Video 4 CTCS 478 Culture, Technology CTCS 192 Race, Class and Gender and Communications 4 in American Film 4 CTCS 494 Senior Seminar 4 CTCS 200 History of the Interna- CTCS 495* Honors Seminar 4 tional Cinema I 2 CTCS 499** Special Topics 4 CTCS 201 History of the Interna- tional Cinema II 2 *Honors students only. CTCS 473 Film Theories 4 **Major credit with departmental approval.

Master of Arts

The Master of Arts degree in Cinema- Graduate Preparation Production Courses CTPR 507x Production I (6 units) introduces Television with a track in Critical Studies is Incoming graduate students without prior the fundamental principles of motion picture administered through the Graduate School. production experience are required to take production, emphasizing visual and auditory Candidates for the degree are subject to CTPR 507x (six units). This course provides communication. The course is organized in the general requirements of the Graduate a basic primer in production considered nec- correlated production, acting and sound sec- School (see page 591). Thirty-two units are essary for graduate studies in critical studies. tions. Each student makes five non-dialogue required at the 400 level or higher, including A minimum grade of C (2.0) must be earned projects, serving as a writer, producer, cine- a comprehensive examination. At least two- in CTPR 507x. This course does not count matographer, director, sound designer and thirds of these units must be at the 500 level toward the total requirements for the M.A. editor. Projects are shot on digital cameras or higher. and edited on non-linear systems. Approxi- mately $1,200 should be budgeted for mis- cellaneous expenses, lab and insurance fees. 152 USC School of Cinema-Television

REQUIRED COURSES UNITS Two of the following: If the student has completed all course work CTCS 500 Seminar in Theory and CTCS 510 Case Studies in National and is only taking the comprehensive exami- Textual Analysis 4 Media and/or Regional nation, he or she must register in GRSC 810 CTCS 506 Critical Studies Media 4 Studies for Master’s Examination. Note: A Colloquium/Professional CTCS 511 Seminar: Non-Fiction GPA of 3.0 is required to take the compre- Seminar 1-1 Film/Video 4 hensive examination. (two semesters required) CTCS 518 Seminar: Avant-Garde Grade Point Average Requirements CTCS 587 Graduate Television Film/Video 4 Seminar 4 A grade point average of 3.0 must be main- In addition, 8 units of cinema-television elec- tained in all graduate level course work. Three of the following: tives are required. Courses in which a grade of C- (1.7) or lower CTCS 501 History of the Interna- is earned will not apply toward a graduate Comprehensive Examination tional Cinema Before degree. World War II 2 As the final requirement for the M.A. degree, Time Limit CTCS 502 History of the Inter- the comprehensive examination, normally national Cinema After taken near the end of course work, will consist Although students are normally expected to World War II 2 of nine hours of questions in three fields. complete the degree in two years, the degree CTCS 503 Survey History of the must be completed within five years of the American Sound Film 2 The exam is given once a year in the spring beginning of graduate work at USC. CTCS 504 Television, New Media semester. In consultation with their faculty Curriculum Review and Culture 2 advisor, students will choose three of the fol- CTCS 505 Survey of Interactive lowing fields: At the beginning of their matriculation, and Media 2 each semester thereafter, each M.A. candidate (1) Theory and Criticism will confer with a designated faculty advisor (2) American Sound Film who will monitor the student’s progress. (3) International Silent Film (4) International Sound Film (5) Documentary and Avant-Garde Film and Video (6) Television and New Technologies

Doctor of Philosophy

Doctor of Philosophy in Cinema-Television Course Requirements Graduate Preparation Production Course (Critical Studies) Each Ph.D. candidate must complete 64 units Each candidate for the Ph.D. must complete The degree of Doctor of Philosophy with an (exclusive of the prerequisite — see Graduate CTPR 507x with a minimum grade of C. emphasis in Critical Studies is administered Preparation Production Course — and disser- This course is equal to six units of undergrad- through the Graduate School. The Ph.D. pro- tation units) beyond the bachelor’s degree, uate work and does not count toward the gram is tailored to the individual student’s 43 of which must be at the 500 level or high- total unit requirement for the Ph.D. If the particular needs and interests. The overall er. (Up to 30 units may be transferred from student enters the program with a master’s course of study will be designed by the stu- graduate work completed at other institu- degree in cinema-television and possesses dent, the student’s designated advisor and, tions.) The required units will include seven production experience, the student may following the screening procedure, the stu- to 12 courses in cinema-television and eight request a waiver of this requirement. The dent’s guidance committee chair (see to 16 units in the minor area. The minor will waiver requires passing a written examination Screening Procedure under Graduate be chosen by the student in close consultation and submission of films/videos to the produc- Preparation Production Courses). with the advisor and will be in an academic tion faculty for review. field which supports the student’s dissertation Admission topic. Each student must complete the fol- CTPR 507x Production I (6 units) is designed A master’s degree in cinema-television, or a lowing course work toward the 64 unit total: to introduce the fundamental principles of closely related field, is required for admission motion picture production. The course also to the Ph.D. program. Applicants without such (1) CTCS 500, 506 (2 semesters), 510 and 587 introduces students to visual and auditory a degree may be admitted, but will be required These courses should be taken before the communication and individual filmmaking. to pass a comprehensive examination to the screening procedure. Each student makes five non-dialogue proj- faculty’s satisfaction as part of the screening ects, serving as writer, producer, director, cine- procedure (see Screening Procedure). (2) Three of the following: CTCS 677, 678, 679, matographer, sound designer and editor. 688. These courses should be taken before Projects are shot on digital cameras and the qualifying examination. edited on non-linear systems. Approximately $1,200 should be budgeted for miscellaneous expenses, lab and insurance fees. Critical Studies 153

Screening Procedure which will include a statement of the pro- Defense of Dissertation The Graduate School requires that programs posed topic, four fields for examination An oral defense of the dissertation is required administer an examination or other procedure derived from the general dissertation topic of each Ph.D. candidate. The dissertation at a predetermined point in the student’s stud- area (including a field from the minor area), committee will decide whether the examina- ies as a prerequisite to continuation in the doc- a detailed bibliography, and an appropriate tion is to take place after completion of the toral program (see page 595). This procedure and comprehensive screening list of film/ preliminary draft or the final draft of the dis- is designed to review the student’s suitability television titles. Formal presentation of the sertation. The oral defense must be passed at for continuing in the chosen Ph.D. program. dissertation proposal will occur no later than least one week before graduation. The School of Cinema-Television has deter- the end of the semester prior to taking the mined that this procedure will occur no later qualifying examinations. The guidance com- Policies than the end of the student’s third semester mittee must approve the dissertation topic. The following policies apply to each student of graduate course work at USC beyond the Once the dissertation topic has been admitted to the Ph.D. program. master’s degree. The screening procedure approved, the student will complete the process will include the following steps: Request to Take the Ph.D. Qualifying Residency Requirements Examination form available from the program At least one year of full-time graduate study (1) If the faculty has determined during the coordinator. (24 units excluding registration for CTCS admissions process that a comprehensive 794) must be completed in residence on the examination will be required as part of the Qualifying Examinations main USC campus. The residency require- screening procedure, an examination will be Written and oral examinations for the Ph.D. ment may not be interrupted by study else- administered as appropriate. If the examina- are given twice a year, in November and where. Residency must be completed prior to tion is passed to the faculty’s satisfaction, the April. Questions for the written portion of the the qualifying examination. student may proceed to the next step in the examination will be drafted by members of screening procedure process. If the student the guidance committee who will also grade Grade Point Average fails to pass the examination, the faculty will the examination. The qualifying examination An overall GPA of 3.0 is required for all grad- determine if the student will be allowed to comprises four examinations administered uate work. Courses in which a grade of C- retake the examination the following semes- one each day for four days during a five-day (1.7) or lower is earned will not apply toward ter before proceeding to the next step in the period. a graduate degree. screening procedure process. The oral examination will be scheduled with- Leaves of Absence (2) The student will be interviewed and in 30 days after the written examination. All A leave of absence may be granted under his or her progress in the program will be guidance committee members must be pre- exceptional circumstances by petitioning the reviewed by the faculty to determine if the sent for the oral portion of the qualifying Graduate School the semester before the student will be approved for additional examination. leave is to be taken. course work. If approved to continue, a guid- ance committee chair will be selected by the Admission to Candidacy Changes of Committee student, with the approval of the faculty, A student is eligible for admission to candida- Changes in either the guidance or disserta- who will serve as the student’s advisor. It is cy for the Ph.D. degree after: (1) passing the tion committee must be requested on a form strongly recommended that full-time study screening procedure; (2) presenting the dis- available from the Graduate School. be pursued following the successful comple- sertation proposal and having it approved; tion of the screening procedure. (3) satisfying the language requirement, if Completion of All Requirements applicable; (4) completing at least 24 units in Everything involved in approving the disser- Guidance Committee residence; and (5) passing the written and tation must be completed at least one week Following a successful screening procedure, oral portions of the qualifying examination. before graduation. Approval by the disserta- the student, in consultation with the guid- Admission to candidacy is by action of the tion committee, the Office of Academic ance committee chair and the Critical Studies Vice Provost for Academic Programs. Records and Registrar, and the thesis editor faculty, will formally establish a five-member must be reported on the triple card and sub- guidance committee. The composition of the Dissertation Committee mitted to the Graduate School by the date of guidance committee will be as specified by The dissertation committee is composed as graduation. the Graduate School (see page 595). For the specified by regulations of the Graduate Ph.D. in Cinema-Television (Critical Studies), School (see page 596). A dissertation based on Time Limits the committee is ordinarily composed of four original investigation and showing technical The maximum time limit for completing all Critical Studies faculty members and an out- mastery of a special field, capacity for research requirements for the Ph.D. degree is eight side member from the candidate’s minor area. and scholarly ability must be submitted. years from the first course at USC applied toward the degree. Students who have com- Foreign Language Requirement CTCS 794 pleted an applicable master’s degree at USC The Critical Studies faculty will advise each Registration for dissertation units, CTCS 794 or elsewhere within five years from the pro- student as to whether or not a foreign lan- (a and b), in the two semesters following admis- posed enrollment in a Ph.D. program must guage is required. This requirement is deter- sion to candidacy is the minimum requirement. complete the Ph.D. in six years. Extension of mined by the student’s dissertation topic. These units cannot be applied toward the these time limits will be made only for com- The requirement must be met at least 60 required 64 unit total. The student must regis- pelling reasons upon petition by the student. days before the qualifying examination. ter for CTCS 794 each semester after admis- When petitions are granted, students will be sion to candidacy until the degree requirements required to make additional CTCS 794 regis- Dissertation Proposal Presentation are completed. No more than eight units of trations. Course work more than 10 years old Working closely with the guidance commit- credit can be earned in CTCS 794. is automatically invalidated and cannot be tee chair, the student will prepare to present applied toward the degree. his or her dissertation proposal to the full fac- ulty. This will be a formal written proposal 154 USC School of Cinema-Television

Film and Television Production

The Division of Film and Television Pro- the student’s ability to express original ideas opportunity to learn all aspects of filmmaking duction of the School of Cinema-Television on film or video and to instill a thorough in a collaborative environment. offers programs leading to the Bachelor of understanding of the technical and aesthetic Arts and the Master of Fine Arts degrees. aspects of motion pictures and television. Courses in production provide individual The primary goals of the degree programs in and group filmmaking experiences and the film and television production are to develop

Bachelor of Arts

The Bachelor of Arts in Cinema-Television Production Sequence taken concurrently. In these workshops stu- with a track in production is granted through Undergraduates admitted to the Film and dents work in teams of two, learning to col- the College of Letters, Arts and Sciences Television Production Program are required laborate and explore the expressive potential in conjunction with the School of Cinema- to take CTPR 241 Fundamentals of Cinema of sound and image through the production Television. Students study within a frame- Technique, CTPR 242 Fundamentals of of two 16mm black and white films. Both are work which combines a broad liberal arts Cinematic Sound and CTPR 290 Cinematic non-dialogue projects. Each student directs background with specialization in a profes- Communication. CTPR 241, CTPR 242 and and prepares the soundtrack for the project sion. Bachelor of Arts students are enrolled CTPR 290 are introductory production courses he or she has written and is cinematographer in the College of Letters, Arts and Sciences, taken either in the second semester of the and editor for his or her partner’s project. where they take their pre-professional cours- sophomore year or the first semester of the Most equipment and materials are provided es, including the general education require- junior year after a student has completed the by the school. However, approximately $2,000 ments. Major courses are selected from minimum required units and requirements should be budgeted for miscellaneous the curriculum of the School of Cinema- toward his or her USC degree. CTWR 413 expenses, lab and insurance fees. Television. The degree requires 128 units Writing the Short Script I is taken concurrent- including 16 lower division units and 24 ly with CTPR 241, CTPR 242 and CTPR To qualify for enrollment in CTPR 310 and upper division units in Cinema-Television. 290, and these four courses are prerequisites CTPR 376, students must fulfill all require- A maximum of 40 CNTV upper division for the next production sequence, CTPR 310 ments outlined in the CTPR 310/376 guide- units will apply to the B.A. degree. and CTPR 376. lines distributed in CTPR 242. Students are required to form their own partnerships and Applications for the undergraduate produc- CTPR 241 is an experiential course dealing will not be allowed to register and participate tion program are accepted for both fall and with the technical and aesthetic principles of without having a qualified partner. spring semesters. See a current “Application directing, cinematography, editing, sound and to the University of Southern California” for the development of ideas through a cinemat- Because CTPR 310 and CTPR 376 are inter- deadlines. Applicants must submit a supple- ic vocabulary. related courses, they cannot be taken sepa- mental application and materials to the rately. Therefore, should a student fail to Undergraduate Production Program. For CTPR 242 introduces cinematic sound achieve a minimum grade of C (2.0) in either specific instructions, contact the Cinema- design, recording, editing, mixing and finish- CTPR 310 or CTPR 376 (see the section on Television Office of Admission, University ing through lectures, demonstrations and grade requirements) both courses must be Park, Los Angeles, CA 90089-2211, (213) exercises. retaken the subsequent semester. 740-2911 or online at www-cntv.usc.edu. In CTPR 290 students are taught the princi- Following CTPR 310 and CTPR 376, stu- General Education Requirements ples of film making through demonstrations, dents can take one or more of the following The university’s general education program hands-on production and critical analysis. courses: CTAN 448; CTPR 480; CTPR 484. provides a coherent, integrated introduction Each student makes five digital video non- to the breadth of knowledge you will need to dialogue movies using equipment supplied CTAN 448 Introduction to Film Graphics- consider yourself (and to be considered by by the school. Approximately $1,200 should Animation is a practical course in concepts, other people) a generally well-educated per- be budgeted for miscellaneous expenses, lab media and techniques related to the graphic son. This program requires 6 courses in dif- and insurance fees. film. ferent categories, plus writing, foreign lan- guage and diversity requirements, which are CTPR 310 Intermediate Film Production In CTPR 480 Production Work I, production described in detail on pages 179 through 184. and CTPR 376 Intermediate Cinematog- majors form crews of eight to 10 persons to raphy is the second production sequence produce a synchronous sound project in one required for the B.A., Film and Television semester. Each student is responsible for a Production track. These courses are also specific aspect of the production: director, line producer, assistant director, cinematogra- pher, editor or sound. Film and Television Production 155

Film/video stock, processing, equipment CTPR 310* Intermediate Film One of the following courses is required and facilities are provided by the school. Production (taken after subsequent to completing CTPR 310/376: There are extra personal expenses associated CTPR 241, CTPR 242, CTAN 448 Introduction to Film with all production workshops. CTPR 290, CTWR 413 Graphics–Animation 4 and concurrently with CTPR 480 Production Workshop I The selection of scripts and directors for the CTPR 376) 4 (narrative or advanced production workshop (CTPR 480) CTPR 376* Intermediate Cinema- documentary or video) 4 is made by the production faculty. Note: To tography (taken after CTPR 484 Advanced Multi-Camera qualify to direct an advanced production CTPR 241, CTPR 242, Television Workshop 4 workshop, a student must complete CTPR CTPR 290, CTWR 413 480 (non-directing position) and take a speci- and concurrently with Grade Point Average Requirements fied directing class. CTPR 310) 4 A minimum grade of C, 2.0 (A = 4.0), must CTWR 413 Writing the Short Script I be earned in all required and prerequisite CTPR 484 Advanced Multi-Camera (taken concurrently with courses. A grade of C- (1.7) or lower will not Television Workshop is a class in which stu- CTPR 241, CTPR 290) 2 fulfill a major requirement. dents will produce a half-hour situation com- CTWR 414 The Screenplay 2 edy pilot in one semester. Students who do not earn the minimum *Note that enrollment in CTPR 310/376 requires meet- grade of C (2.0) in CTPR 241, 242, 290, 310 CTPR 241, CTPR 242, CTPR 290, CTPR ing specific guidelines. and 376 after repeating these requirements 310, CTPR 376 and CTPR 480 cannot be will be disqualified from the program. waived or substituted with another course or and a choice of: transfer credit under any circumstances. CTPR 371 Directing for Television, Limitations on Enrollment or No more than 40 upper-division units can be COURSE REQUIREMENTS UNITS CTPR 475 Directing: Mise-en-Scene taken in the major without approval of the CTCS 190 Introduction to Cinema 4 (Prerequisite: CTPR 310 Dean, College of Letters, Arts and Sciences. CTCS 200 History of the and CTPR 376) 4 International Cinema I 2 Registration in graduate level courses (num- CTCS 201 History of the One of the following courses is required: bered 500) for undergraduate credit requires International Cinema II 2 CTCS 392 History of the American prior approval of the School of Cinema- CTPR 241 Fundamentals of Cinema Film, 1925-1950 4 Television. Technique (taken concur- CTCS 393 History of the American Curriculum Review rently with CTPR 242, Film, 1946-1975 4 CTPR 290, CTWR 413) 2 CTCS 394 History of the American Cinema-Television majors are expected to CTPR 242 Fundamentals of Film, 1977-Present 4 meet with an advisor every semester to Cinematic Sound 2 CTCS 400 Non-Fiction Film and review their progress. Contact the Student CTPR 290 Cinematic Communication Television 4 Affairs Office (Carson Television Center, (taken concurrently with CTCS 464 Film and/or Television Garden Level G-130), (213) 740-8358, for CTPR 241, CTPR 242, Genres 4 appointments. CTWR 413) 4 CTCS 469 Film and/or Television Style Analysis 4

Master of Fine Arts

The Master of Fine Arts degree with a Film courses (CTPR 507x Production I and CTPR or CTCS 505 and CTWR 528 in the first and Television Production track requires a 508x Production II) in their first year. These semester. minimum of 40 units in cinema-television at courses provide intensive preparation consid- the 400 or 500 level. A thesis is not required ered necessary for graduate studies in pro- In CTPR 508x Production II, students work- for the M.F.A. degree. duction at USC and cannot be waived or sub- ing in crews of two produce two non-dialogue stituted with transfer credit. projects. The primary goal is to communicate Applications for the graduate production pro- effectively through sound/image relation- gram are accepted for both fall and spring CTPR 507x Production I (6 units) is designed ships. Each student directs and prepares the semesters. See a current Graduate Study to introduce the fundamental principles of soundtrack for the project he or she has writ- Application for deadlines. Applicants must motion picture production, emphasizing visu- ten and is cinematographer and editor for submit supplemental applications and mate- al and auditory communication. The course is his or her partner’s project. Students must rials to the Graduate Production Program. organized in correlated production, acting and form their own partnerships and will not be For specific instructions, contact the Cinema- sound sections. Each student makes five non- allowed to register or participate without hav- Television Office of Admission, University dialogue projects, serving as writer, producer, ing a qualified partner. Most equipment and Park, Los Angeles, CA 90089-2211, (213) director, cinematographer, sound designer and materials are provided by the school, but 740-2911 or online at www-cntv.usc.edu. editor. Projects are shot using digital cameras approximately $2,000 should be budgeted for and edited on non-linear systems. Approxi- miscellaneous expenses, lab and insurance Graduate Preparation Production Courses mately $1,200 should be budgeted for miscel- fees. CTPR 508x is taken concurrently with In addition to the 40 units, students are laneous expenses, lab and insurance fees. CTWR 529 and CTCS 501 or CTCS 502 or required to take 12 units of prerequisite CTPR 507x is taken concurrently with CTCS CTCS 503 or CTCS 504 or CTCS 505. 501 or CTCS 502 or CTCS 503 or CTCS 504 156 USC School of Cinema-Television

CTPR 507x and CTPR 508x are preparatory Take two of the following courses; the second CTPR 581abcz* Individual Production courses and do not count toward the total may be taken in year three. Workshop 4-2-2-0 40 units required for the degree. A minimum CTIN 541 Intermediate Interactive CTPR 582abz* Advanced Production grade of C (2.0) in CTPR 507x and CTPR Multimedia Workshop 4 Seminar 2-2-0 508x is required in order to continue in the CTPR 545 Intermediate Multi- CTPR 583* Graduate Television Master of Fine Arts program. Students earn- Camera Television Production 6 ing lower than a C (2.0) in a preparatory or Workshop 4 CTPR 586ab* Production IV 6-0 core production course may repeat the CTPR 546L Production III CTPR 587abcz* Group Production requirement on a one time only basis upon (non-directing capacity) 6 Workshop 4-2-2-0 approval of the division chair. CTWR 553** Advanced Screenwriting 4 Six units from the required cinema-television Students who do not earn the minimum grade electives (eight units if CTIN 541 and CTPR *Students must complete the prerequisites and follow in CTPR 507x and CTPR 508x or satisfy the 545 are chosen) the guidelines for CTIN 584, CTPR 581abcz, CTPR degree requirements after repeating a required CTPR 484 Advanced Multi-Camera 582abz, CTPR 583, CTPR 586ab and CTPR 587abcz. course will be disqualified from the program. Television Workshop 4 CTPR 531 Planning the Production One of the following critical studies courses: CTIN 584, CTPR 507x, CTPR 508x, CTPR (prerequisite to develop a CTCS 464 Film and/or Television 546L, CTPR 581abcz, CTPR 583, CTPR CTPR 546L documentary Genres 4 586ab and CTPR 587abcz cannot be waived project) 2 CTCS 469 Film and/or Television or substituted with transfer credit under any CTPR 532 Intermediate Directing Style Analysis 4 circumstances. (prerequisite to qualify CTCS 510 Case Studies in National to direct a CTPR 546L and/or Regional Media 4 Three-Year Requirements for the M.F.A. in or CTPR 583 project) 2 CTCS 511 Seminar: Non-Fiction Production CTWR 533ab Writing the Feature Film/Video YEAR ONE, FIRST SEMESTER UNITS Script 4-2 CTCS 518 Seminar: Avant-Garde CTCS 501 History of the International CTPR 534 Intermediate Production Film/Video 4 Cinema Before World War II, Design 2 CTCS 564 Seminar in Film and or CTPR 535 Intermediate Editing 2 Television Genres 4 CTCS 502 History of the International CTPR 537 Intermediate CTCS 567 Seminar in Film/Tele- Cinema After World War II, Cinematography 2 vision and a Related Art 4 or CTPR 538 Intermediate Producing 2 CTCS 569 Seminar in Film and CTCS 503 Survey History of the CTPR 539 Intermediate Graphics 2 Television Authors 4 American Sound Film 2 CTPR 540 Intermediate Sound 2 CTCS 587 Graduate Television CTPR 507x Production I 6 CTPR 542 Intermediate Electronic Seminar 4 CTWR 528 Screenwriting Imaging 2 Fundamentals 2 CTAN 543 Intermediate Computer Cinema-Television Electives Animation 2 A minimum of two units of Cinema- 10 CTPR 551 Planning the Advanced Television electives at the 400 and 500 level Production 2 is required. YEAR ONE, SECOND SEMESTER UNITS CTPR 552 Advanced Directing 2 CTCS 501 History of the International CTWR 553** Advanced Screenwriting 4 **Four units of Cinema-Television electives at the 400 Cinema Before World War II, CTPR 554 Advanced Sound 2 or 500 level if CTWR 553 is chosen. or CTPR 555 Advanced Production Grade Point Average Requirements CTCS 502 History of the International Design 2 Cinema After World War II, CTPR 556 Advanced Editing 2 A grade point average of at least 3.0 (A = 4.0) or CTPR 557 Advanced must be maintained in all USC course work CTCS 503 Survey History of the Cinematography 2 toward the master’s degree. Courses in which American Sound Film 2 CTPR 558 Advanced Producing 2 a grade of C- (1.7) or lower is earned will not CTPR 508x Production II 6 CTPR 559 Advanced Graphics 2 apply toward a graduate degree. CTWR 529 Intermediate CTAN 563 Advanced Computer Time Limit Screenwriting 2 Animation 2 CTPR 566 Developing and Selling Students must maintain satisfactory progress 10 Your Film and TV Projects 2 toward their master’s degree at all times. CTPR 568 Advanced Electronic The time limit to complete all requirements YEAR TWO, FIRST AND SECOND SEMESTERS UNITS Imaging 2 is three years from the first course at USC CTPR 506 Visual Expression 2 CTWR 572 Practicum in Directing applied toward the Master of Fine Arts One of the following courses (CTCS 504 and Actors for Film 2-4 degree. Course work more than seven years CTCS 505 can be taken in year one): CTWR 574 Advanced Seminar in old is invalidated and will not be applied CTCS 504 Television, New Media Directing Actors for Film 2 toward the degree. and Culture, or YEAR THREE, FIRST AND SECOND SEMESTERS UNITS Graduate Review CTCS 505 Survey of Interactive Media 2 One course from the following: One year prior to graduation, students are CTIN 584* Graduate Interactive required to file M.F.A. forms for a curriculum Group Project 6 and graduation review. Contact the Produc- CTPR 546L Production III (director tion Faculty Office for forms (213) 740-3317. or different crew position) 6 Animation and Digital Arts 157

Animation and Digital Arts

Master of Fine Arts

The Master of Fine Arts degree in Film, Prior knowledge of fundamental computer YEAR THREE, FIRST SEMESTER UNITS Video and Computer Animation is a three- animation concepts and techniques is recom- CTAN 522 Animation Department year (six semester) graduate program mended. Those without this background will Seminar 1 designed for students who have clearly iden- be required to enroll in CTAN 523 Principles CTAN 594a Master’s Thesis 2 tified animation as their primary interest in of Computer Animation for two of their elec- Elective* cinema. The program focuses on animation tive units in year one. production, including a wide range of tech- niques and aesthetic approaches, from hand- Requirements for the M.F.A. in Film, Video YEAR THREE, SECOND SEMESTER UNITS and Computer Animation drawn character animation to state-of-the-art CTAN 522 Animation Department interactive computer graphics. While embrac- YEAR ONE, FIRST SEMESTER UNITS Seminar 1 ing traditional forms, the program strongly CTAN 451 History of Animation 2 CTAN 594b Master’s Thesis 2 encourages innovation and experimentation, CTAN 482 Basic Motion Picture and emphasizes imagination, creativity and Techniques for critical thinking. Students should graduate Animators 2 *A minimum total of 12 elective units must be taken. with a comprehensive knowledge of anima- CTAN 522 Animation Department tion from conception through realization; an Seminar 1 Cinema-Television Electives understanding of the history of the medium CTAN 544 Introduction to Film, To complete the 50 units required for the and its aesthetics; in-depth knowledge of Video, and Computer M.F.A. in Film, Video and Computer computer animation software and the most Animation 3 Animation, students are required to take a important elements of film, video and inter- CTAN 577a Fundamentals of minimum of 12 School of Cinema-Television active media. Animation 2 elective units at the 400 and 500 level. Four of those units must be taken from the follow- The program requires a minimum of 50 units: ing Critical Studies courses: 38 units are in prescribed, sequential courses YEAR ONE, SECOND SEMESTER UNITS in the School of Cinema-Television. The CTAN 436 Writing for Animation 2 ELECTIVES UNITS other 12 units are electives, four of which CTAN 522 Animation Department CTCS 400 Non-Fiction Film and must be taken in the Division of Critical Seminar 1 Television 4 Studies. A thesis is required for the M.F.A. CTAN 547 Animation Production I 3 CTCS 402 Practicum in Film/ degree. Ongoing workshops in life drawing CTAN 579 Expanded Animation 2 Television Criticism 4 and computer software provide additional Elective* CTCS 404 Television Criticism educational opportunities. and Theory 4 CTCS 407 African-American Cinema 4 Admission is granted once a year in the fall; YEAR TWO, FIRST SEMESTER UNITS CTCS 408 Contemporary Political there are no spring admissions. Approximately CTAN 501 Interactive Animation 2 Film and Video 4 14 students will be enrolled in each incoming CTAN 522 Animation Department CTCS 409 Censorship in Cinema 4 class. In addition to practical production, the Seminar 1 CTCS 464 Film and/or Television program also provides opportunities for field- CTAN 524 Contemporary Topics Genres 4 work experience and internships to facilitate in Animation and CTCS 469 Film and/or Television the student’s transition into the profession. Digital Arts 2 Style Analysis 4 CTAN 548 Animation Production II 3 CTCS 501 History of the Interna- Applicants for the M.F.A. in Film, Video and Elective* tional Cinema Before Computer Animation must submit a supple- World War II 2 mental application and materials. For specific CTCS 502 History of the Interna- instructions, contact the Cinema-Television YEAR TWO, SECOND SEMESTER UNITS tional Cinema After Animation and Digital Arts Program Office, CTAN 522 Animation Department World War II 2 University Park, Los Angeles, CA 90089-2211, Seminar 1 CTCS 503 Survey History of the (213) 740-3986, or online at www-cntv.usc.edu. CTAN 549 Animation Production American Sound Film 2 III 3 CTCS 510 Case Studies in National The application deadline is February 15 for CTAN 591 Animation Pre-Thesis and/or Regional Media 4 the fall semester. Seminar 2 CTCS 511 Seminar: Non-Fiction Elective* Film/Video 4 CTCS 518 Seminar: Avant-Garde Film/Video 4 158 USC School of Cinema-Television

CTCS 564 Seminar in Film and The proposal itself will include a written A final review will take place in the second Television Genres 4 treatment of the project with a discussion of semester of the third year. The committee CTCS 567 Seminar in Film/ similar work in the field and its relationship will meet and the student must show and Television and a to the proposed project. It will describe defend the work. Related Art 4 aesthetic issues to be explored and specific CTCS 569 Seminar in Film and techniques to be employed in its realization. Criteria for successful completion include: 50 Television Authors 4 It will also include a storyboard, budget and percent originality and 50 percent quality of CTCS 585 Seminar in Film/ schedule, in addition to supporting materials execution. Television Critical created by the student demonstrating his or Theory and Production 4 her ability to pursue the project. The faculty Grade Point Average Requirements committee will make comments and decide A grade point average of at least 3.0 (A= 4.0) Thesis Project whether the student may go forward with his must be maintained in all USC course work In order to begin work on the thesis project, or her project. Upon acceptance, the student toward the master’s degree. Courses in which students must first successfully propose their will begin work on the project, otherwise a grade of C- (1.7) or lower is earned will not project to a committee of M.F.A. Animation revising the proposal and meeting again with apply toward a graduate degree. Courses Program faculty. The proposal is prepared dur- the committee. below a C must be repeated. ing the second year of study in CTAN 591 Animation Pre-Thesis Seminar and is submit- In the third and final year, students concen- Time Limit ted at the end of the second year. Throughout trate on their thesis projects, completing pro- Students must maintain satisfactory progress the three years of study, students will meet duction and post-production. All sound or toward their master’s degrees at all times. regularly with an M.F.A. Animation Program music, final high-resolution rendering (for The time limit to complete all requirements faculty advisor to develop and refine the pro- computer animation), final film or video out- is three years from the first course at USC posal and discuss the progress of their work. put, and compositing, titles or subtitles, will applied toward the Master of Fine Arts The advisor will be a member of the thesis be done during this time. degree. Course work more than seven years committee. old is invalidated and will not be applied toward the degree.

Writing for Screen and Television

Bachelor of Fine Arts

The Bachelor of Fine Arts in Writing for General Education Requirements Four-Year Major Requirements for the Screen and Television is a unique, four-year The university’s general education program B.F.A. in Writing for Screen and Television program for students who seek intensive pro- provides a coherent, integrated introduction YEAR ONE, FIRST SEMESTER UNITS fessional preparation for a career in screen or to the breadth of knowledge you will need to CTWR 106a Screenwriting television writing. This rigorous program consider yourself (and to be considered by Fundamentals 4 emphasizes small, workshop-style classes. other people) a generally well-educated per- The program attracts students from all over son. This program requires six courses in dif- 4 the world. The program, located at the center ferent categories, plus writing and diversity of world cinema and television, offers a rich requirements, which are described in detail YEAR ONE, SECOND SEMESTER UNITS variety of guests, internships and mentors on pages 179 through 184. CTCS 190 Introduction to Cinema 4 from the first rank of writers for screen and CTWR 105 Non-Verbal Thinking: Required Production Course television. Visual and Aural 2 Undergraduate writing students are required to CTWR 106b Screenwriting Each fall (there are no spring admissions), a take CTPR 290 Cinematic Communication. Fundamentals 4 class of 24 undergraduate writing students is This is an introductory production course which selected to begin the program. A total of must be taken during the junior year. 10 128 units is required for completion of the Bachelor of Fine Arts degree; 72 of these In CTPR 290 students are taught the princi- YEAR TWO, FIRST SEMESTER UNITS units are taken in a prescribed sequential ples of filmmaking through demonstrations, CTCS 200 History of the Inter- order. hands-on production and critical analysis. national Cinema I 2 Each student makes five digital video non- CTPR 318 Acting Experience Applicants must submit supplemental appli- dialogue movies using equipment supplied for Writers 2 cation and materials to the program office. by the school. Approximately $1,200 should CTWR 206a Writing the Screenplay 4 For specific instructions, contact Writing for be budgeted for miscellaneous expenses, lab CTWR 213 Content and Consciousness 2 Screen and Television, University Park, and insurance fees. Los Angeles, CA 90089-2211 or telephone 10 (213) 740-3303, or online at www-cntv.usc.edu. Writing for Screen and Television 159

YEAR TWO, SECOND SEMESTER UNITS YEAR THREE, SECOND SEMESTER UNITS Electives CTCS 201 History of the Interna- CTPR 419 Directing for Writers: A minimum of 20 elective units is required. tional Cinema II 2 Post-production 2 CTPR 205 Introduction to Filmic CTWR 306b Advanced Screenwriting 2 Suggested electives in Cinema-Television Design 4 CTWR 316 The Affective Domain 2 include: CTPR 290 Cinematic Communication 4 CTWR 434 Comedy Writing, or CTWR 430 The Writer in American CTWR 206b Writing the Screenplay 2 CTWR 435 Writing for Film and Cinema and Television 2 CTWR 215 Practicum in Writing Television Genres 2 CTWR 431 Screenwriters and Their Short Films 2 Work 2 8 CTWR 433 Adaptations: Transferring 14 Existing Work to the YEAR FOUR, FIRST SEMESTER UNITS Screen 2 YEAR THREE, FIRST SEMESTER UNITS CTPR 301 Creating the CTWR 434 Comedy Writing 2 CTWR 306a Advanced Screenwriting 4 Non-Fiction Film 4 CTWR 435 Writing for Television CTPR 319 Directing for Writers: CTWR 418a Senior Thesis 4 Genres 2, max 8 Pre-production 2 CTWR 459a Entertainment Industry CTWR 437 Writing the Situation CTCS 464 Film and/or Television Seminar 2 Comedy Pilot 2 Genres, or Grade Point Average Requirements CTCS 469 Film and/or Television 10 Style Analysis 4 A minimum grade of C (2.0) must be earned YEAR FOUR, SECOND SEMESTER UNITS in all required and prerequisite courses (a 10 CTWR 418b Senior Thesis 4 grade of C- (1.7) or lower will not fulfill a CTWR 459b Entertainment Industry major requirement). Seminar 2 6

Master of Fine Arts

The Master of Fine Arts, with a major in Each fall 32 students are selected to begin Course Requirements Writing for Screen and Television, is an inten- the Graduate Writing for Screen and YEAR ONE, FIRST SEMESTER UNITS sive two-year degree program which concen- Television Program; there are no spring CTWR 513 Writing the Short Script 2 trates on writing for narrative film and tele- admissions. Applicants must submit a supple- CTWR 514a Basic Dramatic vision. During the course of their studies, mental application and materials to the Screenwriting 2 students benefit from a wide array of intern- Graduate Writing for Screen and Television CTPR 521x Filmic Communication 2 ship and mentorship opportunities available Program. For specific instructions, contact CTWR 572 Practicum in Directing as a result of the university’s close links to the the Graduate Writing for Screen and Actors for Film 2 Los Angeles film industry’s top screenwriters, Television Program, University Park, directors, production companies and studios. Los Angeles, CA 90089-2211, or telephone 8 (213) 740-3303, or online at www-cntv.usc.edu. Course work includes practical instruction in YEAR ONE, SECOND SEMESTER UNITS everything a working writer needs to learn A total of 44-46 units in cinema-television at CTWR 434 Comedy Writing (2), or about the filmmaker’s art and craft. Writing is the 400 and 500 level is required. Course CTWR 437 Writing the Situation taught in small workshop-style classes. The work includes hands-on instruction in pro- Comedy Pilot (2) 2 approach focuses on the visual tools of story- duction, acting and directing. CTWR 514b Basic Dramatic telling, developing stories from characters and Screenwriting 2 Graduate Production Preparation Course then on an Aristotelian three act structure. CTWR 516 Advanced Motion Fractured narratives, ensemble stories, experi- CTPR 521x Filmic Communication is taken Picture Script Analysis 2 ments with time and points of view, as well as in the first semester. This course reviews the other idiosyncratic styles of storytelling, are basic aspects of filmmaking through lectures 6 also addressed. The curriculum covers other and hands-on production using digital video. professional concerns, including legal issues, A minimum grade of B (3.0) is required in YEAR TWO, FIRST SEMESTER UNITS agents and the Writer’s Guild, as well as the CTPR 521x in order for a student to continue CTWR 435 Writing for Film and history and analysis of cinema. Classes are in the Master of Fine Arts in Writing for Television Genres 2 taught by working writers with a wide variety Screen and Television program. CTWR 459a Entertainment of skills, experience and attitudes. Industry Seminar 2 CTWR 515a Practicum in Screenwriting 4 CTPR 575 Directing for Scriptwriters 2 10 160 USC School of Cinema-Television

YEAR TWO, SECOND SEMESTER UNITS ELECTIVES 3.0 in all units attempted is required to quali- CTWR 459b Entertainment 3 courses must be selected from the following: fy for registration in CTWR 515ab. Courses Industry Seminar 2 CTCS 464 Film and/or Television in which a grade of C- (1.7) or lower is earned CTWR 515b Practicum in Genres 4 will not apply toward a graduate degree. Screenwriting 4 CTCS 469 Film and/or Television CTPR 536 Editing for Style Analysis 4 In lieu of a thesis, the student is required to Scriptwriters 2 CTCS 501 History of the Inter- complete a full-length screenplay which will national Cinema Before be developed in CTWR 515ab and must be 8 World War II 2 accepted by the Division of Writing Graduation CTCS 502 History of the Inter- Committee. Total: 46 units required for the degree. Only national Cinema After Time Limit two writing courses can be taken per World War II 2 semester. CTCS 503 Survey History of the Students must maintain satisfactory progress American Sound Film 2 toward their master’s degrees at all times. CNTV Electives CTCS 504 Television, New Media The time limit to complete all requirements A minimum of 14 elective units at the 400 and Culture 2 is three years from the first course at USC and 500 level is required, determined by CTCS 505 Survey of Interactive applied toward the Master of Fine Arts which options the student selected. Media 2 degree. Course work more than seven years old is automatically invalidated and may not Grade Point Average Requirement be applied toward the degree. An overall grade point average of 3.0 (A = 4.0) must be maintained in all courses. In addition, an overall grade point average of

The Peter Stark Producing Program

Master of Fine Arts

The Peter Stark Producing Program is an teams, making two 8-10 minute 16mm non- Cinema-Television Production Program or a innovative two-year (four semester) full-time synchronous sound films. Equipment is pro- Stark student. The Stark student may only graduate program designed to prepare a vided by the school. perform one major task on the film, i.e., direc- select group of highly motivated students for tor or writer or producer. Each team has a careers as independent film and television In lieu of a thesis, the completion requirement professional advisor available as needed. producers or as executives in motion picture is a fully-developed film project with an atten- Completed films are screened at “First Look.” and television companies. dant budget and marketing/distribution plan. Inquiries regarding the program should be Approximately 25 Peter Stark Program stu- An internship period between school years addressed to: Kathy Fogg, Assistant Director, dents are enrolled each fall (there are no gives students an opportunity to observe The Peter Stark Program, USC School of spring admissions). The curriculum places actual producing and executive operations Cinema-Television, University Park, Los equal emphasis on the creative and the man- with participating independent producers and Angeles, CA 90089-2211. Telephone agerial, to enhance and develop artistic skills film companies. The internship period is of (213) 740-3304, FAX (213) 745-6652 or email and judgment while providing a sound back- eight weeks’ duration during the months of [email protected]. ground in business essentials. Each course is May, June and July. The internships are sub- continually updated to ensure that the Stark ject to availability, academic performance and Sample Two-Year Requirements for the program remains responsive to the needs of good standing in the first year of studies. M.F.A. in Motion Picture Producing our students and the ever-changing motion YEAR ONE, FIRST SEMESTER UNITS picture, television and communications field. During the second year, Peter Stark Produc- CTPR 519x Introduction to Cinema ing Program students have an opportunity to Technique 2 A minimum of 44 units of 500-level courses initiate and produce a 20-minute synchronous CTPR 521x Filmic Communication 2 is required for the Peter Stark Producing sound film financed by the program. Projects CMPP 550 Script Analysis for the Program leading to the M.F.A. degree. There to be produced are selected on a competitive Producer 2 are no prerequisites. Students are required basis. CMPP 563 Producing Symposium 2 to take two production courses in their first CMPP 589a Graduate Film Business semester, CTPR 519x and CTPR 521x. Films must be produced by a Stark student or Seminar 4 CTPR 519x and CTPR 521x cover the team of Stark students. Scripts may be written basics of visual communication. In CMPP by a cinema-television student from the Divi- 12 541L, second semester students work in sion of Writing or a Stark student. The direc- tor must be a graduate student from the Interactive Media 161

YEAR ONE, SECOND SEMESTER UNITS YEAR TWO, SECOND SEMESTER UNITS Grade Point Average Requirement CMPP 541L Producing Workshop 4 CMPP 564 Producing Business An overall GPA of 3.0 (A = 4.0) is required for CMPP 560 Script Development 2 Procedures, or approved graduation. Courses in which a grade of C- CMPP 568 Producing for Television 2 graduate-level cinema (1.7) or lower is earned will not apply toward CMPP 589b Graduate Film Business course 2 a graduate course. Courses cannot be repeat- Seminar 4 CMPP 569 Seminar on Non- ed. A grade of C-, D or F in any course may Mainstream Producing 2 be cause for termination. 12 CMPP 570 Advanced Television 2 Time Limit CMPP 592 Individual Project YEAR TWO, FIRST SEMESTER UNITS Seminar 4 Students must maintain satisfactory progress CMPP 561 Motion Picture toward their master’s degrees at all times. Marketing 2 10 The degree must be completed three years CMPP 565 Scheduling and Budgeting 4 after the beginning of graduate work at USC. CMPP 566 Finance 2 Course work more than seven years old is CMPP 571 Producing the Screenplay 2 automatically invalidated and may not be applied toward the degree. 10

Interactive Media

Master of Fine Arts

The division of Interactive Media offers a The creation of interactive media requires a CTPR 521x Filmic Communication 2 Master of Fine Arts in Interactive Media as combination of skills from the traditional CTWR 528 Screenwriting well as a number of courses in computer- media of film and television as well as a deep Fundamentals 2 based entertainment for non-majors. The understanding of the effects of interactivity 11 fundamental philosophy of the division is upon the quality of experience. Therefore, coherent with that of the programs of the we emphasize and encourage collaboration YEAR ONE, SECOND SEMESTER UNITS school, stressing creativity of expression, with students in other Cinema-Television CTAN 501 Interactive Animation 2 experimentation and excellence in execution. programs. CTCS 564 Seminar in Film and Television Genres 4 The M.F.A. in Interactive Media is a three- Approximately 12 students are admitted in CTIN 511 Interactive Media year intensive program that requires 56 units the fall semester (there are no spring Seminar 1 of which 46 are requirements and 10 are elec- admissions). CTPR 506 Visual Expression 2 tives. Of these electives, a minimum of 6 CTWR 518 Introduction to units must be taken in the School of Cinema- Applicants for the M.F.A. in Interactive Interactive Writing 2 Television. Students are required to complete Media must submit a supplemental applica- an advanced interactive project which they tion and materials to the Interactive Media 11 design and produce. Program. For specific instructions contact the Cinema-Television Office of Admission, Uni- YEAR TWO, FIRST SEMESTER UNITS The program is intended to prepare students versity Park, Los Angeles, CA 90089-2211, CTIN 532 Interactive Experience for creative careers in the emerging field of (213) 740-2911 or online at www-cntv.usc.edu. Design 4 interactive entertainment. While the pro- CTIN 534 Experiments in Sample Three-Year Requirements for the gram does not require advanced computer Interactivity I 2 M.F.A. in Interactive Media capabilities, familiarity and comfort with Electives 4 computer based authoring and production/ YEAR ONE, FIRST SEMESTER UNITS post-production tools is recommended. CTAN 577a Fundamentals of 10 Animation 2 Computer and digital production facilities CTCS 505 Survey of Interactive YEAR TWO, SECOND SEMESTER UNITS for the program are provided by the school. Media 2 CTIN 542 Interactive Design However, students should budget additional CTIN 511 Interactive Media and Production 4 funds for incidental expenses for interme- Seminar 1 CTIN 544 Experiments in diate and advanced projects. Cost will vary CTPR 519x Introduction to Interactivity II 2 depending on the scope of a student’s proj- Cinema Technique 2 CTIN 548 Preparing the ect. For the first year production course, Interactive Project 2 approximately $1,000 will be needed for miscellaneous costs, lab and insurance 8 fees. 162 USC School of Cinema-Television

YEAR THREE, FIRST SEMESTER UNITS CTCS 504 Television, New Media Grade Point Average Requirement CTIN 555a Advanced Interactive and Culture 2 An overall GPA of at least 3.0 (A = 4.0) must Project 4 CTPR 455 Introduction to be maintained in all USC course work toward CTIN 558 Business of Interactive Production Design 2 the master’s degree. Media 2 CTPR 472 Non-Theatrical Aspects Electives 2 of Film and TV A minimum grade of C (2.0) must be earned Producing 2 in all required courses. Students who do not 8 CTPR 530 Producing for achieve a grade of C (2.0) in the core courses Independent Films 2 CTIN 532, CTIN 534, CTIN 542 and CTIN YEAR THREE, SECOND SEMESTER UNITS CTPR 566 Developing and Selling 544 after repeating these requirements will CTIN 555b Advanced Interactive Your Film or TV Projects 2 be disqualified from the program. The core Project 2 CTWR 513 Writing the Short Script 2 courses as well as CTIN 555ab cannot be CTPR 495 Internship in CTWR 520 Advanced Scene Writing waived or substituted with transfer credits Cinema/Television 2 Workshop 2 under any circumstances. Electives 4 CTWR 541 Writing from the Unconscious 2 Time Limit 8 CMPP 591 Producing Practicum 2 Students must maintain satisfactory progress toward their master’s degrees at all times. ELECTIVES UNITS ELECTIVES UNITS The degree must be completed three years At least six units from the following: No more than four units from the following*: from the first course at USC applied toward CTAN 451 History of Animation 2 CSCI 480 Computer Graphics 3 the Master of Fine Arts degree. Course work CTAN 452 Introduction to CSCI 485 File and Database more than seven years old is invalidated and Computer Animation 2 Management 3 will not be applied toward the degree. CTAN 502a Virtual Reality and CSCI 580 3D Graphics and Graduate Review Stereoscopic Animation 2 Rendering 3 CTAN 576 Seminar in Film/Television FA 310 Digital Imaging and One year prior to graduation, students are and New Technologies 4 Media in the Arts 4 required to file M.F.A. forms for a curriculum CTCS 409 Censorship in Cinema 4 and graduation review. Contact the Inter- CTCS 478 Culture, Technology *Courses not listed may satisfy this requirement with active Media Program Office for forms. and Communications 4 approval of the program chair. CTCS 502 History of the International Cinema After World War II 2

Minor Programs

Minor in Cinema-Television Application Procedures Course Requirements for the Minor The minor in cinema-television combines To be considered for admission to the A total of 24 units is required for the minor in an introduction to this exciting and influ- cinema-television minor program, an appli- cinema-television, 8 in lower division courses ential field with a diversified set of classes cant must submit the following materials: and 16 in upper division courses. in production, screenwriting, the film- (1) CNTV departmental application, (2) aca- television industry and critical studies. The demic records, including current USC tran- Required Lower Division Courses (8 units) curriculum is purposely flexible; students scripts, (3) personal statement, and (4) two REQUIRED COURSES UNITS may choose to sample two or more different letters of recommendation. CTCS 190* Introduction to Cinema 4 aspects of the world of cinema and televi- CTCS 191 Introduction to Television sion in their upper division class choices or Applications and admission information can and Video 4 to concentrate their upper division course be obtained from the USC School of Cinema- work in an area of primary interest, such as Television, Office of Admission, Carson *Gateway course production. Television Center, Garden Level, Room G-130, or telephone (213) 740-2911 or online A student attending USC may apply to minor at www-cntv.usc.edu. in cinema-television if he or she has a mini- mum GPA of 2.75 and is maintaining normal degree progress. Admissions are made for the fall and spring semesters. Minor Programs 163

Upper Division Requirement (16 units) THE FILM-TELEVISION INDUSTRY UNITS USC School of Cinema-Television, Animation A minimum of 16 units is required from the CTPR 386 Art and Industry of and Digital Arts Program Office, Marcia classes listed below. Courses may be taken the Theatrical Film 4 Lucas Post-Production Building, Room 200, from more than one category. CTPR 410 The Movie Business: (213) 740-3986 or online at www-cntv.usc.edu From Story Concept CRITICAL STUDIES UNITS to Exhibition 2 Grade Point Average Requirement CTCS 392 History of the American CTPR 425 Production Planning 2 A minimum grade of C (2.0) in each course is Film, 1925-1950 4 CTPR 460 Film Business required. A grade of C- (1.7) or lower does CTCS 393 History of the American Procedures and not fulfill a minor requirement. Film, 1946-1975 4 Distribution 2 CTCS 400 Non-Fiction Film and CTPR 461 Television Station Course Requirements Television 4 Management 2 The following courses are to be taken in a CTCS 407 African American CTCS 466 Theatrical Film prescribed sequential order. Thirty-two units Cinema 4 Symposium 4 are required. CTCS 409 Censorship in Cinema 4 CTCS 464 Film and/or Television Grade Point Average Requirement COURSES UNITS Genres 4 A minimum grade of C (2.0) in each course is AHIS 120 Foundations of CTCS 469 Film and/or Television required. A grade of C- (1.7) or lower does Western Art 4 Style Analysis 4 not fulfill a minor requirement. AHIS 121 Art and Society: Renaissance to Modern 4 PRODUCTION UNITS Film, Video and Computer Animation Minor CTCS 190 Introduction to Cinema 4 CTIN 483 Interactive Entertainment The minor in animation offers students an CTPR 385 Colloquium: Motion and Multimedia 4 introduction to the theory and practice of ani- Picture Production CTPR 327 Motion Picture Camera 3 mation, including its relationship to the histo- Techniques 4 CTPR 335 Motion Picture Editing 3 ry of art and cinema, creative writing and CTAN 436 Writing for Animation 2 CTPR 371 Directing for Television 4 basic film production. It provides students CTAN 448 Introduction to Film CTPR 375 Functions of a Director 4 with an opportunity to create both personal Graphics–Animation 4 CTPR 385 Colloquium: Motion and collaborative work in a wide range of CTAN 450abc Animation Theory Picture Production genres, from traditional character to contem- and Techniques 2-2-2 Techniques 4 porary experimental and computer animation. CTAN 451 History of Animation 2 CTPR 422 Makeup for Motion This includes painting, cel, stop motion, col- CTAN 452 Introduction to Pictures 2 lage, mixed media, 2- and 3-D computer ani- Computer Animation 2 CTPR 423 Introduction to Special mation software and interactive digital media. Effects in Cinema 2 Successful completion of a final project is Minor in Performing Arts Studies CTPR 455 Introduction to required. Production Design 2 The minor in Performing Arts provides an CTPR 456 Introduction to Art Most students will enter the minor in anima- interdisciplinary inquiry into the nature and Direction 2 tion program in their sophomore year at USC. aesthetics of the performing arts. It combines CTPR 470 Practicum in On-Screen the disciplines of cinema-television, dance, Direction of Actors 4 A student enrolled on the undergraduate music and theatre. The minor is a unique level at USC may apply to minor in anima- course of study that looks at how the per- WRITING UNITS tion if he or she (1) has a minimum grade forming arts contribute to a culturally literate CTWR 315x* Filmwriting 3 point average of 2.75 and is maintaining nor- society. See School of Theatre, page 801, for CTWR 412 Introduction to mal degree progress and (2) is not undergoing requirements. Screenwriting 2 any type of departmental, academic or uni- Minor in 3-D Animation CTWR 414 The Screenplay 2 versity disqualification. CTWR 416 Motion Picture Script The 3-D animation minor merges theoretical Analysis 4 Animation minor applications are reviewed by concepts and practical skills, to prepare stu- CTWR 431 Screenwriters and a panel of faculty members, with admissions dents for a career in their major field of work Their Work 2 made for the fall semester only. A maximum with incorporation of 3-D animation and CTWR 494x* Practicum in Screenplay of 12 students will be admitted per year. interactive technologies. Through integration Development 2 of three major disciplines (cinema, fine arts Application Procedures and information technology), students gain *CTWR 315x and 494x cannot be applied toward To be considered for admission to the minor a solid foundation in a wide range of impor- degree credit for cinema-television majors. in animation, the applicant is required to tant industry and academic skills. See the submit the following materials: (1) CNTV Information Technology Program, page 550, departmental application, (2) academic for course requirements. records including current USC transcripts, (3) personal statement, (4) two letters of rec- ommendation, and (5) portfolio (prints, slides, film and/or video). Applications and admis- sion information can be obtained from the 164 USC School of Cinema-Television

Courses of Instruction

The terms indicated are expected but are not 436 Writing for Animation (2, FaSp) Work- 499 Special Topics (2-4, max 8, FaSpSm) guaranteed. For the courses offered during shop exploring concept and structure of long Detailed investigation of new or emerging any given term, consult the Schedule of and short form animated films through practi- aspects of cinema and/or television; special Classes. cal writing exercises. subjects offered by visiting faculty; experi- mental subjects. Note: Instructor availability for a particular 448 Introduction to Film Graphics – Anima- course or section cannot be guaranteed. tion (4) Practical course in concepts, media, 501 Interactive Animation (2, FaSp) Intro- and techniques related to the graphic film; duces basic interactive and non-linear symbology, composition, kinesthesis, anima- approaches to animation through a series of CINEMA-TELEVISION (CNTV) tion, typography, color, and materials. Survey; lectures and exercises, culminating in a group lecture; production. project. Prerequisite: CTAN 523; recommended 390 Special Problems (1-4, Irregular) Super- preparation: Photoshop/Director (software). vised, individual studies. No more than one 449 Advanced Production in Film Graphics registration permitted. Enrollment by peti- (2 or 4, max 8) Concentration on one area 502ab Virtual Reality and Stereoscopic tion only. of graphic concept or advanced exploration Animation (a: 2, Fa; b: 2, Sp) a: An in-depth of media and techniques. Prerequisite: exploration of aesthetics and techniques 482 Designing Online Multiplayer Game CTAN 448. involved in the conceptualization, design and Environments (2, Sp) Grouped into teams, production of immersive virtual environ- students will study and design an original 450abc Animation Theory and Techniques ments and stereoscopic animation. Prerequi- multiplayer game environment suitable for (2-2-2, FaSp) Explores the aesthetics and site: departmental approval. b: Review of online usage. techniques of animation, ranging from tradi- techniques and aesthetic issues pertinent to tional character to contemporary experimen- immersive virtual reality and stereoscopic 490x Directed Research (2-8, max 8, tal and computer animation genres, through animation. Students realize an original project FaSpSm) Individual research and readings. lectures, exercises and projects. proposed in CTAN 502a. Prerequisite: Not available for graduate credit. Prerequisite: CTAN 502a and departmental approval. departmental approval. 451 History of Animation (2, Fa) In-depth survey of historical developments, styles, 522 Animation Department Seminar 498 The Visiting Artist Seminar (2, max 4, techniques, theory and criticism of animation (1, max 6, FaSp) A weekly seminar required FaSp) Analysis of a particular cinema or tele- as an art form. of all M.F.A. Animation students. This course vision artist’s work and creative philosophy; includes guest speakers, faculty and student screenings and informal discussions with the 452 Introduction to Computer Animation presentations followed by lively and critical artist. (2, Sp) Lecture and laboratory in computer discussion. Graded CR/NC. animation: geometric modeling, motion spec- 589 Graduate Film Seminar (2 or 4, max 8, ification, lighting, texture mapping, render- 523 Principles of Computer Animation FaSp) Detailed investigations and discussion ing, compositing, production techniques, sys- (2, Sp) Fundamental computer concepts, of various aspects of film. tems for computer-synthesized animation. principles of modeling, rendering, lighting, Prerequisite: departmental approval. texture mapping, animation, digital composit- 590 Directed Research (1-12, FaSpSm) ing, visual effects, and input/output using Research leading to the master’s degree. 462 Visual Effects (2, FaSp) Survey of con- 3-D interactive computer graphics tech- Maximum units which may be applied to the temporary concepts and approaches to pro- niques. Recommended preparation: basic com- degree to be determined by the department. duction in the current stage of film and video puter knowledge. Graded CR/NC. effects work. Digital and traditional method- ologies will be covered, with a concentration 524 Contemporary Topics in Animation and 594abz Master’s Thesis (2-2-0, FaSpSm) on digital exercises illustrating modern tech- Digital Arts (2, Sp) A seminar course focus- Credit on acceptance of thesis. Graded niques. Prerequisite: departmental approval. ing on contemporary issues affecting anima- IP/CR/NC. tion, especially digital cameras and new 482 Basic Motion Picture Techniques for interactive technology. Interdisciplinary view- Animators (2, Fa) Introduction for animation points from artists, scientists, theorists and ANIMATION (CTAN) majors to the basic techniques and processes others. of film, video and computer systems, includ- 330 Animation Fundamentals (2, Sp) An ing cinematography, editing and sound. 543 Intermediate Computer Animation introduction to the fundamentals of anima- (2, Irregular) The study of computer anima- tion, covering such topics as timing, antici- 495ab Experimental Animation (2-2, FaSp) tion including storyboarding, geometric mod- pation, reaction, overlapping action, and This experimental animation class provides eling, choreography, lighting, texture map- metamorphosis. students with the opportunity to develop ping, background creation and rendering. their own concept ideas, experiment with Prerequisite: CTPR 508x. 432 Introduction to Animation (2, Sp) Intro- innovative animation techniques and produce duction to the expanding field of animation, a 30- to 60-second animated film. Open to 544 Introduction to Film, Video and Com- from classical character to experimental and senior animation minors and graduate stu- puter Animation (3, Fa) Fundamentals of computer animation, including virtual reality dents in the M.F.A. Animation program only. film, video and computer animation produc- and the latest digital visual effects for Holly- tion. Orientation to assist students in deter- wood feature films. mining future emphases and specialties. Open only to M.F.A. Animation students. Courses of Instruction 165

547 Animation Production I (3, Sp) Practicum 593 Directed Studies in Animation 393 History of the American Film, 1946-1975 in film, video and computer animation empha- (2, max 4, FaSp) Individual exploration (4, Fa) Cinematic and extra-cinematic deter- sizing the production process through individ- in the areas of contemporary technology, ani- minants of Post-Classical and Modernist Hol- ual projects. Open only to M.F.A. Animation mation techniques or experimental film lywood studio and independent genres, students. Prerequisite: CTAN 544. through internships, residencies or directed styles, and the star-phenomenon and their studies. relationship to American history and culture. 548 Animation Production II (3, Fa) Two person intermediate practicum in film, video 594abz Master’s Thesis (2-2-0) Credit on 394 History of the American Film, and computer animation, emphasizing con- acceptance of thesis. Graded IP/CR/NC. 1977–present (4, Sp) Cinematic and extra- tent and form. Open only to M.F.A. Anima- cinematic determinants of Postmodernist tion students. Prerequisite: CTAN 547. 599 Special Topics (2-4, max 8, Irregular) Hollywood studio and independent genres, Detailed investigation of new or emerging styles, and the star-phenomenon and their 549 Animation Production III (3, Sp) Crew aspects of cinema; special subjects offered by relationship to American history and culture. constituted advanced practicum in film, visiting faculty; experimental subjects. video, and computer animation. Open only 400 Non-Fiction Film and Television (4, Fa) to M.F.A. Animation students. Prerequisite: An international survey of documentary, CTAN 548. CRITICAL STUDIES (CTCS) informational, and independent experimental film, video and television. 563 Advanced Computer Animation 190 Introduction to Cinema (4, FaSp) (2, Irregular) Investigation of advanced com- Gateway to the majors and minors in cinema- 402 Practicum in Film/Television Criticism puter techniques related to character repre- television. Technique, aesthetics, criticism, (4, max 8, FaSp) Exercise in writing film and sentation and various types of algorithmically and social implications of cinema. Lectures television criticism using new and classic defined animation produced on either film or accompanied by screenings of appropriate films and television programs. Prerequisite: videotape. Prerequisite: CTAN 543. films. departmental approval.

576 Seminar in Film/Television and New 191 Introduction to Television and Video 403 Studies in National and Regional Technologies (4, Sp) Focus on film’s relation- (4, FaSp) Exploration of the economic, tech- Media (4, FaSp) Detailed investigation of tra- ship to general technological developments, nological, aesthetic, and ideological character- ditions, achievements, and trends of film what it owes to technologies that preceded it, istics of the television medium; study of his- and/or electronic media in a particular coun- how it continues to develop in relation to torical development of television and video try or region. emerging technologies and how it influences including analysis of key works; introduction the shape of these newer technologies. Pre- to TV/video theory and criticism. 404 Television Criticism and Theory (4, Sp) requisite: departmental approval. The evaluation of television programs and 192m Race, Class, and Gender in American their reception from various theoretical per- 577ab Fundamentals of Animation Film (4, Sp) Analyzes issues of race, class and spectives which may include cultural studies, (a: 2, Fa; b: 2, Sp) The exploration of the gender in contemporary American culture as race and ethnic studies, psychoanalysis, gen- techniques of the art of character animation represented in the cinema. der and queer studies, and semiotics. Prereq- with an emphasis on discipline, performance uisite: departmental approval. and personality observation, specializing in 200 History of the International Cinema I classical Hollywood animation. Open only to (2, Fa) The development of international 406 History of American Television (4, Fa) M.F.A. Animation students. cinema from its beginnings to World War II. History of television as an entertainment, Lectures, screenings, and discussions. information, and art medium. Emphasis on 579 Expanded Animation (2, Sp) A survey of Required for majors; recommended for programming and institutional history, includ- animation across media; applications to live non-majors. ing issues of regulation, censorship, aesthetics action film, the fine arts, architecture; link- and activism. ages with modern art, postmodern theory and 201 History of the International Cinema II social history. Open only to M.F.A. Animation (2, Sp) The development of international 407 African American Cinema (4, Irregular) students. Prerequisite: CTAN 451. cinema from World War II to the present. Lec- Intensive survey of African American cinema; tures, screenings, and discussions. Required topics include history, criticism, politics, and 591 Animation Pre-Thesis Seminar (2, Sp) for majors; recommended for non-majors. cinema’s relationship to other artifacts of A pre-production seminar, where students African American culture. complete the research, development, script 367 Global Television and Media (4, Irregu- and storyboards for their thesis project to be lar) Studies in the global configurations of 408 Contemporary Political Film and Video executed in CTAN 594abz. Open to M.F.A. television industries and cultures, including (4) Examination of a variety of politically Animation students only. new technologies and the textual and socio- engaged films and videotapes recently pro- logical analysis of global media events and duced in the U.S. and abroad, with particular 592 Master Class (2-6, max 12, Fa) A special programming. emphasis on aesthetic strategies. projects course in which students produce a major work through weekly meetings 392 History of the American Film, 1925-1950 409 Censorship in Cinema (4, Fa) An inquiry with a master artist/animator. Topics must be (4, Sp) Screenings of American film classics into the practice and patterns of censorship in approved prior to enrollment. Prerequisite: and their relationship to society. Lectures and cinema. departmental approval; recommended prepara- discussions. tion: previous advanced animation production experience. 166 USC School of Cinema-Television

411 Film, Television and Cultural Studies 500 Seminar in Theory and Textual Analysis 569 Seminar in Film and Television Authors (4, FaSp) Detailed examination of film/ (4, Fa) Introduction to classical and contem- (4, max 8, Irregular) Seminar in the style of television from the perspectives and insights porary film theory; exploration of their rela- an auteur, studio, filmmaking, or televisual of Cultural Studies; focus on the production tionship to close textual analysis and filmic mode in terms of thematic and formal proper- and reception of cultural texts, practices, and experimentation. ties and their influences upon the art of film communities. and/or television. 501 History of the International Cinema 412 Gender, Sexuality and Media (4, Irregu- Before World War II (2, Sp) Historical survey 585 Seminar in Film/Television Critical lar) Examines how gender and sexuality are of international film from its beginning to the Theory and Production (4, Irregular) A con- figured in cinema and television with an advent of World War II. joint theory/production seminar, in which the emphasis on the development of feminist study of media texts will be combined with media theory. 502 History of the International Cinema media production informed by the theoretical After World War II (2, Fa) Historical survey study. Specific themes and area of focus may 464 Film and/or Television Genres (4, max 8, of international film from the beginning of vary. Prerequisite: departmental approval. FaSpSm) Rigorous examination of film and/or World War II to the present. television genres: history, aesthetics, cultural 587 Graduate Television Seminar (4, Sp) context, social significance, and critical 503 Survey History of the American Sound Detailed investigation and discussion of vari- methodologies. Film (2, Sp) A survey history of the American ous aspects of television. film from 1927 to the present, with emphasis 466 Theatrical Film Symposium (4, max 8, upon film as art form, economic institution, 599 Special Topics (2-4, max 8, Irregular) FaSp) Lectures and readings on creative technology, and cultural product. Detailed investigation of new or emerging problems in the motion picture industry; cur- aspects of cinema; special subjects offered by rent films; interviews with visiting producers, 504 Television, New Media and Culture visiting faculty; experimental subjects. directors, writers, performers. (2, Sp) An exploration of the historical, cul- tural, business, creative, and technological 673 Topics in Theory (4, max 8, FaSp) Con- 469 Film and/or Television Style Analysis aspects of commercial television and the new temporary theoretical frameworks and their (4, max 8, FaSpSm) Intensive study of the interactive media. relationship to film and television studies. style of an auteur, studio, film or television Topics differ from semester to semester. Pre- making mode in terms of thematic and for- 505 Survey of Interactive Media (2, Fa) A requisite: CTCS 500 and departmental mal properties and their influences upon the survey course exploring the historical, cul- approval. art of film. tural, business, creative and technological aspects of the new interactive media. 677 Cultural Theory (4, FaSp) Seminar in 473 Film Theories (4, FaSp) Influential ideas theoretical approaches to cultural studies; and theoretical approaches that have shaped 506 Critical Studies Colloquium/Professional focus on interdisciplinary research of media the making and study of film. Students are Seminar (1-2, max 4, FaSp) Provides orienta- and audiences, covering a range of methods encouraged to take this course in their junior tion to the profession, opportunities for aca- and theoretical frameworks; concentration year. Prerequisite: CTCS 190. demic and professional growth and develop- varies. Prerequisite: departmental approval. ment. Recommended for entering students, 478 Culture, Technology and Communica- 2 semesters enrollment required. 678 Seminar in Film Theory and Medium tions (4, FaSp) Cultural study of communica- Specificity (4, Irregular) Explores the way tions technology and its relationship to soci- 510 Case Studies in National Media and/or film has been theorized in relationship to tra- ety. Evaluation of the social and cultural Regional Media (4, max 8, Irregular) Semi- ditional media that preceded it and electronic impact of technologies from the telegraph to nar on media’s impact in defining nation media that followed. Prerequisite: CTCS 500, the Internet. and/or region in specific cultural contexts. departmental approval. Also addresses issues of exile, diaspora, trans- 494 Senior Seminar (4, FaSp) Rotating topics nationalism and globalism. Departmental 679 Seminar in Genre and/or Narrative The- involving detailed study of the historical, cul- approval required. ory (4, Irregular) Seminar in theoretical issues tural and aesthetic analysis of film, television, concerning genre and/or narrative as they and new media technologies. Open only to 511 Seminar: Non-Fiction Film/Video (4, Sp) pertain to media, literature or cultural forms. majors in the School of Cinema-Television. Aesthetic, rhetorical, and ideological issues in Areas of focus vary from semester to semester. non-fiction film and video. Departmental approval required. 495 Honors Seminar (4, Sp) Advanced work in the historical, cultural and aesthetic analy- 518 Seminar: Avant-Garde Film/Video (4, 688 Seminar in Historiography (4, Fa) Semi- sis of film, television, and new media tech- Irregular) Aesthetic, historical and ideological nar in theories and methods of film and tele- nologies. Open only to students in the CTCS issues in avant-garde film and video. vision history; focus on interpretation in his- Honors program. Prerequisite: CTCS 473. tory and reception studies. Prerequisite: 564 Seminar in Film and Television Genres departmental approval. 499 Special Topics (2-4, max 8, FaSpSm) (4, max 8, Sp) Advanced study of a selected Detailed investigation of new or emerging genre of film and/or television – its relation- 690 Special Problems (1-12, FaSpSm) Field aspects of cinema and/or television; special ship to history, society, and culture, as well as production; organization and administration subjects offered by visiting faculty; experi- to genre theory. of local film-producing units; experimental mental subjects. aspects of film communication; advanced 567 Seminar in Film/Television and a Related work in film history and criticism; teaching Art (4, max 8, Irregular) Historical, critical, cinema. Graded CR/NC. aesthetic, and theoretical issues raised by a comparison of cinema and television and other allied art forms. Courses of Instruction 167

699 Special Topics (2-4, max 8, FaSpSm) 534 Experiments in Interactivity I (2, Fa) 240x Practicum in Production (2 or 4, Sm) Seminars on special subject areas; focus Experimental studio course to explore con- Basic production techniques: introduction to on advanced research in film, television, cepts of structure, aesthetics and content of the cinematic elements, production tech- literature, and culture. Prerequisite: depart- interactive experience design. Open to Inter- niques, and equipment; film and/or videotape mental approval. active Media M.F.A. students only. Corequi- production. Not available for major credit to site: CTIN 532. CTPR majors. 790 Research (1-12, FaSpSm) Research lead- ing to the doctorate. Maximum units which 541 Intermediate Interactive Multimedia 241 Fundamentals of Cinema Technique may be applied to the degree to be deter- Workshop (4, FaSp) Practicum in the cre- (2, FaSp) Introduction to cinema production mined by the department. Graded CR/NC. ative and technical aspects of interactive techniques and equipment including produc- media technology: multimedia; digital video; ing, directing, camera, lighting and editing. 791 Historical and Critical Research producing and designing for interactive Open to Cinema-Television majors only. Con- Methods (2, max 4, FaSp) Methods and TV/cinema/cd/online. Students will design an current enrollment: CTPR 290. procedures for historical and critical research interactive piece. Prerequisite: CTPR 508x. in the visual media. Required tutorial with 242 Fundamentals of Cinematic Sound Ph.D. student’s dissertation committee chair, 542 Interactive Design and Production (2, FaSp) Introduction to sound design, designed to assist initial work on dissertation. (4, Sp) Interactive design, production, proto- recording, editing, mixing and finishing. Lec- Prerequisite: departmental approval. typing and testing of projects developed in tures, demonstrations and exercises. Open to CTIN 532. Open to Interactive Media production majors only. Concurrent enrollment: 794abcdz Doctoral Dissertation (2-2-2-2-0, M.F.A. students only. Prerequisite: CTIN 532; CTPR 290. FaSpSm) Credit on acceptance of disserta- corequisite: CTIN 544. tion. Graded IP/CR/NC. 280 Structure of the Moving Image 544 Experiments in Interactivity II (2, Sp) (2, FaSp) Basic theory and application of the Experimental studio course in application of concepts of time, space, composition, move- INTERACTIVE MEDIA (CTIN) technology to interactive experience. Open ment, light and color in motion picture pro- to Interactive Media M.F.A. students only. duction. Open to production majors only. 309 Introduction to Interactive Media Prerequisite: CTIN 534; corequisite: CTIN 542. (4, FaSp) Foundations of interactive multi- 288 Originating and Developing Ideas for media, including its historical evolution, 548 Preparing the Interactive Project (2, Sp) Film (2, FaSp) Exercises in observation, imag- design concepts, performance issues, resource An advanced production workshop in which inative association, visualization, etc., that programs and tools for critical analysis. students design and prepare for the produc- deepen the creative process, leading to ideas, tion of their advanced project. Open to Inter- stories, characters and images for narrative, 483 Interactive Entertainment and Multi- active Media M.F.A. students only. Prerequi- documentary and experimental films. Open media (4, FaSpSm) Introduction to creative site: CTIN 532. to Cinema-Television majors only. and technical aspects of new interactive tech- nology: multimedia; digital video and sound; 555ab Advanced Interactive Project (a: 4, Fa, 290 Cinematic Communication (4-6, FaSp) producing and designing for interactive b: 2, Sp) A two-semester sequence in which Introduction to filmmaking as related to cine- TV/cinema; virtual reality technique. students produce and test an advanced inter- matic expression, aesthetics, criticism, and active project. Open to Interactive Media ethics. Individual film projects. Open to 488 Interactive Game Design (2, Sp) Theory M.F.A. students only. Prerequisite: CTIN 548. Cinema-Television majors only. Prerequisite: and evaluation of interactive game experi- completion of GEs; concurrent enrollment: ences and principles of game design utilizing 558 Business of Interactive Media (2, Fa) In- CTPR 241, CTPR 242 (242 for production the leading software approaches and related depth investigation of publication, distribu- majors only), CTWR 413. technologies. Recommended preparation: CTIN tion, business and legal aspects of the inter- 309, CTIN 483. active entertainment business. 301 Creating the Non-Fiction Film (4, Fa) Research and writing challenges of non- 499 Special Topics (2-4, max 8, FaSpSm) 584 Graduate Interactive Group Project fiction film (documentary, educational, indus- Detailed investigation of new or emerging (6, FaSp) Advanced interactive group work- trial, political, etc.), from treatment to fin- aspects of cinema, television, and/or interac- shop for students who want to produce and ished script. (Duplicates credit in former tive media; special subjects offered by visit- complete an advanced interactive media proj- CTWR 301.) ing faculty; experimental subjects. ect. Prerequisite: CTPR 541, CTPR 551. 310 Intermediate Film Production (4, FaSp) 511 Interactive Media Seminar (1, max 2, Basic principles of visual and audio commu- FaSp) Seminars on latest trends in interactive PRODUCTION (CTPR) nication; idea development using image, media content, technology, tools, business movement, pace, the spoken word and other and culture. Graded CR/NC. 205 Introduction to Filmic Design (4, Sp) sounds; action and sound relationships; indi- The visual structure of film; basic compo- vidual projects. Prerequisite: CTPR 241, 532 Interactive Experience Design (4, Fa) nents: space, line, color, contrast/affinity. Film CTPR 242, CTPR 290, and CTWR 413; con- The development of interactive experiences and video projects. (Duplicates credit in for- current enrollment: CTPR 376. with an emphasis on writing and develop- mer CTWR 205.) Prerequisite: CTWR 105. ment. Open to Interactive Media M.F.A. stu- 318 Acting Experience for Writers (2, Fa) dents only. Prerequisite: CTWR 518; corequi- 235 Techniques in Motion Picture Production Basic acting theory and techniques to site: CTIN 534. (2 or 4, max 4, Sm) Introduction to basic acquaint the writer with the needs and tech- techniques used in films. niques of the performer. (Duplicates credit in former CTWR 318.) 168 USC School of Cinema-Television

319 Directing for Writers: Pre-production 385 Colloquium: Motion Picture Production 424 Advanced Camera and Lighting (2, Fa) Understanding the director’s role and Techniques (4, FaSpSm) Basic procedures (4, Irregular) Camera and lighting principles responsibilities in preparing a script for pro- and techniques applicable to production of and techniques in commercial, educational, duction, and beginning the shoot; learning all types of films; demonstration by produc- and dramatic films; achieving realism with the process of translating the script into tion of a short film from conception to quality under studio and field conditions; cre- film; the challenges and opportunities of completion. ative cinematography; new developments. working with actors and a production team. Prerequisite: CTPR 376. Open to B.F.A. Writing for Screen and Tele- 386 Art and Industry of the Theatrical Film vision students only. (Duplicates credit in for- (4, FaSp) Detailed analysis of one theatrical 425 Production Planning (2, FaSp) Theory, mer CTWR 319.) film from conception through critical recep- discussion, and practical application of pro- tion to develop an understanding of motion duction planning during preproduction and 324 Still Photography I (4, FaSpSm) History, pictures as art, craft, and industry. production of a film. storytelling, critical evaluation, technology with the still camera; communication, aes- 405 Filmic Expression (4, Irregular) Creative 426 The Production Experience (2, FaSp) To thetics, and composition; individual projects. aspects of film production; analysis of audio provide students with basic working knowl- and visual forces that make the film an edge of both the skills of the motion picture 327 Motion Picture Camera (3, FaSpSm) Use expressive means of communication; individ- set and production operations through class- of motion picture camera equipment; princi- ual projects. Lecture-demonstration. Prerequi- room lectures and hands-on experience. ples of black-and-white and color cinematog- site: CTPR 310, CTPR 376. raphy. Individual projects. 428 Summer Production Workshop (2-4, 409 Practicum in Television Production (2 or max 8, Sm) To investigate disciplines of 335 Motion Picture Editing (3, FaSp) 4, FaSp) Television production laboratory Cinema-TV with emphasis on one of the fol- Theory, techniques, and practices in picture course for students with a major production lowing areas: writing, directing, editing, cam- editing; use of standard editing equipment; commitment with Trojan Vision. Requires era, sound, editing, producing, interactive, individual projects. station management and Chair of Production computer animation or digital. approval. 371 Directing for Television (4, FaSp) Prepa- 439 Seminar in Computer Editing (2, Sp) ration of director’s preproduction blockout; 410 The Movie Business: From Story Con- Examines the differences between linear and study of direction for live, tape, and film pro- cept to Exhibition (2, FaSp) Examination of non-linear editing systems through practical duction, for both dramatic and informational the industry from story ideas through script exercises, lecture, and demonstrations. television. Prerequisite: departmental approval. development, production and exhibition; evaluation of roles played by writers, agents, 440 LightWorks Editing (2, Fa) Theory and 375 Functions of a Director (4, Sp) Theo- studio executives, marketing and publicity. practice of LightWorks computerized editing. retical considerations of the director in rela- Students will study editing, input, output, tionship to the multiple facets of film produc- 419 Directing for Writers: Post-production and file management. Prerequisite: CTPR 310 tion. Prerequisite: departmental approval. (2, Fa) Understand the impact of the produc- or CTPR 508x; recommended preparation: com- tion process, staging, shooting, lighting, per- puter literacy. 376 Intermediate Cinematography (4, FaSp) formance and post-production on the realiza- Intermediate cinematography workshop; tion of a script; examine how scenes “play” 442 Advanced Still Photography (4, FaSpSm) practical problems and assignments. Prerequi- or fail. Open to B.F.A. Writing for Screen and A seminar and workshop on still photography site: CTPR 241, CTPR 242, CTPR 290 and Television students only. (Duplicates credit and photographic technique. Individual proj- CTWR 413; concurrent enrollment: CTPR 310. in former CTWR 419.) ects and technical critique, studio and dark- room demonstrations. Prerequisite: CTPR 324 380 Television Editing (4) Theory and prac- 421 Intermediate Motion Picture Editing or departmental approval. tice of editing tape and film for television. (3, FaSp) Intermediate motion picture editing Prerequisite: CTPR 310, CTPR 376. workshop; practical problems and assignments 444 Color Photography (4, FaSm) A study of encompassing film, video, and non-linear color still photography including color print- 382 Advanced Multi-Camera Television editing techniques. Intermediate editing class ing, processing, quality control and the aes- Comedy Pilot (4, FaSp) A hands-on course for undergraduates. Open to CNTV Produc- thetics and history of the medium. Darkroom which allows students to experience all tion students only. Prerequisite: CTPR 310. demonstrations and individual projects. aspects of multi-camera television production by creating a pilot episode of a situation com- 422 Makeup for Motion Pictures (2, FaSp) 445ab The Filmmaker and the Motion Picture edy. Recommended preparation: experience Lecture-laboratory in makeup relating it to Laboratory (2-2) Laboratory equipment and working at Trojanvision. mood of the story and emulsion of the cam- procedures; color theory and application; pho- era stock. tographic solutions and controls; sensitometry; 384 The Cinematic Structure of a Scene photographic aspects of sound; film/video (4, Sm) Writing and directing scenes as the 423 Introduction to Special Effects in Cin- post-production. Lectures, demonstrations, basis for study of their cinematic structure ema (2, FaSp) Introductory workshop in the field trips. Prerequisite: CTPR 310 or CTPR emphasizing tension, construction, camera aesthetics and practices of special effects, 508x; recommended preparation: CTPR 480 or placement, editorial structure, and contribu- embracing both the classical and contemporary CTPR 546. tion of sound and color. Prerequisite: depart- modes. mental approval. Courses of Instruction 169

451 Guerrilla Television (2, Fa) A history of 463 Production for Non-Profit Organiza- 477 Special Problems in Directing (2 or 4, TV made outside the mainstream, from the tions (2-4) Write, direct or produce a public max 8, FaSp) Detailed investigation and “guerrilla television” movement of the ’70s service commercial for television broadcast or analysis of problems in directing. Individual to the best Independent TV of the ’90s. This a short video for a non-profit community ser- projects. Prerequisite: CTPR 310 and course is taught from the producer’s/creator’s vice organization. Creation from concept CTPR 376. point of view. through completed production. Prerequisite: CTPR 310 or CTPR 508x or departmental 479 Practicum in Television Preproduction 452 Independent Video Production (2, FaSp) approval. (2, FaSp) Preproduction of a television series, Documentary production course specifically from concept through distribution, including designed to explore the non-traditional uses 467 Television Programming (2, Sp) Explo- breakdown, budget, shooting schedule, of digital video. Prerequisite: CTPR 451. ration of programming strategies, practices, directing, editing, producing, sound, location, sources, and services at local and national lev- and casting. Open to Production majors only. 453 Personal Voice: Documentary/Experi- els; network, public, and independent broad- Prerequisite: CTPR 310 or CTPR 508x. mental Production (4) A production work- cast and cable operations; audience research; shop that trains students to use personal schedule development. 480 Production Workshop I (4, max 12, experience as the basis for their story mate- FaSp) Intermediate practical work in film rial and video products in the tradition of 468 The Film Makers (4, FaSp) To define the production; creative use of camera, sound, diaristic literature, solo theatrical performance roles and goals of production designers, cine- editing, and production planning. Open to and personal voice media. Prerequisite: matographers, editors, and directors by meet- Cinema-Television majors only. Prerequisite: THTR 479. ing and discussing with them their responsi- CTPR 310, CTPR 376. bilities in the filmmaking process. Prerequisite: 454 Acting for Film and Television (4, FaSp) CTPR 290. 481abL Cinema Workshop (2-2, FaSpSm) Intensive examination of skills and techniques Practical experience in motion picture pro- necessary for successful performances in film 470 Practicum in On-screen Direction of duction. (Duplicates credit in CMPP 541abL.) and television. Practical application through Actors (4, FaSp) Concentration on the basic in-class exercises and assigned projects. skills in working with actors from a director’s 484 Advanced Multi-Camera Television point of view. Workshop (4, max 8, FaSp) Exercises and 455 Introduction to Production Design practical application for writing and produc- (2, FaSp) Structure of the filmic art depart- 472 Non-Theatrical Aspects of Film and TV ing a multi-camera television project. Special ment, fundamentals and application of design Producing (2, max 4, FaSpSm) Basic film and attention to the development of the sitcom. principles to film and television, including TV business procedures: financing, produc- Recommended preparation: CTPR 371 required script breakdown, design concepts and tion design, planning, management, and mar- for students who wish to direct a sitcom. storyboarding. keting of non-theatrical film and television products. 485 Production Workshop II (4, Irregular) 456 Introduction to Art Direction (2, FaSp) Intermediate experience in group filmmak- Introduction to computer drafting, set design, 473 Directing the Composer (2, Sp) ing affording expanded areas of responsibili- rendering and model-making for students Acquaints aspiring filmmakers (who have no ties. Take directorial responsibility or two with diverse abilities. Guest lectures, group musical background) with the fundamental areas different from those taken in CTPR discussions and hands-on workshop. concepts of film music from theoretical, cre- 480. Lecture and laboratory workshop in ative, and pragmatic standpoints. Open to conjunction with CTPR 480. Prerequisite: 458 Organizing Creativity: Entertainment Cinema-Television majors only. CTPR 480. Industry Decision Making (2, FaSp) Analysis of the unique structures in the entertainment 474 Television Documentary Production 486 Senior Television Drama Production II industry for organizing and managing creativ- (4, FaSp) Production of short community- (4, Irregular) Advanced workshop with ity. Students research and chart pathways to based documentaries for telecast. Collabo- in-depth experience in specific production leadership. Open to Cinema-Television pro- rative research, writing, producing, direct- phases. Prerequisite: CTPR 480. duction majors only. Prerequisite: CTPR 310. ing, shooting, and editing. Emphasizes personal story telling. Class study of major 487 The Recording Studio in Film and Video 460 Film Business Procedures and Distribu- documentaries. Production (2) Exploration of the role of the tion (2 or 4, max 8, FaSpSm) Financing, recording studio in professional film and budgeting, management as applied to films; 475 Directing: Mise-en-Scene (4, FaSpSm) video productions. Emphasis on technical problems of distribution, including merchan- Through a semester-long collaboration, direc- and hardware considerations. Prerequisite: dising, cataloging, evaluation, and film library tors and actors learn how to work and com- departmental approval. management. municate with each other while shooting two scenes on camera per director. Prerequisite: 489 Television Docudrama Production (4) 461 TV Station Management (2, FaSp) CTPR 310, CTPR 376. Research, planning, and production of the Station organization and management of docudrama. locally produced programs. Topics include 476 Ethnographic Film Production program development, financing and distrib- (4, Irregular) Problems, requirements, and 493 Senior Television Seminar (2 or 4, max 4, ution, network relations and program acquisi- methods necessary to meaningful recording FaSp) Detailed investigation and discussion tion issues. of societies and cultures for anthropological of various aspects of television. study; film as a research tool. 170 USC School of Cinema-Television

495 Internship in Cinema/Television (1, 2 or 521x Filmic Communication (2, Fa) A hands- 538 Intermediate Producing (2, FaSp) Defi- 4, FaSpSm) On-the-job film, television and on introduction to the fundamental process nition, examination and practical experience interactive industry experience in the areas of and aesthetic principles of motion picture in the role of the line producer as it relates to interest of the individual student. Open only production, including filmic expression, criti- preproduction, production and post produc- to upper division undergraduate and graduate cism and ethics. Individual and group proj- tion. Prerequisite: CTPR 508x. students. Requires departmental approval. ects. Not available for credit to production majors. 539 Intermediate Graphics (2, Irregular) An 496 The Film Industry: Career Challenges investigation into the nature and meaning of and Choices for Women (2, FaSp) This class 525 Independent Feature Workshop graphic concepts relative to their use in film discusses women’s roles in the entertainment (2, FaSp) A practical examination of the and video. Prerequisite: CTPR 508x. industry and career opportunities available independent and low-budget feature film, for women in the business, corporate and cre- including development of individual projects 540 Intermediate Sound (2, FaSp) Practical ative sectors. and discussions with industry professionals. and aesthetic considerations relating to Open only to Cinema-Television majors. recording, editing and sound design. Prerequi- 497 Music Video Production (2, FaSp) Writ- Prerequisite: CTWR 414 or CTWR 514 or site: CTPR 508x or CTAN 547. ing the concept, budgeting, shooting, editing CTWR 529. and directing a music video. Also covered: 542 Intermediate Electronic Imaging getting the job, dealing with the band, work- 527 Special Effects in Cinema (2 or 4, max 4, (2, Irregular) Technical and creative aspects ing with the record company. Prerequisite: Irregular) Lecture, discussion, and exercises of electronic imaging such as high definition CTPR 241, CTPR 290, CTPR 310. in optical and/or mechanical special effects. television, multi-media, and digital television. Prerequisite: CTPR 241 and CTPR 290. Emphasis on understanding potential and 499 Special Topics (2-4, max 8, FaSpSm) limitations of state-of-the-art technologies. Detailed investigation of new or emerging 530 Producing for Independent Films Prerequisite: CTPR 508x. aspects of cinema and/or television; special (2, FaSp) Producing film, television and multi- subjects offered by visiting faculty; experi- media productions. Focuses on business pro- 543 Editing the Advanced Project (2, Irregu- mental subjects. cedures, production design, planning, budget- lar) Utilitarian seminar focused on editing ing, management, marketing, financing, and advanced projects. Open to Cinema- 506 Visual Expression (2, FaSp) Definition, the structures and practices of the industry. Television production students only. Corequi- analysis, and structure of the visual compo- site: CTPR 481a, 581a, 586a or 587a. nents that make film an expressive medium; 531 Planning the Production (2, max 6, theory and practical application; individual FaSp) A preproduction workshop in which 545 Intermediate Multi-Camera Television projects and lecture/demonstration. To be students complete the research and planning Workshop (4, FaSp) Practicum in the cre- taken in the second year. Prerequisite: of an intermediate project to be executed in ative usage of multi-camera and single cam- CTPR 508x and CTAN 547. CTPR 546L. Prerequisite: CTPR 508x. era electronic production techniques. Stu- dents will complete an 8-12 minute video 507x Production I (6, FaSp) A practical 532 Intermediate Directing (2, FaSp) Practi- piece using three camera production proce- exploration for graduate students of the fun- cal experience in staging dramatic narrative dures. Open to production majors only. Pre- damental technical and aesthetic principles of scenes, emphasizing directing actors, requisite: CTPR 508x. motion picture production. Involves individ- rehearsal techniques and camera blocking. ual and group projects. For graduate students Prerequisite: CTPR 508x. 546L Production III (6, max 12, FaSp) An only; not available for degree credit. intensive workshop experience in which stu- 534 Intermediate Production Design dents, crewing in their area of specialization, 508x Production II (6, FaSp) Practicum in (2, Irregular) Exercises in production design complete the shooting and postproduction of group production for graduate students, concentrating on practical and aesthetic projects up to 30 minutes in length. Prerequi- emphasizing the collaborative process and approaches to designing for film, television site: CTPR 508x. the expressive use of sound and image. For and commercials. Prerequisite: CTPR 508x. graduate students only; not available for 551 Planning the Advanced Production degree credit. Prerequisite: CTPR 507x and 535 Intermediate Editing (2, FaSp) Editorial (2, FaSp) An advanced preproduction work- CTWR 528. construction of film sequences to analyze the shop in which students complete the plan- interrelationships of the various film ele- ning of an advanced project to be executed in 512 Television Management (2, Fa) Prob- ments, both visual and aural. Prerequisite: CTPR 587ab, CTPR 581ab, CTPR 583, or lems of station and network management; CTPR 508x or CTAN 547. CTIN 584. Prerequisite: CTPR 546L. prerogatives and responsibilities in entertain- ment programming. 536 Editing for Scriptwriters (2, FaSp) Princi- 552 Advanced Directing (2, FaSp) An ples, techniques, practices and theories of advanced production class in directing. 519x Introduction to Cinema Technique editorial construction of film and TV scenes Encounters with experienced directors; and (2, Fa) Fundamentals of cinema production and sequences. Lecture, 2 hours; laboratory, individual student production of a short. Pre- techniques and equipment, including pro- 1 hour. (Duplicates credit in former requisite: CTPR 532 or CTPR 546L. ducing, directing, camera, lighting, sound and CTWR 536.) Open to M.F.A. Writing for editing. Not available for credit to production Screen and Television students only. 554 Advanced Sound (2, FaSp) Study of the majors. Concurrent enrollment: CTPR 521x. technical and aesthetic elements of sound 537 Intermediate Cinematography (2, FaSp) design at the professional level. Intended for Close study through practical exercises of the those contemplating a career in the field of technical and aesthetic principles of cine- audio. Prerequisite: CTPR 540 or CTPR 545 matography. Prerequisite: CTPR 508x or or CTPR 546L. CTAN 547. Courses of Instruction 171

555 Advanced Production Design 570 Studies in the Functions of a Director 594abz Master’s Thesis (2-2-0) Credit on (2, Irregular) Execution of a complete produc- (2, Fa) Analysis of the director’s relationship acceptance of thesis. Graded IP/CR/NC. tion design including script breakdown, story- to the multiple facets of film production. boards, production sketches, plans, elevations 599 Special Topics (2-4, max 8, Irregular) and a color model. Prerequisite: CTPR 534. 571 Personal Expression through Video Detailed investigation of new or emerging Art (2) Examines innovative format and tech- aspects of cinema; special subjects offered by 556 Advanced Editing (2, FaSp) Advanced niques in television and video art; facilitates visiting faculty; experimental subjects. editorial theory and practice intended for development of a personal voice and point- those specializing in film and electronic edit- of-view. Open only to CTPR majors. Prereq- ing. Prerequisite: CTPR 535 or CTPR 546L or uisite: CTPR 508x. WRITING (CTWR) CTPR 545. 575 Directing for Scriptwriters (2, Sp) Practi- 105 Nonverbal Thinking: Visual and Aural 557 Advanced Cinematography (2, FaSp) cal experience in directing for screen; special (2, Sp) An introduction to non-verbal ele- Advanced camera and lighting techniques for attention to framing, staging and use of cam- ments of images and sounds which convey those considering a professional career in era. Group projects in video or film. (Dupli- meaning, mood, and emotion. cinematography. Prerequisite: CTPR 537 or cates credit in former CTWR 575.) Open to CTPR 546L or CTPR 545. M.F.A. Writing for Screen and Television stu- 106ab Screenwriting Fundamentals (4-4, dents only. Prerequisite: CTWR 572. FaSp) a: Introduction to and overview of the 558 Advanced Producing (2, Irregular) elements of theme, plot, character, and dia- Defines and examines the role of the 580abL Graduate Production Workshop logue in dramatic writing for film. b: Exercises Executive/Feature Producer through the pre- (4-4, FaSp) Group film production. Prerequisite: in dramatic writing: theme, plot, character, dia- production, production and post production CTPR 480. logue and images. Integration of these ele- phases. Prerequisite: CTPR 538 or CTPR ments into scenes and sequences. Open to 546L or CTPR 545. 581abcz Individual Production Workshop B.F.A. Writing for Screen and Television stu- (4-2-2-0, FaSpSm) Individual experimental dents only. 559 Advanced Graphics (2, Irregular) projects involving the creative use of visuals Advanced study in graphic film/video produc- (live-action or animated) and sound. Open to 206ab Writing the Screenplay (a: 4, Fa; tion including writing, graphic arts, camera, Production majors only. Prerequisite: CTPR 532, b: 2, Sp) a: Development of synopsis and editing and sound. Prerequisite: CTPR 539. CTPR 546L, CTPR 551. Graded IP/Letter treatment for a theatrical or documentary Grade. screenplay: theme, plot, character, mise-en- 560 Seminar in Motion Picture Distribution, scene and utilization of cinematic elements. Budgeting, and Management (2 or 4, 582abz Advanced Production Seminar b: Creation of feature-length theatrical or doc- max 8, FaSp) Problems of location produc- (2-2-0, FaSpSm) Advanced individual film or umentary screenplay based on treatment tion, foreign release, and packaging. video projects under the guidance of a faculty developed in CTWR 206a. Open to B.F.A. mentor, without benefit of university equip- Writing for Screen and Television students 561 Publicity for Cinema and Television ment or resources. Open to production only. (4, Sp) Analysis and preparation of advertis- majors only. Graded IP/Letter Grade. Prereq- ing and publicity campaigns for entertain- uisite: CTPR 546L, CTPR 551. 213 Content and Consciousness (2, Fa) ment films and television. Inquiry into the relationship between cogni- 583 Graduate Television Production (6, FaSp) tive and affective knowledge as it relates to 562 Seminar in Motion Picture Business Advanced television group production work- the art of screenwriting and the screenwriter. (2 or 4, max 8, FaSp) Problems of studio shop for students who want to produce an operation, production, distribution, exhibi- advanced multi-camera project. Open to pro- 215 Practicum in Writing Short Films (2, Sp) tion, or legal procedures relating to the duction majors only. Prerequisite: directing and Developing stories less than feature length; motion picture. producing positions: CTPR 532, CTPR 551 writing screenplays from them; understand- and CTPR 546L or CTPR 545; other posi- ing what length each story demands; creating 563 The Business of Representation (4, FaSp) tions: CTPR 546L or CTPR 545. idiosyncratic forms and styles. Open to B.F.A. Various roles an agent, manager, attorney or Writing for Screen and Television students publicist play in representing talent, produc- 586ab Production IV (6-0, FaSpSm) Advanced only. ers and writers. Taught by professionals who group production workshop for students who are at the forefront of the entertainment have successfully completed Production III. 306ab Advanced Screenwriting (a: 4, Fa; industry. Prerequisite: directing position: CTPR 532, b: 2, Sp) a: Developing, revising the feature CTPR 546L, CTPR 551; non-directing posi- length treatment and screenplay for film or 566 Developing and Selling Your Film and tions: CTPR 546L and related intermediate television; writing the first draft screenplay. TV Projects (2, FaSp) Developing, pitching, seminar. b: Analyzing, rewriting the screenplay devel- and selling your feature motion picture and oped in CTWR 306a through final draft. TV projects. Open to undergraduate seniors 587abcz Group Production Workshop Open to B.F.A. Writing for Screen and Televi- and third-year graduate cinema majors only. (4-2-2-0, FaSpSm) Advanced group proj- sion students only. ect involving the creative use of visuals 568 Advanced Electronic Imaging (live action or animated) and sound. Mini- (2, Irregular) Electronic imaging in high mum enrollment: Director and Producer. definition television, interactive multi-media, Open to production majors only. Graded and computer animation. Emphasis on cre- IP/Letter Grade. Prerequisite: for directing ative use of the technologies for new forms of position: CTPR 532, CTPR 551; for produc- expression and communication. Prerequisite: ing position: CTPR 551. CTPR 542. 172 USC School of Cinema-Television

315x Filmwriting (3, FaSpSm) The basics 431 Screenwriters and Their Work (2, FaSp) 509 Understanding the Process of Film- of screenwriting: theme, story structure, char- Lectures and readings on creative problems making (2, Sp) An introduction for screen- acterization, format, dialogue, and scene in screenwriting: current scripts; interviews writers to the process of creating a feature description. A character profile, short treat- with visiting screenwriters. film, from script through release print, ment, and first 30 pages of the screenplay are including pre-production, production and written. Lectures, screenings, and in-class 433 Adaptations: Transferring Existing post-production. readings. Not for degree credit for Cinema- Work to the Screen (2, Fa) An examination Television majors. of motion picture adaptations; problems 513 Writing the Short Script (2, Fa) Prepara- attendant upon translating a novel, play, tion of scripts for short films; dramatic, infor- 316 The Affective Domain (2, Sp) The or other creative forms into screenplays. mational, experimental, and other forms. writer’s own self as a source of raw material; Prerequisite: CTWR 206b or CTWR 414 or individual and group guided exercises to CTWR 514 or CTWR 529 or departmental 514ab Basic Dramatic Screenwriting (a: 2, Fa; stimulate explorations of experiences and approval. b: 2, Sp) Dramaturgy for the fiction and non- emotional behavior essential to the creative fiction work. Techniques for creating the process. Open to B.F.A. Writing for Screen 434 Comedy Writing (2, FaSp) Exploration original or adapted theatrical length script. and Television students only. into filmic comedy; writing by committee; a: Emphasize narrative development through developing comedic timing; using humor as a short scripts, sequences and story outlines. 412 Introduction to Screenwriting (2) Intro- style of filmmaking. Prerequisite: CTWR 206b Prerequisite: CTWR 513. b: Development of duction to the formal elements of writing the or CTWR 414 or CTWR 514 or CTWR 529 an outline and feature length, original script. short film. or departmental approval. Open to M.F.A. Writing for Screen and Tele- vision students only. 413 Writing the Short Script I (2, FaSp) 435 Writing for Film and Television Genres Preparation of scripts for short films: form, (2 or 4, max 8, FaSp) Preparation of propos- 515abcd Practicum in Screenwriting (4-4-1- structure, planning. als and scripts for different types of film and 1, FaSp) a: Creation of a feature screenplay television programming: emphasis on concep- from presentation through treatment, includ- 414 The Screenplay (2, FaSpSm) Students tion, structure, characterization and format. ing some scene work. b: Comprehensive study story structure and develop several Prerequisite: CTWR 206b or CTWR 414 or rewriting of a second and third draft of a fea- story outlines, and a short script for possible CTWR 514b or CTWR 529 or departmental ture screenplay leading to a polished and pro- CTPR 480 production. They will also write a approval. fessional piece. c and d: Supervised rewrite of detailed, 15-25 page treatment for a feature feature screenplay. Prerequisite: CTWR 513 or film. Prerequisite: CTWR 412 or CTWR 413. 437 Writing the Situation Comedy Pilot CTWR 514; CTWR 515a for CTWR 515b; (2, FaSp) Essentials of television comedy CTWR 515b for CTWR 515c and d. 415ab Advanced Writing (4-2, FaSpSm) with in-depth study of ideas, character, and a: Principles of the two-hour story for film venues. Students will write an original story 516 Advanced Motion Picture Script Analy- and television, creating theme, character, and outline, treatment and polish. sis (2 or 4, FaSp) Detailed evaluation of com- structure that combine into a feature-length pleted scripts prior to their production; evalu- story. Prerequisite: CTWR 414. b: Creating a 441 Writing Workshop in Creativity and ation of existing classic scripts. feature-length script for film or television, Imagination (2, FaSp) Students will explore a using the craft of the screenwriter to convey variety of problem solving techniques to 517 Studio Communications (2, FaSp) Com- mood, energy, character, structure, and intent. strengthen their creative work and apply prehensive examination of forms; methods Prerequisite: CTWR 415a. these techniques to individual writing used by motion picture companies to dissem- projects. inate literary, business, production, and other 416 Motion Picture Script Analysis (2 or 4, information. FaSp) Evaluation of completed scripts prior 459ab Entertainment Industry Seminar to their production; evaluation of existing (2, Fa; 2, Sp) Examination and analysis of 518 Introduction to Interactive Writing classic scripts. various topics, issues and resources pertaining (2, Sp) A series of exercises written and dis- to creative, legal and business perspectives cussed for interactive experiences. 418ab Senior Thesis (a: 4, Fa; b: 4, Sp) for writers in the entertainment industry. Pre- a: Creation of feature-length treatment and requisite: 459a for 459b. 520 Advanced Scene Writing Workshop first draft senior thesis screenplay, including (2, SpSm) Intensive workshop oriented “pitching” experiences. b: Completion and 494x Practicum in Screenplay Development specifically to writing and rewriting the most revision of senior thesis project and introduc- (2, Sm) Development of writing skills learned effective and telling dramatic scenes to tion to motion picture industry procedures in CTWR 315x; students will develop and heighten audience participation and greater and practices through interaction with write the second and third acts of a screen- story impact. Prerequisite: CTWR 414, industry representatives. Prerequisite: play begun in CTWR 315x. Prerequisite: CTWR 514, or CTWR 529. CTWR 306ab. Open to B.F.A. Writing for CTWR 315x. Not for degree credit for Screen and Television students only. Cinema-Television majors. 521 Seminar in Writing Drama for Tele- vision (4) Writing for a variety of television 430 The Writer in American Cinema and 499 Special Topics (2-4, max 8, FaSpSm) formats: the series, the individual drama, the Television (2, FaSp) American and interna- Detailed investigation of new or emerging musical, children’s programs; working within tional writers in cinema; screenwriting; politi- aspects of cinema and/or television; special television time constraints; use of established cal and economic aspects of the writer in the subjects offered by visiting faculty; experi- characters as required. motion picture industry. Lectures, guest mental subjects. speakers, screenings. Courses of Instruction 173

528 Screenwriting Fundamentals (2, FaSp) 599 Special Topics (2-4, max 8, Irregular) 568 Producing for Television (2, Fa) Discus- Introduction to the principles of screenwrit- Detailed investigation of new or emerging sions of the creative and financial aspects of ing with special emphasis on story, characteri- aspects of cinema; special subjects offered by television producing. Open to MPPP stu- zation and dramatization. visiting faculty; experimental subjects. dents only.

529 Intermediate Screenwriting (2, FaSp) 569 Seminar on Non-Mainstream Producing Emphasizes structural elements crucial to the MOTION PICTURE PRODUCING (2, FaSp) Discussions on non-major studio feature film. Techniques for creating an origi- (CMPP) producing options, including non-traditional nal and adapted theatrical-length script. Pre- financing and non-theatrical producing. Open requisite: CTPR 507x and CTWR 528. 541L Producing Workshop (4, FaSp) to MPPP students only. Practical experience in motion picture pro- 533ab Writing the Feature Script (4-2, FaSp) duction as it relates to the producer. Open to 570 Advanced Television (2, Fa) Advanced Advanced screenwriting workshop. a: Devel- MPPP students only. (Duplicates credit in studies of the business of television, includ- opment of treatment and first act for feature- CTPR 481abL.) ing the economic structure of the television length script. Prerequisite: CTPR 508x industry. Open to MPPP students only. and CTWR 529. b: Completion of second 550 Script Analysis for the Producer (2, FaSp) and third acts and revision. Prerequisite: Detailed evaluation of completed scripts and 571 Producing the Screenplay (2, FaSp) CTWR 533a. of the producer’s role in bringing them to Overseeing the initiation and creation of the fruition. Open to MPPP students only. screenplay. 541 Writing from the Unconscious (2, FaSp) Students are introduced to unique problem 560 Script Development (2, FaSp) From idea 589ab Graduate Film Business Seminar solving methods over a broad spectrum of and story to finished shooting script. Open to (a: 4, Fa; b: 4, Sp) Economic structure and subject matter and integrate the results in MPPP students only. history of the film industry, including enter- specific creative writing assignments. tainment law and studio management. Open 561 Motion Picture Marketing (2, Sp) Analy- to MPPP students only. 553 Advanced Screenwriting (4, FaSp) sis and preparation of marketing campaigns Advanced feature screenwriting, emphasizing from concept to budgeting for various media. 591 Producing Practicum (2, Irregular) Pro- the rewrite of a first draft script. (Duplicates Open to MPPP students only. ducing workshop encompassing all aspects of credit in former CNTV 553b.) Prerequisite: producing, including script development, CTWR 533ab. 563 Producing Symposium (2, FaSp) Lec- budgeting, casting and actual production. tures on creative and business problems asso- 572 Practicum in Directing Actors for Film ciated with producing. Case studies of classic 592 Individual Project Seminar (4, Sp) (2 or 4, FaSp) Seminar in directing actors for films. Open to non-majors. Departmental Directed research project and seminars in film; emphasis on demonstration and labora- approval required. related topics. Open to MPPP students only. tory exercises, script analysis, and detailed (Duplicates credit in former CTPR 592.) study in character motivations. 564 Producing Business Procedures (2, FaSp) Seminars on various management and entre- 599 Special Topics (2, max 4, Irregular) 574 Advanced Seminar in Directing Actors preneurial techniques, including exhibition. Investigation of new and emerging aspects of for Film (2, FaSp) Emphasis on detailed Open to MPPP students only. producing motion pictures and television; script analysis and character motivation. Indi- special and experimental subjects. Open to vidual projects. Prerequisite: CTWR 572, 565 Scheduling and Budgeting (4, FaSp) MPPP students only. CTCS 673 or CTPR 532. Concept and preparation of a complete bud- get and production board. Open to MPPP 577ab Intermediate Screenwriting Work- students only. shop (2-4; 2-4, FaSp) a: Ideation and devel- opment of a treatment for a feature length, 566 Finance (2, FaSp) Seminar on financial original screenplay. Writing first act. Prerequi- aspects of film industry and methods of site: CTWR 514b. b: Completion of the first financing films. Open to MPPP students draft of the screenplay; introduction of tech- only. niques for rewriting; revisions of the first draft of the screenplay just completed.