USC School of Cinema-Television

heory melds with practice at the USC School of Cinema-Television, which offers

undergraduate and graduate-level courses in the Division of Critical Studies, Division of TFilm and Television Production, Division of Interactive Media and Division of Writing for Screen and Television, as well as advanced degrees in the Division of Animation and Digital Arts and Peter Stark Producing Program.

Since its founding in 1929, some of the world’s most talented writers, directors, producers, anima- tors, executives and scholars have flocked to the USC School of Cinema-Television. Their names are

the stuff of legend: Howard, Lucas, Milius, Wells and Zemeckis; their creations weave the fabric of

our culture: A Beautiful Mind, Star Wars, Apocalypse Now, The West Wing and Forrest Gump.

Consistently topping national rankings — including those compiled by U.S. News & World

Report — the school is renowned for its extraordinary faculty, superb location, strong alumni net- work, state-of-the-art facilities and unique educational philosophy. The school’s setting in the heart

The USC School of Cinema-Television, the oldest of Los Angeles ensures that students have access to the country’s leading film, television, animation film school in America, prepares students for varied careers in film and television including and interactive gaming producers; world-class literary and talent agencies; libraries and archives animation, screenwriting, production and brimming with research materials; and a vast alumni community that actively supports the school interactive media. and its students. All of the school’s outstanding faculty members have been or are currently work- ing professionally in their respective fields. Also interesting to note is that the school’s industry- standard equipment and facilities rival those found at many commercial studios.

Perhaps the school’s most important attribute, however, is its time-tested philosophy that recog- nizes that a student can only truly excel in his or her chosen area of expertise after exposure to all

elements of the art form. Consequently, there is an emphasis on cross-disciplinary course work that ensures that writers get behind the camera; critical studies scholars edit footage; and production majors examine the canon of work from a rigorous academic perspective.

In 2004, the USC School of Cinema-Television marked its “diamond jubilee” anniversary, celebrat- ing a 75-year tradition of training the next generation of creative talent and scholars in film, tele- vision and new media. 184 USC School of Cinema-Television

Administration Steven K. Nenno Chair in Television Studies: Research Associate Professor: Richard Weinberg, Elizabeth M. Daley, Ph.D., Dean Eileen Seiter, Ph.D. Ph.D.

Offices of Admission/Student Affairs Katherine and Frank Price Endowed Chair for Adjunct Faculty: Steve Albrezzi; Ioan Allen; Carson Television Center G-130 the Study of Race and Popular Culture: Todd Kate Amend; Tom Anderson; Wendy Apple; (213) 740-2911 Boyd, Ph.D. David Baron; Deborah Baron; Anne Beatts; Email: [email protected] Sandra Berg; Alan Berger; Fred Bernstein; www.usc.edu/schools/cntv Kay Rose Chair in the Art of Sound and Dialogue Bruce Block; Mitch Block; Steve Blume; Editing: Midge Costin, Ph.D. Peter Bonerz; Chuck Braverman; Paul Critical Studies Bricault; Peter Brinson; Robert Brown; Tara McPherson, Division Chair Fran and Ray Stark Endowed Chair: Lawrence Laurie Burton; Richard Burton; Ed Callahan; George Lucas Instructional Building 405 Turman, B.A. Frank Chindamo; Tim Clawson; Joseph (213) 740-3334* Cohen; Cornelius Cole; Kenneth Cosby; Kenneth Wanberg Chair in Music Editing: Martin Daniel; Johanna Demetrakas; Sam Film and Television Production Kenneth Hall Denoff; Eva Denst; Bill Dill; Sharon Doyle; Michael Taylor, Division Chair Richard Edlund; Mar Elepano; Peter Exline; George Lucas Instructional Building 404 Mary Pickford Foundation Professorship: Doe Van Flesher; Nina Foch; Kathy Fogg; Mike (213) 740-3317* Mayer, M.A. Ford; William Fraker; Robert Freedman; Ron Friedman; Jean-Pierre Geuens; Andrew Interactive Media Professors: Todd Boyd, Ph.D.; Drew Casper, Given; Scott Gorden; Janet Graham-Borba; Scott Fisher, Division Chair Ph.D.; Elizabeth M. Daley, Ph.D.; Scott Barbara Greyhosky; Andre Guttfreund; Eric George Lucas Instructional Building 310 Fisher, M.S.; John Furia, Jr., B.A.; Mark J. Hanson; Ted Harbert; Lynn Hendee; Rowdy (213) 821-2515* Harris, B.A.; Tomlinson Holman, B.S.; Herrington; Steve Hirsen; Michael Hoey; Joe FAX: (213) 821-2665 Gerald Isenberg, M.B.A.; David James, Ph.D; Hoffman; Todd Hoffman; Michael Hoggan; Richard Jewell, Ph.D.; Robert Jones; Jeremy Karen Horn; Joan Hyler; Jason Ipson; Joseph Writing for Screen and Television Kagan, M.F.A.; Marsha Kinder, Ph.D.*; Akira Janeti; James Jansen; Gabor Kalman; Kristy Howard A. Rodman, Division Chair Lippit, Ph.D.; Doe Mayer, M.A.; K. Kenneth Kang; Jeff Kleeman; Lou Kleinman; Randal George Lucas Instructional Building 301 Miura, M.A.; Christine Panushka, M.F.A.; Kleiser; Jeffrey Korchek; Tony Krantz; (213) 740-3303 Michael Renov, Ph.D.; Howard A. Rodman; Matt Kregor; Stu Krieger; Clifford Latimer; FAX: (213) 740-8035 Ellen Seiter, Ph.D.; Vibeke Sorensen, Lisa Leeman; Alan Lehman; Andrew Licht; M.A.H.; Michael Taylor, B.A.; Lawrence David Lloyd; Erik Loyer; Leonard Maltin; Peter Stark Producing Program Turman, B.A. Joe Manduke; Lisa Mann; Andrew Marlowe; Lawrence Turman, Division Chair Morgan Martin; Peter Marx; Frank George Lucas Instructional Building 302 Associate Professors: Tom Abrams, M.F.A.; McAdams; Phil Messina; Alex Metcalf; David (213) 740-3304 Don Bohlinger, M.F.A.; Linda Brown, M.F.A.; Milton; James Mitchell; Jay Moriarty; Dan FAX: (213) 745-6652 Midge Costin, M.A.; Pamela Douglas, M.A.; Nienaltowski; Noel Nosseck; Jim O’Keeffe; Jack Epps, B.A.; Anne Friedberg, Ph.D.; Peter Pampusch; Jennifer Peterson; Rebecca Animation and Digital Arts Kenneth Hall; Helaine Head, B.A.; David Pollack-Parker; Sandy Reisenbach; Shonda Kathy Smith, Division Chair Howard, M.F.A.; Judy Irola; Georgia Jeffries, Rhimes; Luisa Rivi; Vincent Robert; Howard Marcia Lucas Post Production Building 200 B.A.; Curtis Márez, Ph.D.; Tara McPherson, Rosenberg; Fred Rubin; Alan Rucker; Lionel (213) 740-3986 Ph.D.; Robert E. Miller, Ph.D.; Amanda Schaen; Scott Schwartz; Michael Scroggins; Pope, B.A.; Kathy Smith, B.A. Paul Seydor; Reid Shane; Fred Silverman; *For information regarding admission, call Elliott Silverstein; Tom Sito; Jason Squire; (213) 740-2911. Assistant Professors: David Bondelevitch, Lucy Stille; Brandon Stoddard; Noreen M.F.A.; Priya Jaikumar, Ph.D. Stone; Jeffrey Stott; Mark Stratton; Brian Faculty Sward Strom; Mary Sweeney; Mark Taft; Ken Steven J. Ross/Time Warner Dean’s Chair in Visiting Professors: Anne Balsamo; Mark Bolas; Tamburri; Jerry Tokofsky; Duke Underwood; Cinema-Television: Elizabeth M. Daley, Ph.D. Perry Hoberman; Norman Hollyn; Jennifer Michael Uno; Jon Wagner; Ken Wales; Trixie Holt Wattenbarger; Peggy Weil; David Weitzner; Electronic Arts Endowed Chair in Interactive Tristan Whitman; William Whittington; Oscar Entertainment: William (Bing) Gordon Visiting Assistant Professors: Julian Blecker; Williams; Holly Willis; David Zeiger; Robert Tracy Fullerton; Chris Swain Zemeckis; Vernon Zimmerman Hugh M. Hefner Chair for the Study of American Film: Richard B. Jewell, Ph.D. Senior Lecturers/Lecturers: Robert Ballo; Emeritus Professors: Gene Coe, M.F.A.; Ron Ted Braun; Christopher Chomyn; Jed Curfman, M.F.A.; Herbert E. Farmer, M.A.; Conrad Hall Chair in Cinematography: Judy Dannenbaum; Mary Beth Fielder; Pablo Trevor Greenwood, M.A.; Richard Harber, Irola Frasconi; Robert Gardner; Gary Goldsmith; M.A.; Edward Kaufman, Ph.D.; E. Russell Brenda Goodman; Don Hall; Carroll Hodge; McGregor, Ph.D.; Woody Omens, M.A.; Alma and Alfred Hitchcock Chair: Joseph Mary Jansen; Everett Lewis; Mardik Martin; Gene Petersen, M.F.A.; Melvin Sloan, M.A.; Andrew Casper, Ph.D. Earl Rath; Mark Shepherd; John Tarver; Wolfram von Hanwehr, Ph.D.; Daniel Jennifer Warren; David Weber; Paul Wolff; Wiegand, M.A.; Morton Zarcoff, M.A. Steven K. Nenno Endowed Chair in Television William Yahraus Production: Gerald I. Isenberg, M.B.A. Degree Programs 185

Degree Programs

The USC School of Cinema-Television Master of Arts, Cinema-Television Minor in Film, Video and Computer Animation offers professional and academic degree pro- This degree, which allows a track in Critical The minor in animation offers students an grams at the bachelor’s, master’s and doctoral Studies, is granted by the USC Graduate introduction to the theory and practice of ani- levels. School in conjunction with the School of mation, including its relationship to the his- Cinema-Television. The Critical Studies tory of art and cinema, creative writing, and Bachelor of Arts — Cinema Television track requires 36 units. basic film production. It provides students Students can choose either a Film and Tele- with an opportunity to create both personal vision Production or Critical Studies track. The Master of Fine Arts, Cinema-Television and collaborative work in a wide range of degree is granted through the USC College of The School of Cinema-Television offers this genres, from traditional character to contem- Letters, Arts and Sciences in conjunction with professional degree in two tracks: Film and porary experimental and computer animation. the School of Cinema-Television. The B.A. Television Production and Writing for Screen The program requires 32 units. degree requires 128 units. and Television. The Writing for Screen and Television track requires 44 units and the Minor in Performing Arts Studies Bachelor of Arts — Interactive Entertainment Film and Television Production track requires The minor in performing arts provides an The Bachelor of Arts in Interactive Enter- 52 units. interdisciplinary inquiry into the nature and tainment is granted through the College of aesthetics of the performing arts. It combines Letters, Arts and Sciences in conjunction Master of Fine Arts, Film, Video and Computer the disciplines of cinema-television, dance, with the school of Cinema-Television. Animation music and theatre. The minor is a unique Students study within a framework which This program requires 50 units. course of study that looks at how the perform- combines a broad liberal arts background ing arts contribute to a culturally literate soci- with a specialization in a profession. Under- Master of Fine Arts, Interactive Media ety. See the School of Theatre, page 848, for graduate students take their pre-professional This program requires 56 units. requirements. courses in the College of Letters, Arts and Sciences, including the general education Master of Fine Arts, Motion Picture Producing Minor in Screenwriting requirements. Major courses are selected The Peter Stark Producing Program requires The minor in screenwriting provides thor- from the curriculum of the School of Cinema- 44 units. ough training in the craft of writing for screen Television. The degree requires 128 units, and television. Students learn the fundamen- including 10 lower division units and 34 Doctor of Philosophy, Cinema-Television (Critical tals of character, conflict and scene structure upper division units in cinema-television. Studies) and build on their skills through each course The Ph.D. is based on a program of study as they write feature and television scripts in Bachelor of Fine Arts — Writing for Screen and and research culminating in the completion all genres and explore areas of their interest. Television of a dissertation in the major field of study. Students may apply in the spring or fall This is a unique program designed for stu- A minimum of 68 semester units (exclusive semester. The program requires 24 units. dents who wish to receive intensive training of dissertation registration) beyond the bacca- for non-fiction and fiction for screen and tele- laureate is required. Applicants who have Minor in 3-D Animation vision. The B.F.A. in Writing for Screen and completed a Bachelor of Arts or Master of See the School of Engineering, Information Television is granted through the School of Arts degree in Cinema-Television, or a close- Technology, page 596. Cinema-Television and requires 128 units. ly related field, may apply to the Ph.D. pro- gram. The doctoral degree is granted by the Minor in Video Game Design and Management Bachelor of Science in Business Administration — Graduate School in conjunction with the See the School of Engineering, Information Emphasis in Cinema-Television School of Cinema-Television. Technology, page 597. This program offers a unique coupling of the Marshall School of Business and the School of Cinema-Television Minor Writing in Screen and Television Certificate Cinema-Television in a four year joint degree. A minor in cinema-television is available to The Writing in Screen and Television In addition to the Marshall School of Business USC undergraduate students in all schools Certificate provides an established writer, core classes, the students will also take a and departments. The minor provides the domestic or international, with a one-year total of 24 units from the School of Cinema- opportunity for students to become familiar program of study. It is meant to accommodate Television. The competitive program is with various aspects of media study. Admis- a writer who has already attained significant offered to freshmen admitted to the Marshall sion to the minor program is granted in the recognition and would like to learn the craft School of Business as Business Scholars. fall and spring semesters. The program of screenwriting. Sixteen units are required. Upon completion of all requirements, stu- requires 24 units. dents will receive a Bachelor of Science in Business Administration with an emphasis in Cinema-Television. See the Marshall School of Business (page 129) for course requirements. 186 USC School of Cinema-Television

General Requirements

Acceptance of Transfer Units Student Advisement retake any prerequisite or core production The School of Cinema-Television does not Each program has its own advisement system. courses requires prior departmental commit- accept courses taken in film and/or television Check with the program administrator or with tee approval. production at other institutions to fulfill the CNTV Office of Student Affairs. Cinema- degree and minor requirements. Basic film or Television student affairs counselors are avail- Students who do not satisfy the degree television history courses can sometimes be able to answer questions about degree pro- requirement after repeating a class will be accepted for transfer credit. grams, grades, advisement and other matters. disqualified from the program.

No transfer credit will be accepted in lieu Grade Point Average Requirements Policy on Films and Videos Produced by of CTPR 241, CTPR 242, CTPR 290, A minimum grade of C, 2.0 (A = 4.0), must Students CTPR 310, CTPR 376, CTPR 507 and be earned in all required and prerequisite All films, videos and computer disks pro- CTPR 508 and any advanced production courses in order to progress to the next course duced with school equipment or facilities are courses. level. Students may attempt to improve a the property of USC. Any income from dis- grade lower than a C (2.0) only one time by tribution of student-produced films, videos No transfer credits are accepted for the Peter registering and retaking the specific course. and computer disks is used for the benefit of Stark producing track, the graduate programs Departmental approval is required in order to cinema-television students through equip- in animation and digital arts, screenwriting retake a CNTV course. ment purchases and so on. Students can pur- and interactive media. chase copies of their own work. In addition, a minimum grade point aver- Transfer policy for the Ph.D. requires advise- age must be achieved to earn all cinema- Tuition and Fees (Estimated) ment and approval of the division chair. television degrees (see the individual program Students in the School of Cinema-Television’s descriptions). For example, undergraduates graduate programs pay differential tuition Waiver of Course Requirements and graduates must earn a minimum grade (see the Schedule of Classes for current tuition Under special circumstances waivers and of C (2.0) in all required Cinema-Television rates). Undergraduate programs are assessed substitutions are granted; check with the courses. However, graduate students must the university-wide tuition rate with a once- CNTV Office of Student Affairs. All course also achieve a B (3.0) average in all courses a-semester access fee of $50. In addition, waivers and substitutions must be approved required for the degree. some classes are charged lab fees, as noted by the Associate Dean of Academic Affairs. in the Schedule of Classes, and insurance fees. Undergraduate students in the film and tele- The university reserves the right to assess The following courses cannot be waived for vision production program who achieve a new fees or charges. The rates listed are sub- students majoring in Film and Television grade lower than a C (2.0) in CTPR 241, ject to change without notice by action of the Production: CTIN 584, CTPR 241, CTPR 242, CTPR 290 (taken concurrently) Board of Trustees. CTPR 290, CTPR 310, CTPR 376, and CTPR 310, CTPR 376 (taken concur- CTPR 480, CTPR 507, CTPR 508, rently) and graduate students in the produc- CTPR 546L, CTPR 581abcz, CTPR 582abz, tion program who earn a grade lower than a CTPR 583, CTPR 586ab, CTPR 587abcz. C (2.0) in CTPR 508 and a no credit (NC) in CTPR 507 may petition to retake the required sequence only once. Permission to

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, of American and international film and world they represent; it studies not only the CA 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. Critical Studies 187

Bachelor of Arts

Bachelor of Arts, Cinema-Television: Critical In CTPR 290 students are taught the princi- CTCS 464 Film and/or Television Studies ples of filmmaking through demonstrations, Genres 4 The Bachelor of Arts degree in Cinema- hands-on production and critical analysis. CTCS 469 Film and/or Television Television with a track in Critical Studies is Each student makes five digital video non- Style Analysis 4 granted by the College of Letters, Arts and dialogue projects using equipment supplied CTCS 478 Culture, Technology Sciences in conjunction with the School of by the school. Approximately $1,000 should and Communications 4 Cinema-Television. Undergraduate students be budgeted for miscellaneous expenses, lab CTCS 494 Senior Seminar 4 take their pre-professional courses in the and insurance fees. CTCS 495* Honors Seminar 4 College of Letters, Arts and Sciences, CTCS 499** Special Topics 4 including the general education require- REQUIRED COURSES UNITS ments. Major courses are selected from CTCS 190 Introduction to Cinema 4 *Honors students only. the curriculum of the School of Cinema- CTCS 191 Introduction to **Major credit with departmental approval. Television. The degree requires 128 units, Television and Video 4 Grade Point Average Requirements including 22 lower division and 24 upper CTCS 192 Race, Class and Gender division units in cinema-television. A maxi- in American Film 4 A minimum grade of C (2.0) must be earned mum of 40 CNTV upper division units will CTCS 200 History of the in all required and prerequisite courses. apply to the B.A. degree. Before graduating, International Cinema I 2 A grade of C- (1.7) or lower will not satisfy a critical studies majors are encouraged to CTCS 201 History of the major requirement. take at least one small non-lecture class International Cinema II 2 Honors Program that emphasizes student critical writing or CTCS 473 Film Theories 4 research papers. This category may include CTPR 241 Fundamentals of Cinema Critical Studies offers an honors track for (but is not limited to): CTCS 402, sections Technique (taken concur- advanced students. Admission to the honors of CTCS 464 or CTCS 469 that require a rently with CTPR 290) 2 track is made at the end of the junior year D clearance, CTCS 494, CTCS 495 and CTPR 290 Cinematic Communication and requires a 3.75 GPA for courses in the CTCS 499. (taken concurrently with major (and a 3.5 GPA overall). Completion of CTPR 241) 4 the honors track is dependent upon success- General Education Requirements ful completion of a designated honors section The university’s general education program One course from the following: of CTCS 495 during the senior year. In this provides a coherent, integrated introduction CTCS 392 History of the American course, students will work with faculty in to the breadth of knowledge you will need to Film, 1925-1950 4 a seminar environment and produce an consider yourself (and to be considered by CTCS 393 History of the American advanced term paper based on original other people) a generally well-educated per- Film, 1946-1975 4 research and analysis. son. This program requires six courses in dif- CTCS 394 History of the American Limitations on Enrollment ferent categories, plus writing, foreign lan- Film, 1977-present 4 guage and diversity requirements, which No more than 40 upper division units can be together comprise the USC Core. See Four different courses from the following: taken within the major without prior approval pages 60 and 219 for more information. CTCS 367 Global Television and of the Dean, College of Letters, Arts and Media 4 Sciences. Required Production Courses CTCS 400 Non-Fiction Film and Undergraduates admitted to the Critical Television 4 Registration in graduate level courses Studies Program are required to take CTPR CTCS 402 Practicum in Film/ (numbered 500) for undergraduate credit 241 Fundamentals of Cinema Technique Television Criticism 4 requires prior approval of the School of and CTPR 290 Cinematic Communication. CTCS 403 Studies in National and Cinema-Television. These introductory production courses are Regional Media 4 Curriculum Review taken concurrently during the junior year CTCS 404 Television Criticism and (see description below). Theory 4 Cinema-Television majors are expected to CTCS 406 History of American meet with an academic advisor every semes- CTPR 241 is an experiential course dealing Television 4 ter to review their progress. Contact the with the technical and aesthetic principles of CTCS 407 African-American Cinema 4 Student Affairs Office, Carson Television directing, cinematography, editing and the CTCS 409 Censorship in Cinema 4 Center, Garden Level, Room G-130, (213) development of ideas through a cinematic CTCS 411 Film, Television and 740-8358, for an appointment. vocabulary. Cultural Studies 4 CTCS 412 Gender, Sexuality and Media 4 188 USC School of Cinema-Television

Master of Arts

The Master of Arts degree in Cinema- REQUIRED COURSES UNITS Comprehensive Examination Television with a track in Critical Studies is CTCS 500 Seminar in Film Theory 4 As the final requirement for the M.A. degree, administered through the Graduate School. CTCS 506 Critical Studies the comprehensive examination will be taken Candidates for the degree are subject to Colloquium/Professional in the final spring semester of course work. the general requirements of the Graduate Seminar 2 There is no thesis option. The examination School (see page 91). Thirty-six units are CTCS 587 Seminar in Television will consist of written responses to three required at the 400 level or higher, including Theory 4 questions selected from a list of fields, the a comprehensive examination. At least two- CTPR 507 Production I 4 appropriate fields chosen with the guidance thirds of these units must be at the 500 level of a faculty advisor. or higher. Three of the following: CTCS 501 History of the Global If the student has completed all course work Graduate Preparation Production Courses Cinema Before and is only taking the comprehensive exami- Each graduate student must pass CTPR 507 World War II 2 nation, he or she must register in GRSC 810 (4 units). This course provides a basic primer CTCS 502 History of Global Cinema Studies for Master’s Examination. in production considered necessary for gradu- After World War II 2 Grade Point Average Requirements ate studies in critical studies. CTCS 503 Survey History of the United States Sound Film 2 A grade point average of 3.0 must be main- CTPR 507 Production I (4 units) introduces CTCS 504 Survey of Television tained in all graduate level course work. the fundamental principles of motion picture History 2 Courses in which a grade of C- (1.7) or lower production, emphasizing visual and auditory CTCS 505 Survey of Interactive is earned will not apply toward a graduate communication. Each student makes several Media 2 degree. non-dialogue personal projects, serving as a Time Limit writer, producer, cinematographer, director, Two of the following: sound designer and editor and takes a crew CTCS 510 Case Studies in National Although students are normally expected to role on a collaborative project. Projects are Media and/or Regional complete the degree in two years, the degree shot on digital cameras and edited on non- Media 4 must be completed within five years of the linear systems. Approximately $1,200 should CTCS 511 Seminar: Non-Fiction beginning of graduate work at USC. be budgeted for miscellaneous expenses, lab Film/Video 4 Curriculum Review and insurance fees. CTCS 517 Introductory Concepts in Cultural Studies 4 At the beginning of their matriculation, and CTCS 518 Seminar: Avant-Garde each semester thereafter, each M.A. candidate Film/Video 4 will confer with a designated faculty advisor who will monitor the student’s progress. In addition, 8 units of cinema-television electives are required.

Doctor of Philosophy

Doctor of Philosophy in Cinema-Television Course Requirements (2) Two of the following: CTCS 677, CTCS 678, (Critical Studies) Each Ph.D. candidate must complete 68 units CTCS 679, CTCS 688. These courses should The degree of Doctor of Philosophy with an beyond the bachelor’s degree, 43 of which be taken before the qualifying examination. emphasis in Critical Studies is administered must be at the 500 level or higher. (Up to through the Graduate School. The Ph.D. 30 units may be transferred from graduate Graduate Preparation Production Course program is tailored to the individual student’s work completed at other institutions.) Disser- Each candidate for the Ph.D. must complete particular needs and interests. The overall tation units are not counted toward the CTPR 507 (4 units) with a minimum grade course of study will be designed by the stu- 68-unit total. The required units will include of credit (CR). If the student enters the dent, the student’s designated advisor and, 7 to 12 courses in cinema-television and 8 to program with a master’s degree in cinema- following the screening procedure, the stu- 16 units in the minor area. The minor will be television and possesses production experi- dent’s guidance committee chair (see chosen by the student in close consultation ence, the student may request a waiver of Screening Procedure under Graduate with the advisor and will be in an academic this requirement. The waiver requires pass- Preparation Production Courses). field which supports the student’s dissertation ing a written examination and submission of topic. Each student must complete the fol- films/videos to the production faculty for Admission lowing course work toward the 68 unit total: review. A bachelor’s or master’s degree in cinema- television, or a closely related field, is required (1) CTCS 500, CTCS 506, CTCS 510, CTCS for admission to the Ph.D. program. Applicants 587, CTPR 507. These courses should be with only a bachelor’s degree must successfully taken before the screening procedure. fulfill all of the USC Critical Studies M.A. degree requirements as part of the degree pro- gram (see Screening Procedure). Critical Studies 189

CTPR 507 Production I (4 units) is designed Ph.D. in Cinema-Television (Critical Studies), Dissertation Committee to introduce the fundamental principles of the committee is ordinarily composed of four The dissertation committee is composed as motion picture production. The course also Critical Studies faculty members and an out- specified by regulations of the Graduate introduces students to visual and auditory side member from the candidate’s minor area. School (see page 96). A dissertation based on communication and individual filmmaking. original investigation and showing technical Each student makes several non-dialogue Foreign Language Requirement mastery of a special field, capacity for research personal projects, serving as writer, producer, The Critical Studies faculty will advise each and scholarly ability must be submitted. director, cinematographer, sound designer and student as to whether or not a foreign lan- editor and takes a crew role on a collaborative guage is required. This requirement is deter- CTCS 794 project. Projects are shot on digital cameras mined by the student’s dissertation topic. Registration for dissertation units, CTCS 794 and edited on non-linear systems. Approxi- The requirement must be met at least 60 (a and b), in the two semesters following mately $1,200 should be budgeted for miscel- days before the qualifying examination. admission to candidacy is the minimum laneous expenses, lab and insurance fees. requirement. These units cannot be applied This course should be taken before the Dissertation Proposal Presentation toward the required 68 unit total. The stu- beginning of the screening procedure. Working closely with the guidance commit- dent must register for CTCS 794 each semes- tee chair, the student will prepare to present ter after admission to candidacy until the Screening Procedure his or her dissertation proposal to the full fac- degree requirements are completed. No The Graduate School requires that programs ulty. This will be a formal written proposal more than 8 units of credit can be earned in administer an examination or other procedure which will include a statement of the pro- CTCS 794. at a predetermined point in the student’s stud- posed topic, four fields for examination ies as a prerequisite to continuation in the doc- derived from the general dissertation topic Defense of Dissertation toral program. This procedure is designed to area (including a field from the minor area), An oral defense of the dissertation is required review the student’s suitability for continuing a detailed bibliography, and an appropriate and of each Ph.D. candidate. The dissertation in the chosen Ph.D. program. The School of comprehensive screening list of film/television committee will decide whether the examina- Cinema-Television has determined that this titles. Formal presentation of the dissertation tion is to take place after completion of the procedure will occur no later than the end of proposal will occur no later than the end of preliminary draft or the final draft of the dis- the student’s third semester of graduate course the semester prior to taking the qualifying sertation. The oral defense must be passed at work at USC beyond the master’s degree. The examinations. The guidance committee must least one week before graduation. screening procedure process will include the approve the dissertation topic. Once the dis- following steps: sertation topic has been approved, the student Policies will complete the Request to Take the Ph.D. The following policies apply to each student (1) If the faculty has determined during the Qualifying Examination form available from admitted to the Ph.D. program. admissions process that a comprehensive the program coordinator. examination will be required as part of the Residency Requirements screening procedure, an examination will be Qualifying Examinations At least one year of full-time graduate study administered as appropriate. If the examina- Written and oral examinations for the Ph.D. (24 units excluding registration for CTCS tion is passed to the faculty’s satisfaction, the are given twice a year, in November and 794) must be completed in residence on the student may proceed to the next step in the April. Questions for the written portion of the main USC campus. The residency require- screening procedure process. If the student examination will be drafted by members of ment may not be interrupted by study else- fails to pass the examination, the faculty will the guidance committee who will also grade where. Residency must be completed prior to determine if the student will be allowed to the examination. The qualifying examination the qualifying examination. retake the examination the following semes- comprises four examinations administered ter before proceeding to the next step in the one each day for four days during a five-day Grade Point Average screening procedure process. period. An overall GPA of 3.0 is required for all grad- uate work. Courses in which a grade of C- (2) The student will be interviewed and The oral examination will be scheduled with- (1.7) or lower is earned will not apply toward his or her progress in the program will be in 30 days after the written examination. All a graduate degree. reviewed by the faculty to determine if the guidance committee members must be pres- student will be approved for additional ent for the oral portion of the qualifying Leaves of Absence course work. If approved to continue, a guid- examination. A leave of absence may be granted under ance committee chair will be selected by the exceptional circumstances by petitioning the student, with the approval of the faculty, Admission to Candidacy Graduate School the semester before the who will serve as the student’s advisor. It is A student is eligible for admission to candida- leave is to be taken. strongly recommended that full-time study cy for the Ph.D. degree after: (1) passing the be pursued following the successful comple- screening procedure; (2) presenting the dis- Changes of Committee tion of the screening procedure. sertation proposal and having it approved; Changes in either the guidance or disserta- (3) satisfying the language requirement, if tion committee must be requested on a form Guidance Committee applicable; (4) completing at least 24 units in available from the Graduate School. Following a successful screening procedure, residence; and (5) passing the written and the student, in consultation with the guid- oral portions of the qualifying examination. ance committee chair and the Critical Studies Admission to candidacy is by action of the faculty, will formally establish a five-member Dean of the Graduate School. guidance committee. The composition of the guidance committee will be as specified by the Graduate School (see page 95). For the 190 USC School of Cinema-Television

Completion of All Requirements Time Limits When petitions are granted, students will be Everything involved in approving the disser- The maximum time limit for completing all required to make additional CTCS 794 regis- tation must be completed at least one week requirements for the Ph.D. degree is eight trations. Course work more than 10 years old before graduation. Approval by the disserta- years from the first course at USC applied is automatically invalidated and cannot be tion committee, the Office of Academic toward the degree. Students who have com- applied toward the degree. Records and Registrar, and the thesis editor pleted an applicable master’s degree at USC must be reported on the triple card and sub- or elsewhere within five years from the pro- mitted to the Graduate School by the date of posed enrollment in a Ph.D. program must graduation. complete the Ph.D. in six years. Extension of these time limits will be made only for com- pelling reasons upon petition by the student.

Film and Television Production

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

Bachelor of Arts

The Bachelor of Arts in Cinema-Television person. This program requires 6 courses in CTPR 242 introduces cinematic sound with a track in production is granted through different categories, plus writing, foreign lan- design, recording, editing, mixing and finish- the College of Letters, Arts and Sciences in guage and diversity requirements, which ing through lectures, demonstrations and conjunction with the School of Cinema- together comprise the USC Core. See pages exercises. Television. Students study within a frame- 60 and 219 for more information. work which combines a broad liberal arts In CTPR 290 students are taught principles background with specialization in a profes- Production Sequence of film making through demonstrations, sion. Bachelor of Arts students are enrolled Undergraduates admitted to the Film and hands-on production and critical analysis. in the College of Letters, Arts and Sciences, Television Production Program are required Each student makes five digital video non- where they take their pre-professional cours- to take CTPR 241 Fundamentals of Cinema dialogue projects using equipment supplied es, including the general education require- Technique, CTPR 242 Fundamentals of by the school. Approximately $1,000 should ments. Major courses are selected from Cinematic Sound and CTPR 290 Cinematic be budgeted for miscellaneous expenses, lab the curriculum of the School of Cinema- Communication. CTPR 241, CTPR 242 and and insurance fees. Television. The degree requires 128 units CTPR 290 are introductory production courses including 16 lower division units and 24 taken either in the second semester of the CTPR 310 Intermediate Film Production upper division units in Cinema-Television. sophomore year or the first semester of the and CTPR 376 Intermediate Cinematog- A maximum of 40 CNTV upper division junior year after a student has completed the raphy is the second required production units will apply to the B.A. degree. minimum required units and requirements sequence. These courses are also taken con- toward his or her USC degree. CTWR 413 currently. In these workshops students work Applicants must submit a supplemental Writing the Short Script I is taken concurrent- in teams of two, learning to collaborate and application and materials to the Under- ly with CTPR 241, CTPR 242 and CTPR explore the expressive potential of sound and graduate Production Program. For specific 290, and these four courses are prerequisites image through the production of two 16mm instructions, contact the Cinema-Television for the next production sequence, CTPR 310 black and white films. Both are non-dialogue Office of Admission, University Park, Los and CTPR 376. projects. Each student directs and prepares Angeles, CA 90089-2211, (213) 740-2911 or the soundtrack for the project he or she has online at www-cntv.usc.edu. CTPR 241 is an experiential course dealing written and is cinematographer and editor for with the technical and aesthetic principles of his or her partner’s project. Most equipment General Education Requirements directing, cinematography, editing, sound and and materials are provided by the school. The university’s general education program the development of ideas through a cinemat- However, approximately $1,950 should be provides a coherent, integrated introduction ic vocabulary. budgeted for miscellaneous expenses, lab and to the breadth of knowledge you will need to insurance fees. consider yourself (and to be considered by other people) a generally well-educated Film and Television Production 191

To qualify for enrollment in CTPR 310 and CTPR 486 Single Camera Television One of the following courses is required: CTPR 376, students must fulfill all require- Dramatic Series (prerequisite: CTPR 479) is CTCS 392 History of the American ments outlined in the CTPR 310/376 guide- a class in which students collaborate on the Film, 1925-1950 4 lines distributed in CTPR 242. Students are production and post-production of an original CTCS 393 History of the American required to form their own partnerships and episodic drama, 44 minutes in length, that is Film, 1946-1975 4 will not be allowed to register and participate shot on original sets. CTCS 394 History of the American without having a qualified partner. Film, 1977-Present 4 CTPR 241, CTPR 242, CTPR 290, CTPR CTCS 400 Non-Fiction Film and CTPR 310 and CTPR 376 are interrelated 310, CTPR 376 and CTPR 480 cannot be Television 4 courses that cannot be taken separately. waived or substituted with another course or CTCS 464 Film and/or Television Therefore, should a student fail to achieve a transfer credit under any circumstances. Genres 4 minimum grade of C (2.0) in either CTPR CTCS 469 Film and/or Television 310 or CTPR 376 (see the section on grade COURSE REQUIREMENTS UNITS Style Analysis 4 requirements) both courses must be retaken CTCS 190 Introduction to Cinema 4 the subsequent semester. CTCS 200 History of the One of the following courses is required International Cinema I 2 subsequent to completing CTPR 310/376: Following CTPR 310 and CTPR 376, stu- CTCS 201 History of the CTAN 448 Introduction to Film dents can take one or more of the following International Cinema II 2 Graphics–Animation 4 courses: CTAN 448; CTPR 480; CTPR 484; CTPR 241 Fundamentals of Cinema CTPR 480 Production Workshop I CTPR 486. Technique (taken (narrative or concurrently with documentary or video) 4 CTAN 448 Introduction to Film Graphics- CTPR 242, CTPR 290, CTPR 484 Advanced Multi-Camera Animation is a practical course in concepts, CTWR 413) 2 Television Workshop 4 media and techniques related to the graphic CTPR 242 Fundamentals of CTPR 486 Single Camera Television film. Cinematic Sound 2 Dramatic Series 4 CTPR 290 Cinematic Communication Grade Point Average Requirements In CTPR 480 Production Work I (prerequi- (taken concurrently with site: CPTR 310, CTPR 376) production stu- CTPR 241, CTPR 242, A minimum grade of C, 2.0 (A = 4.0), must dents form crews of eight to 10 persons to CTWR 413) 4 be earned in all required and prerequisite produce a synchronous sound project in one CTPR 310* Intermediate Film courses. A grade of C- (1.7) or lower will not semester. Each student is responsible for a Production (taken after fulfill a major requirement. specific aspect of the production: director, CTPR 241, CTPR 242, line producer, assistant director, cinematogra- CTPR 290, CTWR 413 Students who do not earn the minimum pher, editor or sound. and concurrently with grade of C (2.0) in CTPR 241, CTPR 242, CTPR 376) 4 CTPR 290, CTPR 310 and CTPR 376 after Film/video stock, processing, equipment and CTPR 376* Intermediate Cinema- repeating these requirements will be disqual- facilities are provided by the school. There tography (taken after ified from the program. are extra personal expenses associated with CTPR 241, CTPR 242, Limitations on Enrollment all production workshops. CTPR 290, CTWR 413 and concurrently with No more than 40 upper-division units can be The selection of scripts and directors for the CTPR 310) 4 taken in the major without approval of the advanced production workshop (CTPR 480) CTWR 413 Writing the Short Script I Dean, USC College. is made by the production faculty. Note: To (taken concurrently with qualify to direct an advanced production CTPR 241, CTPR 242, Registration in graduate level courses (num- workshop, a student must complete CTPR CTPR 290) 2 bered 500) for undergraduate credit requires 480 (non-directing position) and take a speci- CTWR 414 The Screenplay 2 prior approval of the School of Cinema- fied directing class. Television. *Note that enrollment in CTPR 310/CTPR 376 requires CTPR 484 Advanced Multi-Camera meeting specific guidelines. Curriculum Review Television Workshop is a class in which stu- Cinema-Television majors are expected to dents will produce a half-hour situation com- and a choice of: meet with an advisor every semester to edy pilot in one semester. CTPR 371 Directing for Television, review their progress. Contact the Student or Affairs Office (Carson Television Center, CTPR 475 Directing: Mise-en-Scene Garden Level G-130), (213) 740-8358, for an (Prerequisite: CTPR 310 appointment. and CTPR 376) 4 192 USC School of Cinema-Television

Master of Fine Arts

The Master of Fine Arts degree with a Film Students who do not earn a grade of credit Take two of the following courses; the second and Television Production track requires a (CR) in CTPR 507 or the minimum grade of course may be taken in year three. minimum of 52 units in cinema-television at C (2.0) in CTPR 508 or satisfy the degree CTIN 541 Design for Interactive the 400 or 500 level. A thesis is not required requirements after repeating a required course Media 4 for the M.F.A. degree. will be disqualified from the program. CTPR 545 Intermediate Multi- Camera Television Applications for the graduate production pro- CTIN 584, CTPR 507, CTPR 508, CTPR Workshop 4 gram are accepted for both fall and spring 510, CTPR 546L, CTPR 581abcz, CTPR CTPR 546L Production III semesters. See a current Graduate Study 583, CTPR 586ab and CTPR 587abcz cannot (non-directing capacity) 6 Application for deadlines. Applicants must be waived or substituted with transfer credit submit supplemental applications and mate- under any circumstances. Six units from the required cinema-television rials to the Graduate Production Program. electives (8 units if CTIN 541 and CTPR 545 For specific instructions, contact the Cinema- Three-Year Requirements for the M.F.A. in are chosen) Television Office of Admission, University Production CTAN 443 3-D Animation and Park, Los Angeles, CA 90089-2211, YEAR ONE, FIRST SEMESTER UNITS Character Animation 2 (213) 740-2911 or online at www-cntv.usc.edu. CTPR 507 Production I 4 CTAN 563 Advanced Computer CTPR 510 Concepts of Cinematic Animation 2 Graduate First Year Production Courses Production 2 CTPR 484 Advanced Multi-Camera CTPR 507 Production I (4 units), which CTWR 528 Screenwriting Television Workshop 4 brings together students from all CNTV divi- Fundamentals 2 CTPR 531 Planning the Production sions, introduces the fundamental principles (prerequisite to develop a of motion picture production, emphasizing 8 CTPR 546L documentary visual and auditory communication. Each stu- project) 2 dent makes several non-dialogue personal YEAR ONE, SECOND SEMESTER UNITS CTPR 532 Intermediate Directing projects, serving as writer, producer, director, CTCS 501 History of the Global (prerequisite to qualify cinematographer, sound designer and editor, Cinema Before to direct a CTPR 546L and takes a crew role on a collaborative proj- World War II, or or CTPR 583 project) 2 ect. Projects are shot using digital cameras CTCS 502 History of Global Cinema CTPR 533 Directing Techniques 2 and edited on non-linear systems. Approxi- After World War II, or CTPR 534 Intermediate Production mately $1,200 should be budgeted for miscel- CTCS 503 Survey History of the Design 2 laneous expenses, lab and insurance fees. United States Sound CTPR 535 Intermediate Editing 2 Production students must take CTPR 507 Film, or CTPR 537 Intermediate concurrently with CTPR 510 Concepts of CTCS 504 Survey of Television Cinematography 2 Cinematic Production, and CTWR 528 History, or CTPR 538 Intermediate Producing 2 Screenwriting Fundamentals in the first CTCS 505 Survey of Interactive CTPR 539 Intermediate Graphics 2 semester. Media 2 CTPR 540 Intermediate Sound 2 CTPR 508 Production II 6 CTPR 542 Intermediate Electronic In CTPR 508 Production II (6 units), stu- CTWR 529 Intermediate Imaging 2 dents working in crews of two produce two Screenwriting 2 CTPR 551 Planning the Advanced non-dialogue projects. The primary goal is Production 2 to communicate effectively through sound/ 10 CTPR 552 Advanced Directing 2 image relationships. Each student directs CTPR 554 Advanced Sound 2 and prepares the soundtrack for the project YEAR TWO, FIRST AND SECOND SEMESTERS UNITS CTPR 555 Advanced Production he or she has written and is cinematographer CTPR 506 Visual Expression 2 Design 2 and editor for his or her partner’s project. CTWR 516 Advanced Motion Picture CTPR 556 Advanced Editing 2 Students must form their own partnerships Script Analysis 2 CTPR 557 Advanced and will not be allowed to register or partici- Cinematography 2 pate without having a qualified partner. Most One of the following courses: CTPR 558 Advanced Producing 2 equipment and materials are provided by the CTCS 501 History of the CTPR 559 Advanced Graphics 2 school, but approximately $2,000 should be Global Cinema Before CTPR 566 Developing and Selling budgeted for miscellaneous expenses, lab World War II, or Your Film and TV Projects 2 and insurance fees. CTPR 508 is taken con- CTCS 502 History of Global Cinema CTPR 568 Advanced Electronic currently with CTWR 529 and one of the fol- After World War II, or Imaging 2 lowing: CTCS 501, CTCS 502, CTCS 503, CTCS 503 Survey History of the CTWR 533ab Writing the Feature CTCS 504, CTCS 505. United States Sound Script 4-2 Film, or CTWR 553** Advanced Screenwriting 4 A minimum grade of C (2.0) in CTPR 508 is CTCS 504 Survey of Television CTWR 572 Practicum in Directing required in order to continue in the Master History, or Actors for Film 2-4 of Fine Arts program. Students earning No CTCS 505 Survey of Interactive CTWR 574 Advanced Seminar in Credit in CTPR 507 or lower than a C (2.0) Media 2 Directing Actors for Film 2 in a core production course may repeat the requirement on a one time only basis upon approval of the division chair. Animation and Digital Arts 193

YEAR THREE, FIRST AND SECOND SEMESTERS UNITS One of the following critical studies courses: Cinema-Television Electives One course from the following: CTCS 464 Film and/or Television A minimum of 2 units of Cinema-Television CTIN 584* Graduate Interactive Genres 4 electives at the 400 and 500 level is required. Group Project 6 CTCS 469 Film and/or Television Grade Point Average Requirements CTPR 546L Production III (director Style Analysis 4 or different crew position) 6 CTCS 510 Case Studies in National A grade point average of at least 3.0 (A = 4.0) CTPR 581abcz* Individual Production and/or Regional Media 4 must be maintained in all USC course work Workshop 4-2-2-0 CTCS 511 Seminar: Non-Fiction toward the master’s degree. Courses in which CTPR 582abz* Advanced Production Film/Video 4 a grade of C- (1.7) or lower is earned will not Seminar 2-2-0 CTCS 518 Seminar: Avant-Garde apply toward a graduate degree. CTPR 583* Graduate Television Film/Video 4 Time Limit Production 6 CTCS 564 Seminar in Film and CTPR 586ab* Production IV 6-0 Television Genres 4 Students must maintain satisfactory progress CTPR 587abcz* Group Production CTCS 567 Seminar in Film/Television toward their master’s degree at all times. The Workshop 4-2-2-0 and a Related Art 4 time limit to complete all requirements is CTWR 553** Advanced Screenwriting 4 CTCS 569 Seminar in Film and three years from the first course at USC Television Authors 4 applied toward the Master of Fine Arts *Students must complete the prerequisites and follow CTCS 587 Seminarin Television degree. Course work more than seven years the guidelines for CTIN 584, CTPR 581abcz, CTPR Theory 4 old is invalidated and will not be applied 582abz, CTPR 583, CTPR 586ab and CTPR 587abcz. toward the degree.

**Four units of Cinema-Television electives at the 400 Graduate Review or 500 level if CTWR 553 is chosen. One year prior to graduation, students must see their academic advisors for a curriculum and graduation review. Contact the Produc- tion Faculty Office for forms (213) 740-3317.

Animation and Digital Arts

Master of Fine Arts

The Master of Fine Arts degree in Film, drawing and computer software provide addi- Requirements for the M.F.A. in Film, Video Video and Computer Animation is a three- tional educational opportunities. and Computer Animation year (six semester) graduate program YEAR ONE, FIRST SEMESTER UNITS designed for students who have clearly iden- Admission is granted once a year in the fall; CTAN 451 History of Animation 2 tified animation as their primary interest in there are no spring admissions. Approximately CTAN 482 Basic Motion Picture cinema. The program focuses on animation 14 students will be enrolled in each incoming Techniques for Animators 2 production, including a wide range of tech- class. In addition to practical production, the CTAN 522 Animation Department niques and aesthetic approaches, from hand- program also provides opportunities for field- Seminar 1 drawn character animation to state-of-the-art work experience and internships to facilitate CTAN 544 Introduction to Film, interactive computer graphics. While embrac- the student’s transition into the profession. Video, and Computer ing traditional forms, the program strongly Animation 3 encourages innovation and experimentation, Applicants for the M.F.A. in Film, Video and CTAN 577a Fundamentals of and emphasizes imagination, creativity and Computer Animation must submit a supple- Animation 2 critical thinking. Students should graduate mental application and materials. For specific with a comprehensive knowledge of anima- instructions, contact the Cinema-Television tion from conception through realization; an Animation and Digital Arts Program Office, YEAR ONE, SECOND SEMESTER UNITS understanding of the history of the medium University Park, Los Angeles, CA 90089-2211, CTAN 436 Writing for Animation 2 and its aesthetics; in-depth knowledge of (213) 740-3986, or online at www-cntv.usc.edu. CTAN 522 Animation Department computer animation software and the most Seminar 1 important elements of film, video and inter- The application deadline is February 15 for CTAN 547 Animation Production I 3 active media. the fall semester. CTAN 579 Expanded Animation 2 Elective* The program requires a minimum of 50 units: Prior knowledge of fundamental computer 38 units are in prescribed, sequential courses animation concepts and techniques is recom- in the School of Cinema-Television. The mended. Those without this background will other 12 units are cinema-television electives, be required to enroll in CTAN 523 Principles four of which must be taken in the Division of Computer Animation for two of their elec- of Critical Studies. A thesis is required for the tive units in year one. M.F.A. degree. Ongoing workshops in life 194 USC School of Cinema-Television

YEAR TWO, FIRST SEMESTER UNITS CTCS 407 African-American Cinema 4 The proposal itself will include a written CTCS 408 Contemporary Political CTAN 501 Interactive Animation 2 treatment of the project with a discussion of Film and Video 4 CTAN 522 Animation Department similar work in the field and its relationship CTCS 409 Censorship in Cinema 4 Seminar 1 to the proposed project. It will describe CTCS 464 Film and/or Television CTAN 524 Contemporary Topics aesthetic issues to be explored and specific Genres 4 in Animation and techniques to be employed in its realization. CTCS 469 Film and/or Television Digital Arts 2 It will also include a storyboard, budget and Style Analysis 4 CTAN 548 Animation Production II 3 schedule, in addition to supporting materials CTCS 501 History of the Elective* created by the student demonstrating his or Global Cinema Before her ability to pursue the project. The faculty World War II 2 committee will make comments and decide YEAR TWO, SECOND SEMESTER UNITS CTCS 502 History of Global Cinema whether the student may go forward with his After World War II 2 CTAN 522 Animation Department or her project. Upon acceptance, the student CTCS 503 Survey History of the Seminar 1 will begin work on the project, otherwise United States Sound Film 2 CTAN 549 Animation Production revising the proposal and meeting again with CTCS 510 Case Studies in National III 3 the committee. and/or Regional Media 4 CTAN 591 Animation Pre-Thesis CTCS 511 Seminar: Non-Fiction Seminar 2 In the third and final year, students concen- Film/Video 4 Elective* trate on their thesis projects, completing pro- CTCS 518 Seminar: Avant-Garde duction and post-production. All sound or Film/Video 4 music, final high-resolution rendering (for YEAR THREE, FIRST SEMESTER UNITS CTCS 564 Seminar in Film and computer animation), final film or video out- Television Genres 4 CTAN 522 Animation Department put, and compositing, titles or subtitles, will CTCS 567 Seminar in Film/ Seminar 1 be done during this time. Television and a CTAN 594a Master’s Thesis 2 Related Art 4 Elective* A final review will take place in the second CTCS 569 Seminar in Film and semester of the third year. The committee Television Authors 4 will meet and the student must show and YEAR THREE, SECOND SEMESTER UNITS CTCS 585 Seminar in Film/ defend the work. CTAN 522 Animation Department Television Critical Seminar 1 Theory and Production 4 Criteria for successful completion include: CTAN 594b Master’s Thesis 2 50 percent originality and 50 percent quality Thesis Project of execution. In order to begin work on the thesis project, *A minimum total of 12 elective units must be taken. students must first successfully propose their Grade Point Average Requirements project to a committee of M.F.A. Animation A grade point average of at least 3.0 (A= 4.0) Cinema-Television Electives Program faculty. The proposal is prepared dur- must be maintained in all USC course work To complete the 50 units required for the ing the second year of study in CTAN 591 toward the master’s degree. Courses in which M.F.A. in Film, Video and Computer Animation Pre-Thesis Seminar and is submit- a grade of C- (1.7) or lower is earned will not Animation, students are required to take a ted at the end of the second year. Throughout apply toward a graduate degree. Courses minimum of 12 School of Cinema-Television the three years of study, students will meet below a C must be repeated. elective units at the 400 and 500 level. Four regularly with an M.F.A. Animation Program of those units must be taken from the follow- faculty advisor to develop and refine the pro- Time Limit ing Critical Studies courses: posal and discuss the progress of their work. Students must maintain satisfactory progress The advisor will be a member of the thesis toward their master’s degrees at all times. ELECTIVES UNITS committee. The time limit to complete all requirements CTCS 400 Non-Fiction Film and is three years from the first course at USC Television 4 applied toward the Master of Fine Arts CTCS 402 Practicum in Film/ degree. Course work more than seven years Television Criticism 4 old is invalidated and will not be applied CTCS 404 Television Criticism toward the degree. and Theory 4 Writing for Screen and Television 195

Writing for Screen and Television

Bachelor of Fine Arts

The Bachelor of Fine Arts in Writing for Each student makes five digital video non- YEAR THREE, SECOND SEMESTER UNITS Screen and Television is a unique, four-year dialogue projects using equipment supplied CTPR 319 Directing for Writers: program for students who seek intensive pro- by the school. Approximately $1,000 should Fundamentals 2 fessional preparation for a career in screen be budgeted for miscellaneous expenses, lab CTWR 306b Advanced Screenwriting 2 and television writing. This rigorous program and insurance fees. CTWR 435 Writing for Film and emphasizes small, workshop-style classes, Television Genres 2 and attracts students from all over the world. Four-Year Major Requirements for the Students attend a variety of guest speaker B.F.A. in Writing for Screen and Television 6 presentations, take high level industry intern- YEAR ONE, FIRST SEMESTER UNITS ships, are provided with mentors and taught CTWR 106a Screenwriting YEAR FOUR, FIRST SEMESTER UNITS by world-class professors. Fundamentals 4 CTPR 419 Directing for Writers: Intermediate, or Each fall, a class of 26 undergraduate writing 4 CTPR 436 Editing for Writers 2 students is selected to begin the program. CTWR 418a Senior Thesis 4 A total of 128 units is required for completion YEAR ONE, SECOND SEMESTER UNITS CTWR 453 Advanced Feature of the Bachelor of Fine Arts degree; 72 of CTCS 190 Introduction to Cinema 4 Rewriting 4 these units are taken in a prescribed sequen- CTWR 105 Non-Verbal Thinking: CTWR 459a Entertainment Industry tial order. There are no spring admissions. Visual and Aural 2 Seminar 2 CTWR 106b Screenwriting 12 Applicants must submit supplemental appli- Fundamentals 4 cation and materials to the program office. For specific instructions, contact Writing 10 YEAR FOUR, SECOND SEMESTER UNITS for Screen and Television, University Park, CTWR 418b Senior Thesis 4 Los Angeles, CA 90089-2211 or telephone YEAR TWO, FIRST SEMESTER UNITS (213) 740-3303, or online at www-cntv.usc.edu. CTCS 200 History of the Inter- 4 national Cinema I 2 General Education Requirements Electives CTPR 318 Acting Experience The university’s general education program for Writers 2 A minimum of 20 elective units is required. provides a coherent, integrated introduction CTWR 206a Writing the Screenplay 4 to the breadth of knowledge you will need to CTWR 213 Content and Consciousness 2 Suggested electives in Cinema-Television consider yourself (and to be considered by include: other people) a generally well-educated per- 10 CTWR 430 The Writer in American son. This program requires six courses in dif- Cinema and Television 2 ferent categories, plus writing and diversity YEAR TWO, SECOND SEMESTER UNITS CTWR 431 Screenwriters and Their requirements, which together comprise the CTCS 201 History of the Work 2 USC Core. See pages 60 and 219 for more International Cinema II 2 CTWR 433 Adaptations: Transferring ork to the information. CTPR 241 Fundamentals of Cinema Existing W een 2 Technique 2 Scr Required Production Courses CTPR 290 Cinematic Communication 4 CTWR 434 Comedy Writing Genres 2 Undergraduate writing students are required to CTWR 206b Writing the Screenplay 2 CTWR 435 Writing for Television take CTPR 241 Fundamentals of Cinema CTWR 215 Practicum in Writing Genres 2, max 8 Technique and CTPR 290 Cinematic Commu- Short Films 2 CTWR 437 Writing the Situation nication. These introductory production courses Comedy Pilot 2 are taken concurrently during the sophomore 12 year. Grade Point Average Requirements YEAR THREE, FIRST SEMESTER UNITS A minimum grade of C (2.0) must be earned CTPR 241 is an experiential course dealing CTCS 464 Film and/or Television in all required and prerequisite courses (a with the technical and aesthetic principles of Genres, or grade of C- (1.7) or lower will not fulfill a directing, cinematography, editing and the CTCS 469 Film and/or Television major requirement). development of ideas through a cinematic Style Analysis 4 vocabulary. CTPR 301 Creating the Non-Fiction Film 4 In CTPR 290 students are taught the princi- CTWR 306a Advanced Screenwriting 4 ples of filmmaking through demonstrations, CTWR 434 Comedy Writing Genres 2 hands-on production and critical analysis. 14 196 USC School of Cinema-Television

Master of Fine Arts

The Master of Fine Arts, with a major in Course Requirements CTCS COURSES (6 UNITS REQUIRED) Writing for Screen and Television, is an inten- YEAR ONE, FIRST SEMESTER UNITS CTCS 464 Film and/or Television sive two-year degree program which concen- CTPR 507 Production I 4 Genres 4 trates on writing for narrative film and tele- CTWR 513 Writing the Short Script 2 CTCS 469 Film and/or Television vision. During the course of their studies, CTWR 514a Basic Dramatic Style Analysis 4 students benefit from a wide array of intern- Screenwriting 2 CTCS 501 History of the ship and mentorship opportunities available CTWR 572 Practicum in Directing Global Cinema Before as a result of the university’s close links to the Actors for Film 2 World War II 2 Los Angeles film industry’s top screenwriters, CTCS 502 History of Global Cinema directors, production companies and studios. 10 After World War II 2 CTCS 503 Survey History of the Course work includes practical instruction in YEAR ONE, SECOND SEMESTER UNITS United States Sound Film 2 everything a working writer needs to learn Take either CTWR 434, CTWR 437 or CTCS 504 Survey of Television about the filmmaker’s art and craft. Writing is CTWR 421. CTWR 434 and CTWR 437 are History 2 taught in small workshop-style classes. The interchangeable; CTWR 421 is not. It is a CTCS 505 Survey of Interactive approach focuses on the visual tools of story- required course. Media 2 telling, developing stories from characters and CTPR 536 Editing for Scriptwriters 2 CTCS 510 Case Studies in National then on an Aristotelian three act structure. CTWR 421 Writing the Hour-Long Media and/or Regional Fractured narratives, ensemble stories, experi- Dramatic Series, or Media 4 ments with time and points of view, as well as CTWR 434 Comedy Writing CTCS 511 Seminar: Non-Fiction other idiosyncratic styles of storytelling, are Genres, or Film/Video 4 also addressed. The curriculum covers other CTWR 437 Writing the Situation CTCS 518 Seminar: Avant-Garde professional concerns, including legal issues, Comedy Pilot 2 Film/Video 4 agents and the Writer’s Guild, as well as the CTWR 514b Basic Dramatic CTCS 564 Seminar in Film and history and analysis of cinema. Classes are Screenwriting 2 Television Genres 4 taught by working writers with a wide variety CTWR 516 Advanced Motion CTCS 569 Seminar in Film and of skills, experience and attitudes. Picture Script Analysis 2 Television Authors 4 CTCS 587 Seminar in Television 8 Each fall 32 students are selected to begin Theory4 the Graduate Writing for Screen and Television Program; there are no spring YEAR TWO, FIRST SEMESTER UNITS Grade Point Average Requirement admissions. Applicants must submit a supple- Take either CTWR 434, CTWR 437 or An overall grade point average of 3.0 (A = mental application and materials to the CTWR 421. CTWR 434 and CTWR 437 are 4.0) must be maintained in all courses. In Graduate Writing for Screen and Television interchangeable; CTWR 421 is not. It is a addition, an overall grade point average of Program. For specific instructions, contact required course. 3.0 in all units attempted is required to quali- the Graduate Writing for Screen and CTPR 575 Directing for fy for registration in CTWR 515ab. Courses Television Program, University Park, Scriptwriters 2 in which a grade of C- (1.7) or lower is earned Los Angeles, CA 90089-2211, or telephone CTWR 421 Writing the Hour-Long will not apply toward a graduate degree. (213) 740-3303, or online at www-cntv.usc.edu. Dramatic Series, or CTWR 434 Comedy Writing In lieu of a thesis, the student is required to A total of 44 units at the 400 and 500 level Genres, or complete a full-length screenplay which will is required. Course work includes hands-on CTWR 437 Writing the Situation be developed in CTWR 515ab and must be instruction in production, acting and directing. Comedy Pilot 2 accepted by the Division of Writing Graduation CTWR 459a Entertainment Committee. Graduate Production Preparation Course Industry Seminar 2 Time Limit CTPR 507 Production I, is taken in the first CTWR 515a Practicum in semester. This course covers the basic aspects Screenwriting 4 Students must maintain satisfactory progress of filmmaking through lectures and hands-on toward their master’s degrees at all times. production using digital video. 10 The time limit to complete all requirements is three years from the first course at USC CTPR 507 Production I (4 units), which YEAR TWO, SECOND SEMESTER UNITS applied toward the Master of Fine Arts brings together students from all CNTV CTWR 515b Practicum in degree. Course work more than seven years divisions, introduces the fundamental princi- Screenwriting 4 old is automatically invalidated and may not ples of motion picture production, emphasiz- be applied toward the degree. ing visual and auditory communication. Each 4 student makes several non-dialogue personal Total: 44 units required for the degree. The Writing for Screen and Television projects, serving as writer, producer, director, Only two writing courses can be taken per Certificate cinematographer, sound designer and editor, semester. The Writing for Screen and Television and takes a crew role on a collaborative proj- Certificate is awarded for one year of study. ect. Projects are shot using digital cameras Electives and edited on non-linear systems. Approxi- A minimum of 6 elective units at the 400 Applicants must be recognized writers out- mately $1,200 should be budgeted for mis- and 500 level is required. Electives outside side of the field of screenwriting. cellaneous expenses, lab and insurance fees. of CNTV are available with departmental approval. The Peter Stark Producing Program 197

The course of study is no less than 16 units The general course of study is as follows: SECOND SEMESTER UNITS total, over two semesters. Writers, both U.S. CTPR 536 Editing for Scriptwriters 2 and international, should appeal directly to FIRST SEMESTER UNITS CTWR 514b Basic Dramatic the chair for admission in the fall semester. CTWR 513 Writing the Short Script 2 Screenwriting, or 2 CTWR 514a Basic Dramatic CTWR 515b Practicum in Screenwriting 4 Admission is granted to only one or two Screenwriting, or 2 CTWR electives 2-6 scholars a year, and is of the highest selectiv- CTWR 515a Practicum in Screenwriting 4 ity. Applicants must have earned an under- CTWR 516 Advanced Motion Picture 8 graduate degree with at least a 3.0 GPA. Script Analysis 2 Additionally, candidates must show com- CTWR 572 Practicum in Directing pelling reason for not applying to a formal Actors for Film 2 degree program. 8

The Peter Stark Producing Program

Master of Fine Arts

The Peter Stark Producing Program is an In CMPP 541L, second semester students Cinema-Television Production Program or a innovative two-year (four semester) full-time work in teams, making two 8-10 minute Stark student. The Stark student may only graduate program designed to prepare a 16mm non-synchronous sound films. Equip- perform one major task on the film, i.e., direc- select group of highly motivated students for ment is provided by the school. tor or writer or producer. Each team has a careers as independent film and television professional advisor available as needed. producers or as executives in motion picture In lieu of a thesis, the completion requirement Completed films are screened at “First Look.” and television companies. is a fully-developed film project with an atten- dant budget and marketing/distribution plan. Inquiries regarding the program should be Approximately 25 Peter Stark Program stu- addressed to: Kathy Fogg, Associate Director, dents are enrolled each fall (there are no An internship period between school years The Peter Stark Program, USC School of spring admissions). The curriculum places gives students an opportunity to observe Cinema-Television, University Park, Los equal emphasis on the creative and the man- actual producing and executive operations Angeles, CA 90089-2211. Telephone agerial, to enhance and develop artistic skills with participating independent producers and (213) 740-3304, FAX (213) 745-6652 or email and judgment while providing a sound back- film companies. The internship period is of [email protected]. ground in business essentials. Each course is eight weeks’ duration during the months of continually updated to ensure that the Stark May, June and July. Stark summer intern- Two-Year Requirements for the M.F.A. in program remains responsive to the needs of ships are paid and subject to availability, aca- Motion Picture Producing our students and the ever-changing motion demic performance and good standing in the YEAR ONE, FIRST SEMESTER UNITS picture, television and communications field. first year of studies. CMPP 550 Script Analysis for the Producer 2 A minimum of 44 units of 400-level and 500- The completion of a fim /television industry CMPP 563 Producing Symposium 2 level courses is required for the Peter Stark internship, or combination of internships, CMPP 589a Graduate Film Business Producing Program leading to the M.F.A. of at least eight weeks, is a requirement for Seminar 4 degree. There are no prerequisites. Students graduation. CTPR 507 Production I 4 are required to take a production course in their first semester. During the second year, Peter Stark Produc- 12 ing Program students have an opportunity to CTPR 507 Production I (4 units), which initiate and produce a 20-minute synchronous YEAR ONE, SECOND SEMESTER UNITS brings together students from all CNTV sound film financed by the program. Projects CMPP 541L Producing Workshop 4 divisions, introduces the fundamental princi- to be produced are selected on a competitive CMPP 560 Script Development 2 ples of motion picture production, emphasiz- basis. CMPP 568 Producing for Television 2 ing visual and auditory communication. Each CMPP 589b Graduate Film Business student makes several non-dialogue personal Films must be produced by a Stark student or Seminar 4 projects, serving as writer, producer, director, team of Stark students. Scripts may be written cinematographer, sound designer and editor, by a cinema-television student from the Divi- 12 and takes a crew role on a collaborative proj- sion of Writing or a Stark student. The direc- ect. Projects are shot using digital cameras tor must be a graduate student from the and edited on non-linear systems. Approxi- mately $1,200 should be budgeted for mis- cellaneous expenses, lab and insurance fees. 198 USC School of Cinema-Television

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

Interactive Media

The division of Interactive Media offers a Bachelor of Arts in Interactive Entertainment and a Master of Fine Arts in Interactive Media as well as a number of courses in computer-based entertainment for non- majors. The fundamental philosophy of the division is coherent with that of the school’s program, stressing creativity of expression, experimentation and excellence in execution.

Bachelor of Arts

The Bachelor of Arts in Interactive Enter- other people) a generally well-educated per- Each student makes five digital video non- tainment is granted through the College of son. This program requires six courses in dialogue movies using equipment supplied Letters, Arts and Sciences in conjunction different categories, plus writing, foreign by the school. Approximately $1,200 should with the School of Cinema-Television. language and diversity requirements, which be budgeted for miscellaneous expenses, lab Students study within the framework which comprise the USC Core. See pages 60 and and insurance fees. combines a broad liberal arts background 219 for more information. with specialization in a profession. Under- REQUIRED COURSES UNITS Required Production Courses graduate students take their pre-professional CTCS 190 Introduction to Cinema 4 courses in the College of Letters, Arts and Undergraduates admitted to the Interactive CTIN 309 Introduction to Interactive Sciences, including the general education Entertainment Program are required to Entertainment 4 requirements. Major courses are selected take CTPR 241 Fundamentals of Cinema CTIN 483 Programming for from the curriculum of the School of Cinema- Technique and CTPR 290 Cinematic Interactivity 4 Television. The degree requires 128 units, Communication. These introductory produc- CTIN 484L Intermediate Game including 10 lower division units and 34 tion courses are taken concurrently (see Development** 4 upper division units in cinema-television. description below). CTIN 488 Game Design Workshop 4 CTIN 489 Intermediate Game General Education Requirements CTPR 241 is an experimental course dealing Design Workshop** 4 The university’s general education program with the technical and aesthetic principles CTPR 241 Fundaments of Cinema provides a coherent, integrated introduction of directing, cinematography, editing, sound Technique* 2 to the breadth of knowledge you will need to and the development of ideas through a cine- CTPR 290 Cinematic consider yourself (and to be considered by matic vocabulary. Communication* 4

In CTPR 290 students are taught the princi- *Enrollment in CTPR 241 and CTPR 290 is concurrent ples of filmmaking through demonstrations, **Enrollment in CTIN 484L and CTIN 489 is concurrent hands-on production and critical analysis. Interactive Media 199

At least three of the following are required: At least one of the following is required: Students who do not earn the minimum CTAN 330 Animation Fundamentals 2 CTCS 464 Film and/or Television grade of C (2.0) in CTIN 309, CTIN 483, CTAN 443 3-D Animation and Genres 4 CTIN 484, CTIN 488 or CTIN 489 after Character Animation 2 CTCS 478 Culture, Technology and repeating these requirements will be disqual- CTAN 452 Introduction to Computer Communications 4 ified from the program. Animation 2 CTIN 462 Critical Theory and CTIN 401L Interface Design for Analysis of Games 4 Limitations on Enrollment Games 2 CTIN 463 Anatomy of a Game 4 Registration in graduate-level courses CTIN 403L Advanced Visual Design CTWR 410L Character Development (numbered 500) for undergraduate credit for Games 2 and Storytelling for requires prior approval of the School of CTIN 404L Usability Testing for Games 4 Cinema-Television. Games 2 CTIN 405L Design and Technology for At least one of the following is required: Curriculum Review Mobile Experiences 2 CTIN 459L Industry Workshop 4 Cinema-Television majors are expected to CTIN 406L Sound Design for Games 2 CTIN 491L Advanced Game Project 4 meet with an advisor every semester to CTIN 458 Business and Management CTIN 492L Experimental Game Topics 4 review their progress. Contact the Interactive of Games 2 Media Program Office, Lucas 310B, (213) CTIN 464 Game Studies Seminar 2 Grade Point Average Requirements 821-2515, for an appointment. CTIN 482 Designing Online A minimum grade of C, 2.0 (A=4.0), must Multiplayer Game be earned in all required and prerequisite Environments 2 courses. A grade of C- (1.7) or lower will not CTIN 485L Advanced Game fulfill a major requirement. Development 2

Master of Fine Arts

The division of Interactive Media offers a The program is intended to prepare students and takes a crew role on a collaborative proj- Master of Fine Arts in Interactive Media as for creative careers in the emerging field of ect. Projects are shot using digital cameras well as a number of courses in computer- interactive entertainment. While the pro- and edited on non-linear systems. Approxi- based entertainment for non-majors. The gram does not require advanced computer mately $1,200 should be budgeted for mis- fundamental philosophy of the division is capabilities, familiarity and comfort with cellaneous expenses, lab and insurance fees. coherent with that of the programs of the computer based authoring and production/ school, stressing creativity of expression, post-production tools is recommended. Requirements for the M.F.A. in Interactive experimentation and excellence in execution. Media The creation of interactive media requires YEAR ONE, FIRST SEMESTER UNITS The Interactive Entertainment track is part of a combination of skills from the traditional CTCS 505 Survey of Interactive the M.F.A. in Interactive Media. This track media of film and television as well as a deep Media 2 focuses on game design and innovation and understanding of the effects of interactivity CTIN 511 Interactive Media Seminar 1 offers a list of suggested electives best suited upon the quality of experience. Therefore, CTIN 541 Design for Interactive for interests in interactive entertainment. we emphasize and encourage collaboration Media 4 Students in the Interactive Entertainment with students in other Cinema-Television CTPR 507 Production I 4 track are required to follow the M.F.A. in programs. Interactive Media curriculum. 11 Approximately 12 students are admitted in The M.F.A. in Interactive Media is a three- the fall semester (there are no spring YEAR ONE, SECOND SEMESTER UNITS year intensive program that requires 56 units admissions). CTIN 511 Interactive Media of which 42 are requirements and 14 are elec- Seminar 1 tives. Of these electives, a minimum of 6 Applicants for the M.F.A. in Interactive CTPR 506 Visual Expression 2 units must be taken in the School of Cinema- Media must submit a supplemental applica- CTWR 518 Introduction to Television. Students are required to complete tion and materials to the Interactive Media Interactive Writing 2 an advanced interactive project which they Program. For specific instructions contact the Electives 4 design and produce. Cinema-Television Office of Admission, Uni- versity Park, Los Angeles, CA 90089-2211, 9 Computer and digital production facilities (213) 740-2911 or online at www-cntv.usc.edu. for the program are provided by the school. YEAR TWO, FIRST SEMESTER UNITS However, students should budget additional CTPR 507 Production I (4 units), which CTIN 532 Interactive Experience funds for incidental expenses for interme- brings together students from all CNTV Design 4 diate and advanced projects. Cost will vary divisions, introduces the fundamental princi- CTIN 534 Experiments in depending on the scope of a student’s proj- ples of motion picture production, emphasiz- Interactivity I 2 ect. For the first year production course, ing visual and auditory communication. Each Electives 4 approximately $1,000 will be needed for student makes several non-dialogue personal miscellaneous costs, lab and insurance fees. projects, serving as writer, producer, director, 10 cinematographer, sound designer and editor, 200 USC School of Cinema-Television

YEAR TWO, SECOND SEMESTER UNITS CTCS 504 Survey of Television CTWR 528 Screenwriting CTIN 542 Interactive Design History 2 Fundamentals 2 and Production 4 CTCS 564* Seminar in Film and CTWR 529 Intermediate CTIN 544 Experiments in Television Genres 4 Screenwriting 2 Interactivity II 2 CTIN 401L* Interface Design for CTWR 541 Writing from the CTIN 548 Preparing the Games 2 Unconscious 2 Interactive Project 2 CTIN 403L* Advanced Visual Design for Games 2 No more than 4 units from the following**: 8 CTIN 404L* Usability Testing for CSCI 480 Computer Graphics 3 Games 2 CSCI 485 File and Database YEAR THREE, FIRST SEMESTER UNITS CTIN 405* Design and Technology for Management 3 CTIN 555a Advanced Interactive Mobile Experiences 2 CSCI 580 3-D Graphics and Project 4 CTIN 406L* Sound Design for Games 2 Rendering 3 CTIN 558 Business of Interactive CTIN 458* Business and Management Media 2 of Games 2 *Courses suggested as part of the Interactive Electives 4 CTIN 459L* Game Industry Workshop 4 Entertainment track CTIN 462* Critical Theory and **Courses not listed may satisfy this requirement with 10 Analysis of Games 4 approval of the program chair. CTIN 463* Anatomy of a Game 4 YEAR THREE, SECOND SEMESTER UNITS CTIN 464* Game Studies Seminar 4 Grade Point Average Requirement CTIN 555b Advanced Interactive CTIN 482* Designing Online An overall GPA of at least 3.0 (A = 4.0) must Project 4 Multiplayer Game be maintained in all USC course work toward CTPR 495 Internship in Environments 2 the master’s degree. Cinema/Television 2 CTIN 483* Programming for Electives 2 Interactivity 4 A minimum grade of C (2.0) must be earned CTIN 484L* Intermediate Game in all required courses. Students who do not 8 Development 4 achieve a grade of C (2.0) in the core courses CTIN 485L* Advanced Game CTIN 532, CTIN 534, CTIN 542 and CTIN ELECTIVES UNITS Development 2 544 after repeating these requirements will At least 6 units from the following: CTIN 488* Game Design Workshop 4 be disqualified from the program. The core CMPP 591 Producing Practicum 2 CTIN 489* Intermediate Game Design courses as well as CTIN 555ab cannot be CTAN 443* 3-D Animation and Workshop 4 waived or substituted with transfer credits Character Design 2 CTIN 491L* Advanced Game Project 4 under any circumstances. CTAN 451 History of Animation 2 CTIN 492L* Experimental Game Time Limit CTAN 452* Introduction to Computer Topics 4 Animation 2 CTIN 499* Special Topics 2-4 Students must maintain satisfactory progress CTAN 462 Visual Effects 2 CTIN 590 Directed Research 1-12 toward their master’s degrees at all times. CTAN 501 Interactive Animation 2 CTPR 455 Introduction to The degree must be completed three years CTAN 502a Virtual Reality and Production Design 2 from the first course at USC applied toward Stereoscopic Animation 2 CTPR 472 Non-Theatrical Aspects of the Master of Fine Arts degree. Course work CTAN 576 Seminar in Film/Television Film and TV Producing 2 more than seven years old is invalidated and and New Technologies 4 CTPR 530 Producing for Independent will not be applied toward the degree. CTAN 577a Fundamentals of Films 2 Graduate Review Animation 2 CTPR 566 Developing and Selling CTCS 409 Censorship in Cinema 4 Your Film and TV Projects 2 One year prior to graduation, students are CTCS 478* Culture, Technology and CTWR 410L* Character Development required to file M.F.A. forms for a curriculum Communications 4 and Storytelling for Games 4 and graduation review. Contact the Inter- CTCS 502 History of the Global CTWR 513 Writing the Short Script 2 active Media Program Office for forms. Cinema After CTWR 520 Advanced Scene Writing World War II 2 Workshop 2 Minor Programs 201

Minor Programs

Minor in Cinema-Television CRITICAL STUDIES UNITS THE FILM-TELEVISION INDUSTRY UNITS The minor in cinema-television combines CTCS 392 History of the American CTCS 466 Theatrical Film an introduction to this exciting and influ- Film, 1925-1950 4 Symposium 4 ential field with a diversified set of classes CTCS 393 History of the American CTPR 386 Art and Industry of in production, screenwriting, the film- Film, 1946-1975 4 the Theatrical Film 4 television industry and critical studies. The CTCS 400 Non-Fiction Film and CTPR 410 The Movie Business: curriculum is purposely flexible; students Television 4 From Story Concept may choose to sample two or more different CTCS 407 African American to Exhibition 2 aspects of the world of cinema and televi- Cinema 4 CTPR 425 Production Planning 2 sion in their upper division class choices or CTCS 409 Censorship in Cinema 4 CTPR 460 Film Business to concentrate their upper division course CTCS 464 Film and/or Television Procedures and work in an area of primary interest, such as Genres 4 Distribution 2 production. CTCS 469 Film and/or Television CTPR 461 Television Station Style Analysis 4 Management 2 A student attending USC may apply to minor in cinema-television if he or she is maintain- PRODUCTION UNITS ing normal degree progress. Admissions are CTIN 483 Programming for Grade Point Average Requirement made for the fall and spring semesters. Interactivity 4 A minimum grade of C (2.0) in each course is CTPR 327 Motion Picture Camera 3 required. A grade of C- (1.7) or lower does Application Procedures CTPR 335 Motion Picture Editing 3 not fulfill a minor requirement. To be considered for admission to the CTPR 371 Directing for Television 4 Film, Video and Computer Animation Minor cinema-television minor program, an appli- CTPR 375 Functions of a Director 4 cant must submit the following materials: CTPR 385 Colloquium: Motion The minor in animation offers students an (1) CNTV departmental application, Picture Production introduction to the theory and practice of ani- (2) academic records, including current USC Techniques 4 mation, including its relationship to the histo- transcripts, (3) personal statement. CTPR 422 Makeup for Motion ry of art and cinema, creative writing and Pictures 2 basic film production. It provides students Applications and admission information can CTPR 423 Introduction to Special with an opportunity to create both personal be obtained from the USC School of Cinema- Effects in Cinema 2 and collaborative work in a wide range of Television, Office of Admission, Carson CTPR 455 Introduction to genres, from traditional character to contem- Television Center, Garden Level, Production Design 2 porary experimental and computer animation. Room G-130, or telephone (213) 740-2911 or CTPR 456 Introduction to Art This includes painting, cel, stop motion, col- online at www-cntv.usc.edu. Direction 2 lage, mixed media, 2- and 3-D computer ani- CTPR 470 Practicum in On-Screen mation software and interactive digital media. Course Requirements for the Minor Direction of Actors 4 Successful completion of a final project is A total of 24 units is required for the minor in required. cinema-television, 8 in lower division courses WRITING UNITS and 16 in upper division courses. CTWR 315x* Filmwriting 3 Most students will enter the minor in anima- CTWR 412 Introduction to tion program in their sophomore year at Required Lower Division Courses (8 units) Screenwriting 2 USC. REQUIRED COURSES UNITS CTWR 414 The Screenplay 2 CTCS 190* Introduction to Cinema 4 CTWR 416 Motion Picture Script A student enrolled on the undergraduate CTCS 191 Introduction to Television Analysis 4 level at USC may apply to minor in anima- and Video 4 CTWR 431 Screenwriters and tion if he or she is maintaining normal Their Work 2 degree progress and is not undergoing any *Gateway course CTWR 494x* Practicum in Screenplay type of departmental, academic or university Development 2 disqualification. Upper Division Requirement (16 units) A minimum of 16 units is required from the *CTWR 315x and 494x cannot be applied toward Animation minor applications are reviewed by classes listed below. Courses may be taken degree credit for cinema-television majors. a panel of faculty members, with admissions from more than one category. made for the fall semester only. A maximum of 12 students will be admitted per year. 202 USC School of Cinema-Television

Application Procedures Applications and information can be obtained Grade Point Averages To be considered for admission to the minor at the Writing Division Office, Lucas 301, A minimum grade of C (2.0) in each course is in animation, the applicant is required to (213) 740-3303 and online at: www-cntv.usc.edu. required. A grade of C- (1.7) or lower does submit the following materials: (1) CNTV not fulfill a minor requirement. departmental application, (2) academic Course Requirements records including current USC transcripts, This 24-unit minor consists of three Graduate Courses (3) personal statement, (4) two letters of rec- components: Students may not apply more than 16 units of ommendation, and (5) portfolio (prints, slides, Fundamentals and Feature graduate level course work toward their uni- film and/or video). Applications and admis- Development 10 versity degree. sion information can be obtained from the Television Component 4 Minor in 3-D Animation USC School of Cinema-Television, Animation Additional Electives 10 and Digital Arts Program Office, Marcia The 3-D animation minor merges theoretical Lucas Post-Production Building, Room 200, 24 concepts and practical skills, to prepare stu- (213) 740-3986 or online at www-cntv.usc.edu. dents for a career in their major field of work FUNDAMENTALS AND FEATURE DEVELOPMENT with incorporation of 3-D animation and Grade Point Average Requirement (10 UNITS)* UNITS interactive technologies. Through integration A minimum grade of C (2.0) in each course CTWR 412 Introduction to of three major disciplines (cinema, fine arts is required. A grade of C- (1.7) or lower does Screenwriting 2 and information technology), students gain not fulfill a minor requirement. CTWR 414 The Screenplay 2 a solid foundation in a wide range of impor- CTWR 415ab Advanced Writing 4-2 tant industry and academic skills. See the Course Requirements Information Technology Program, page 596, The following courses are to be taken in a 10 for course requirements. prescribed sequential order. Thirty-two units are required. *Juniors and seniors with a 3.0 GPA in good standing Minor in Video Game Design and may elect to take the graduate equivalent of Management COURSES UNITS CTWR 533ab. The video game design minor integrates AHIS 120 Foundations of theoretical concepts and practical skills to Western Art 4 Students may begin their television and elec- prepare students for a career in interactive AHIS 121 Art and Society: tive components once CTWR 414 has been entertainment, specifically the video game Renaissance to Modern 4 completed. industry. Through integration of two major CTAN 436 Writing for Animation 2 disciplines (cinema and information technol- CTAN 448 Introduction to Film TELEVISION COMPONENT (4 UNITS) UNITS ogy), students will be exposed to a variety Graphics–Animation 4 CTWR 434 Comedy Writing Genres 2 of design concepts related to creating video CTAN 450abc Animation Theory CTWR 435 Writing for Film and games. See the Information Technology and Techniques 2-2-2 Television Genres 2 Program, page 597, for course requirements. CTAN 451 History of Animation 2 For specific information on admission and 4 CTAN 452 Introduction to application procedures, contact the School Computer Animation 2 of Cinema-TV at (213) 821-2515 or the CTCS 190 Introduction to Cinema 4 ADDITIONAL ELECTIVES (10 UNITS)* UNITS Information Technology Program at CTPR 385 Colloquium: Motion CTWR 416 Motion Picture Script (213) 740-4542. Picture Production Analysis 2 Minor in Performing Arts Studies Techniques 4 CTWR 430 The Writer in American Cinema and Television 2 The minor in Performing Arts provides an CTWR 434 Comedy Writing Genres 2 interdisciplinary inquiry into the nature and Minor in Screenwriting CTWR 435 Writing for Film and aesthetics of the performing arts. It combines The minor in screenwriting is designed to Television Genres 2 the disciplines of cinema-television, dance, train students in the creatively challenging CTWR 437 Writing the Situation music and theatre. The minor is a unique field of writing for screen and television. Comedy Pilot 2 course of study that looks at how the per- Students learn to write feature length screen- CTWR 441 Writing Workshop in forming arts contribute to a culturally literate plays, teleplays in both comedy and drama, Creativity and society. See School of Theatre, page 848, for and explore specialized areas of their choosing. Imagination 2 requirements. CTWR 453 Advanced Feature Application Procedures Rewriting 4 Students should apply after they have com- CTWR 459ab Entertainment Industry pleted CTWR 412 or CTWR 315x and Seminar 2-2 received a grade of “B” or better in the CTWR 499 Special Topics 2 course. A signature of support from the CTWR 412 or CTWR 315x professor is *As with the fundamentals classes, juniors or seniors required. Students are admitted to the minor with a 3.0 GPA in good standing may elect to take program in the fall and spring semesters. graduate writing electives which include: CTWR 516, CTWR 553, CTWR 572, CTWR 574, CTWR 599. Courses of Instruction 203

Courses of Instruction

The terms indicated are expected but are not 443 3-D Animation and Character 499 Special Topics (2-4, max 8, FaSpSm) guaranteed. For the courses offered during Animation (2, FaSp) Principles of 3-D anima- Detailed investigation of new or emerging any given term, consult the Schedule of tion and character design combining lectures, aspects of cinema and/or television; special Classes. aesthetic concepts and techniques demonstrat- subjects offered by visiting faculty; experi- ing the use of 3-D animation software and pup- mental subjects. Note: Instructor availability for a particular pet animation. Duplicates credit in former course or section cannot be guaranteed. CTAN 543. Prerequisite: CTAN 452. 501 Interactive Animation (2, FaSp) Introduces basic interactive and non-linear 448 Introduction to Film Graphics — approaches to animation through a series of CINEMA-TELEVISION (CNTV) Animation (4) Practical course in concepts, lectures and exercises, culminating in a group media, and techniques related to the graphic project. Prerequisite: CTAN 523; recommended 390 Special Problems (1-4, Irregular) film; symbology, composition, kinesthesis, preparation: Photoshop/Director (software). Supervised, individual studies. No more than animation, typography, color, and materials. one registration permitted. Enrollment by Survey; lecture; production. 502ab Virtual Reality and Stereoscopic petition only. Animation (a: 2, Fa; b: 2, Sp) a: An in-depth 449 Advanced Production in Film Graphics exploration of aesthetics and techniques 490x Directed Research (2-8, max 8, (2 or 4, max 8) Concentration on one area involved in the conceptualization, design FaSpSm) Individual research and readings. of graphic concept or advanced exploration of and production of immersive virtual environ- Not available for graduate credit. Prerequisite: media and techniques. Prerequisite: ments and stereoscopic animation. Prerequi- departmental approval. CTAN 448. site: departmental approval. b: Review of techniques and aesthetic issues pertinent to 498 The Visiting Artist Seminar 450abc Animation Theory and Techniques immersive virtual reality and stereoscopic (2, max 4, FaSp) Analysis of a particular cin- (2-2-2, FaSp) Explores the aesthetics and animation. Students realize an original proj- ema or television artist’s work and creative techniques of animation, ranging from tradi- ect proposed in CTAN 502a. Prerequisite: philosophy; screenings and informal discus- tional character to contemporary experimen- CTAN 502a and departmental approval. sions with the artist. tal and computer animation genres, through lectures, exercises and projects. 522 Animation Department Seminar 589 Graduate Film Seminar (2 or 4, max 8, (1, max 6, FaSp) A weekly seminar required FaSp) Detailed investigations and discussion 451 History of Animation (2, Fa) In-depth of all M.F.A. Animation students. This course of various aspects of film. survey of historical developments, styles, includes guest speakers, faculty and student techniques, theory and criticism of animation presentations followed by lively and critical 590 Directed Research (1-12, FaSpSm) as an art form. discussion. Graded CR/NC. Research leading to the master’s degree. Maximum units which may be applied to the 452 Introduction to Computer Animation 523 Principles of Computer Animation degree to be determined by the department. (2, Sp) Lecture and laboratory in computer (2, Sp) Fundamental computer concepts, Graded CR/NC. animation: geometric modeling, motion spec- principles of modeling, rendering, lighting, ification, lighting, texture mapping, render- texture mapping, animation, digital composit- 594abz Master’s Thesis (2-2-0, FaSpSm) ing, compositing, production techniques, sys- ing, visual effects, and input/output using Credit on acceptance of thesis. Graded tems for computer-synthesized animation. 3-D interactive computer graphics tech- IP/CR/NC. Prerequisite: departmental approval. niques. Recommended preparation: basic com- puter knowledge. 462 Visual Effects (2, FaSp) Survey of con- ANIMATION (CTAN) temporary concepts and approaches to pro- 524 Contemporary Topics in Animation and duction in the current stage of film and video Digital Arts (2, Sp) A seminar course focus- 330 Animation Fundamentals (2, Sp) An effects work. Digital and traditional method- ing on contemporary issues affecting anima- introduction to the fundamentals of anima- ologies will be covered, with a concentration tion, especially digital cameras and new tion, covering such topics as timing, antici- on digital exercises illustrating modern tech- interactive technology. Interdisciplinary view- pation, reaction, overlapping action, and niques. Prerequisite: departmental approval. points from artists, scientists, theorists and metamorphosis. others. 482 Basic Motion Picture Techniques for 432 The World of Visual Effects (2, Sp) Animators (2, Fa) Introduction for animation 544 Introduction to Film, Video and Introduction to the expanding field of visual majors to the basic techniques and processes Computer Animation (3, Fa) Fundamen- effects; topics include magic lanterns shows, of film, video and computer systems, includ- tals of film, video and computer animation stop-motion fantasies and animation combi- ing cinematography, editing and sound. production. Orientation to assist students nation films employing the latest digital in determining future emphases and spe- technologies. 495ab Experimental Animation (2-2, FaSp) cialties. Open only to M.F.A. Animation This experimental animation class provides students. 436 Writing for Animation (2, FaSp) students with the opportunity to develop Workshop exploring concept and structure of their own concept ideas, experiment with long and short form animated films through innovative animation techniques and produce practical writing exercises. a 30- to 60-second animated film. Open to senior animation minors and graduate stu- dents in the M.F.A. Animation program only. 204 USC School of Cinema-Television

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 in (4, Fa) Cinematic and extra-cinematic deter- sizing the production process through individ- the areas of contemporary technology, anima- minants of Post-Classical and Modernist ual projects. Open only to M.F.A. Animation tion techniques or experimental film through Hollywood studio and independent genres, students. Prerequisite: CTAN 544. internships, residencies or directed studies. styles, and the star-phenomenon and their relationship to American history and culture. 548 Animation Production II (3, Fa) Two 594abz Master’s Thesis (2-2-0) Credit on person intermediate practicum in film, video acceptance of thesis. Graded IP/CR/NC. 394 History of the American Film, and computer animation, emphasizing con- 1977–present (4, Sp) Cinematic and extra- tent and form. Open only to M.F.A. Anima- 599 Special Topics (2-4, max 8, Irregular) cinematic determinants of Postmodernist tion students. Prerequisite: CTAN 547. Detailed investigation of new or emerging Hollywood studio and independent genres, aspects of cinema; special subjects offered by styles, and the star-phenomenon and their 549 Animation Production III (3, Sp) Crew visiting faculty; experimental subjects. relationship to American history and culture. constituted advanced practicum in film, video, and computer animation. Open only to 400 Non-Fiction Film and Television (4, Fa) M.F.A. Animation students. Prerequisite: CRITICAL STUDIES (CTCS) An international survey of documentary, CTAN 548. informational, and independent experimental 190 Introduction to Cinema (4, FaSp) film, video and television. 563 Advanced Computer Animation Gateway to the majors and minors in cinema- (2, Irregular) Investigation of advanced com- television. Technique, aesthetics, criticism, 402 Practicum in Film/Television Criticism puter techniques related to character repre- and social implications of cinema. Lectures (4, max 8, FaSp) Exercise in writing film and sentation and various types of algorithmically accompanied by screenings of appropriate television criticism using new and classic defined animation produced on either film or films. films and television programs. Prerequisite: videotape. Prerequisite: CTAN 443. departmental approval. 191 Introduction to Television and Video 576 Seminar in Film/Television and New (4, FaSp) Exploration of the economic, tech- 403 Studies in National and Regional Technologies (4, Sp) Focus on film’s relation- nological, aesthetic, and ideological character- Media (4, FaSp) Detailed investigation of ship to general technological developments, istics of the television medium; study of his- traditions, achievements, and trends of film what it owes to technologies that preceded torical development of television and video and/or electronic media in a particular coun- it, how it continues to develop in relation to including analysis of key works; introduction try or region. emerging technologies and how it influences to TV/video theory and criticism. the shape of these newer technologies. 404 Television Criticism and Theory (4, Sp) Prerequisite: departmental approval. 192m Race, Class, and Gender in American The evaluation of television programs and Film (4, Sp) Analyzes issues of race, class and their reception from various theoretical per- 577ab Fundamentals of Animation gender in contemporary American culture as spectives which may include cultural stud- (a: 2, Fa; b: 2, Sp) The exploration of the represented in the cinema. ies, race and ethnic studies, psychoanalysis, techniques of the art of character animation gender and queer studies, and semiotics. with an emphasis on discipline, performance 200 History of the International Cinema I Prerequisite: departmental approval. and personality observation, specializing in (2, Fa) The development of international cin- classical Hollywood animation. Open only to ema from its beginnings to World War II. 406 History of American Television (4, Fa) M.F.A. Animation students. Lectures, screenings, and discussions. History of television as an entertainment, Required for majors; recommended for information, and art medium. Emphasis on 579 Expanded Animation (2, Sp) A survey of non-majors. programming and institutional history, includ- animation across media; applications to live ing issues of regulation, censorship, aesthetics action film, the fine arts, architecture; link- 201 History of the International Cinema II and activism. ages with modern art, postmodern theory and (2, Sp) The development of international cin- social history. Open only to M.F.A. Animation ema from World War II to the present. Lec- 407 African American Cinema (4, Irregular) students. Prerequisite: CTAN 451. tures, screenings, and discussions. Required Intensive survey of African American cinema; for majors; recommended for non-majors. topics include history, criticism, politics, and 591 Animation Pre-Thesis Seminar (2, Sp) cinema’s relationship to other artifacts of A pre-production seminar, where students 367 Global Television and Media African American culture. complete the research, development, script (4, Irregular) Studies in the global configura- and storyboards for their thesis project to be tions of television industries and cultures, 408 Contemporary Political Film and Video executed in CTAN 594abz. Open to M.F.A. including new technologies and the textual (4) Examination of a variety of politically Animation students only. and sociological analysis of global media engaged films and videotapes recently pro- events and programming. duced in the U.S. and abroad, with particular 592 Master Class (2-6, max 12, Fa) A special emphasis on aesthetic strategies. projects course in which students produce a 392 History of the American Film, 1925-1950 major work through weekly meetings with (4, Sp) Screenings of American film classics a master artist/animator. Topics must be and their relationship to society. Lectures and approved prior to enrollment. Prerequisite: discussions. departmental approval; recommended prepara- tion: previous advanced animation production experience. Courses of Instruction 205

409 Censorship in Cinema (4, Fa) An inquiry 499 Special Topics (2-4, max 8, FaSpSm) 564 Seminar in Film and Television Genres into the practice and patterns of censorship in Detailed investigation of new or emerging (4, max 8, FaSp) Advanced study of a cinema. aspects of cinema and/or television; special selected genre of film and/or television – its subjects offered by visiting faculty; experi- relationship to history, society, and culture, as 411 Film, Television and Cultural Studies mental subjects. well as to genre theory. (4, FaSp) Detailed examination of film/ television from the perspectives and insights 500 Seminar in Film Theory (4, Fa) Intro- 567 Seminar in Film/Television and a Related of Cultural Studies; focus on the production duction to classical and contemporary film Art (4, max 8, Irregular) Historical, critical, and reception of cultural texts, practices, and theory; exploration of their relationship to aesthetic, and theoretical issues raised by a communities. filmic experimentation. comparison of cinema and television and other allied art forms. 412 Gender, Sexuality and Media 501 History of Global Cinema Before World (4, Irregular) Examines how gender and sex- War II (2, Sp) Historical survey of global 569 Seminar in Film and Television Authors uality are figured in cinema and television cinema from its beginnings until the advent (4, max 8, Irregular) Seminar in the style of with an emphasis on the development of of World War II. an auteur, studio, filmmaking, or televisual feminist media theory. mode in terms of thematic and formal proper- 502 History of Global Cinema After World ties and their influences upon the art of film 462 Critical Theory and Analysis of Games War II (2, Fa) Historical survey of film from a and/or television. (4, FaSp) Enroll in CTIN 462. global perspective from the beginning of World War II until the present. 585 Seminar in Film/Television Critical 464 Film and/or Television Genres (4, max 8, Theory and Production (4, Irregular) A con- FaSpSm) Rigorous examination of film 503 Survey History of the United States joint theory/production seminar, in which the and/or television genres: history, aesthetics, Sound Film (2, Sp) Survey history of the study of media texts will be combined with cultural context, social significance, and criti- United States film from 1927 to the present, media production informed by the theoretical cal methodologies. with emphasis upon film as art form, eco- study. Specific themes and area of focus may nomic institution, technology, and cultural vary. Prerequisite: departmental approval. 466 Theatrical Film Symposium (4, max 8, product. FaSp) Lectures and readings on creative 587 Seminar in Television Theory (4, max 8, problems in the motion picture industry; cur- 504 Survey of Television History (2, Sp) An Sp) Detailed investigation and discussion of rent films; interviews with visiting producers, exploration of the historical, cultural, busi- various aspects of television, including genre, directors, writers, performers. ness, creative, and technological aspects of textual analysis, production and distribution television. systems and audience studies. 469 Film and/or Television Style Analysis (4, max 8, FaSpSm) Intensive study of the 505 Survey of Interactive Media (2, Fa) 599 Special Topics (2-4, max 8, Irregular) style of an auteur, studio, film or television A survey course exploring the historical, cul- Detailed investigation of new or emerging making mode in terms of thematic and for- tural, business, creative and technological aspects of cinema; special subjects offered by mal properties and their influences upon the aspects of the new interactive media. visiting faculty; experimental subjects. art of film. 506 Critical Studies Colloquium/Professional 673 Topics in Theory (4, max 8, FaSp) 473 Film Theories (4, FaSp) Influential ideas Seminar (2, Fa) Provides orientation to the Contemporary theoretical frameworks and and theoretical approaches that have shaped profession, opportunities for academic and their relationship to film and television stud- the making and study of film. Students are professional growth and development. Rec- ies. Topics differ from semester to semester. encouraged to take this course in their junior ommended for entering students. Prerequisite: CTCS 500 and departmental year. Prerequisite: CTCS 190. approval. 510 Case Studies in National Media and/or 478 Culture, Technology and Communica- Regional Media (4, max 8, FaSp) Seminar 677 Cultural Theory (4, FaSp) Seminar in tions (4, FaSp) Cultural study of communica- on media’s impact in defining nation and/or theoretical approaches to cultural studies; tions technology and its relationship to soci- region in specific cultural contexts. Also focus on interdisciplinary research of media ety. Evaluation of the social and cultural addresses issues of exile, diaspora, trans- and audiences, covering a range of methods impact of technologies from the telegraph to nationalism and globalism. Departmental and theoretical frameworks; concentration the Internet. approval required. varies. Prerequisite: departmental approval.

494 Senior Seminar (4, FaSp) Rotating topics 511 Seminar: Non-Fiction Film/Video (4, Sp) 678 Seminar in Film Theory and Medium involving detailed study of the historical, cul- Aesthetic, rhetorical, and ideological issues in Specificity (4, Irregular) Explores the way tural and aesthetic analysis of film, television, non-fiction film and video. film has been theorized in relationship to tra- and new media technologies. Open only to ditional media that preceded it and electronic majors in the School of Cinema-Television. 517 Introductory Concepts in Cultural media that followed. Prerequisite: CTCS 500, Studies (4, Fa) Introduction to central con- departmental approval. 495 Honors Seminar (4, Sp) Advanced work cepts, key theories, and/or leading figures in in the historical, cultural and aesthetic analy- cultural studies, particularly as they relate to 679 Seminar in Genre and/or Narrative sis of film, television, and new media tech- issues of popular culture and visual media. Theory (4, Irregular) Seminar in theoreti- nologies. Open only to students in the CTCS cal issues concerning genre and/or narrative Honors program. Prerequisite: CTCS 473. 518 Seminar: Avant-Garde Film/Video (4, as they pertain to media, literature or cul- Irregular) Aesthetic, historical and ideological tural forms. Areas of focus vary from semes- issues in avant-garde film and video. ter to semester. Departmental approval required. 206 USC School of Cinema-Television

688 Seminar in Historiography (4, Fa) 405L Design and Technology for Mobile 485L Advanced Game Development Seminar in theories and methods of film and Experiences (2, FaSp) Critical and pragmatic (2, FaSp) Advanced concepts in 3-D game television history; focus on interpretation in insights into designing mobile experiences development: story and character progres- history and reception studies. Prerequisite: and technology. Design groups will develop a sion, emergency game-play, comprehen- departmental approval. mobile project using principles from readings sive game mechaniscs, and artificial intelli- and class discussions. gence. Prerequisite: CTIN 483, CTIN 484, 690 Special Problems (1-12, FaSpSm) Field CTIN 488, CTIN 489. production; organization and administration 406L Sound Design for Games (2, FaSp) of local film-producing units; experimental Introduction to the techniques, terminology, 488 Game Design Workshop (4, FaSp) aspects of film communication; advanced and implementation of sounds in games, Theory and evaluation of interactive game work in film history and criticism; teaching including establishing a sense of place and experiences and principles of game design cinema. Graded CR/NC. concepts of realistic sound. utilizing the leading software approaches and related technologies. Recommended prepara- 790 Research (1-12, FaSpSm) Research 458 Business and Management of Games tion: CTIN 309, CTIN 483. leading to the doctorate. Maximum units (2, FaSp) Overview of current business mod- which may be applied to the degree to be els in games and interactive media, methods 489 Intermediate Game Design Workshop determined by the department. Graded for pitching and getting products funded; (4, FaSp) A follow-up to the introductory CR/NC. copyright and intellectual property. game design class, this course will introduce more advanced concepts in game design and 791 Historical and Critical Research 459L Game Industry Workshop (4, FaSp) game theories, including ideation, digital Methods (2, max 4, FaSp) Methods and pro- Exploration of industry-related game play prototyping and level design. Prerequisite: cedures for historical and critical research in research questions. Student teams will CTIN 483, CTIN 488. the visual media. Required tutorial with develop concepts and materials to solve a Ph.D. student’s dissertation committee chair, research problem posed by an industry part- 491L Advanced Game Project (4, FaSp) Stu- designed to assist initial work on dissertation. ner. Prerequisite: CTIN 488, CTIN 489. dents work in teams to produce a functional Prerequisite: departmental approval. digital game suitable for distribution via the 462 Critical Theory and Analysis of Games web and/or submission into independent 794abcdz Doctoral Dissertation (2-2-2-2-0, (4, FaSp) Formal, aesthetic, and cultural games festivals. Prerequisite: CTIN 489. FaSpSm) Credit on acceptance of disserta- aspects of digital games, critical discourse tion. Graded IP/CR/NC. around gameplay, and the relationship of dig- 492L Experimental Game Topics (4, FaSp) ital games to other media. Recommended Development of a game around a custom- preparation: CTIN 488. made physical interface; various technolo- INTERACTIVE MEDIA (CTIN) gies and techniques involved in a software/ 463 Anatomy of a Game (4, FaSp) Examine hardware integration; peripheral design. 309 Introduction to Interactive Entertain- two game products from concept to delivery; ment (4, FaSp) Critical vocabulary and histor- introduce students to each of the professional 499 Special Topics (2-4, max 8, FaSpSm) ical perspective to analyze and understand disciplines involved in making digital games. Detailed investigation of new or emerging experiences with interactive entertainment; Recommended preparation: CTIN 488. aspects of cinema, television, and/or inter- students imagine and articulate their own active media; special subjects offered by vis- ideas. 464 Game Studies Seminar (2, max 4, FaSp) iting faculty; experimental subjects. Rigorous examination of interactive enter- 401L Interface Design for Games (2, FaSp) tainment: genres, history, aesthetics, cultural 511 Interactive Media Seminar (1, max 2, Introduction to the aesthetics, terminology context, and social significance. Topics vary FaSp) Seminars on latest trends in interactive and common trends of interface design for by semester. media content, technology, tools, business games. Topics include 2-D and 3-D spaces and culture. Graded CR/NC. and user/camera perspectives. 482 Designing Online Multiplayer Game Environments (2, Sp) Grouped into teams, 532 Interactive Experience Design (4, Fa) 403L Advanced Visual Design for Games students will study and design an original The development of interactive experiences (2, FaSp) The scope of visual game design, multiplayer game environment suitable for with an emphasis on writing and develop- including the role of characters, architecture, online usage. (Duplicates credit in former ment. Open to Interactive Media M.F.A. indoor and outdoor spaces, and environmen- CNTV 482.) students only. Prerequisite: CTWR 518; tal effects and sounds. Prerequisite: CTIN corequisite: CTIN 534. 401L; recommended preparation: CTAN 443. 483 Programming for Interactivity (4, FaSp) Introduction to creative and techni- 534 Experiments in Interactivity I (2, Fa) 404L Usability Testing for Games (2, FaSp) cal aspects of new interactive media technol- Experimental studio course to explore con- Concepts and methods of usability assess- ogy; computer games; digital video and cepts of structure, aesthetics and content ment. The emphasis will be on understand- sound; interactive Flash animations. Students of interactive experience design. Open to ing the issues surrounding game interfaces, design and produce projects. Interactive Media M.F.A. students only. and utilizing usability assessment methods. Corequisite: CTIN 532. 484L Intermediate Game Development (4, FaSp) Advanced topics in game program- ming and implementation such as using game engines, creating digital prototypes, player controls and level design. Prerequisite: CTIN 483, CTIN 488; concurrent enrollment: CTIN 489. Courses of Instruction 207

541 Design for Interactive Media (4, FaSp) 240x Practicum in Production (2 or 4, Sm) 319 Directing for Writers: Fundamentals Practical exploration and practicum on the Basic production techniques: introduction to (2, Sp) A workshop in which students will fundamental technical and aesthetic princi- the cinematic elements, production tech- direct original scene material in a stage envi- ples in the design of interactive media. Stu- niques, and equipment; film and/or videotape ronment on class time. Director’s role and dents will develop design and prototyping production. Not available for major credit to responsibilities, the process of translating the skills. Open to Interactive Media M.F.A. CTPR majors. written word into image and action; basics students only. Prerequisite: CTPR 408. of camera, working with actors and staging; 241 Fundamentals of Cinema Technique working with and in various crew roles in a 542 Interactive Design and Production (2, FaSp) Introduction to cinema production production team; editing dialogue scenes. (4, Sp) Interactive design, production, proto- techniques and equipment including produc- Open to B.F.A. Writing for Screen and Tele- typing and testing of projects developed ing, directing, camera, lighting and editing. vision students only. (Duplicates credit in in CTIN 532. Open to Interactive Media Open to Cinema-Television majors only. former CTWR 319.) M.F.A. students only. Prerequisite: CTIN 532; Concurrent enrollment: CTPR 290. corequisite: CTIN 544. 324 Still Photography I (4, FaSpSm) History, 242 Fundamentals of Cinematic Sound storytelling, critical evaluation, technology 544 Experiments in Interactivity II (2, Sp) (2, FaSp) Introduction to sound design, with the still camera; communication, aes- Experimental studio course in application of recording, editing, mixing and finishing. Lec- thetics, and composition; individual projects. technology to interactive experience. Open tures, demonstrations and exercises. Open to to Interactive Media M.F.A. students only. production majors only. Concurrent enrollment: 327 Motion Picture Camera (3, FaSpSm) Use Prerequisite: CTIN 534; corequisite: CTIN 542. CTPR 290. of motion picture camera equipment; princi- ples of black-and-white and color cinematog- 548 Preparing the Interactive Project (2, Sp) 280 Structure of the Moving Image raphy. Individual projects. An advanced production workshop in which (2, FaSp) Basic theory and application of the students design and prepare for the produc- concepts of time, space, composition, move- 335 Motion Picture Editing (3, FaSp) tion of their advanced project. Open to Inter- ment, light and color in motion picture pro- Theory, techniques, and practices in picture active Media M.F.A. students only. Prerequi- duction. Open to production majors only. editing; use of standard editing equipment; site: CTIN 532. individual projects. 288 Originating and Developing Ideas for 555ab Advanced Interactive Project (4-4, Film (2, FaSp) Exercises in observation, imag- 371 Directing for Television (4, FaSp) FaSp) A two-semester sequence in which inative association, visualization, etc., that Preparation of director’s preproduction block- students produce and test an advanced inter- deepen the creative process, leading to ideas, out; study of direction for live, tape, and film active project. Open to Interactive Media stories, characters and images for narrative, production, for both dramatic and informa- M.F.A. students only. Prerequisite: CTIN 548. documentary and experimental films. Open tional television. Prerequisite: departmental to Cinema-Television majors only. approval. 558 Business of Interactive Media (2, Fa) In-depth investigation of publication, distrib- 290 Cinematic Communication (4-6, FaSp) 375 Functions of a Director (4, Sp) ution, business and legal aspects of the inter- Introduction to filmmaking as related to cine- Theoretical considerations of the director in active entertainment business. matic expression, aesthetics, criticism, and relationship to the multiple facets of film pro- ethics. Individual film projects. Open to duction. Prerequisite: departmental approval. 584 Graduate Interactive Group Project Cinema-Television majors only. Prerequisite: (6, FaSp) Advanced interactive group work- completion of GEs; concurrent enrollment: 376 Intermediate Cinematography (4, FaSp) shop for students who want to produce and CTPR 241, CTPR 242 (242 for production Intermediate cinematography workshop; complete an advanced interactive media proj- majors only), CTWR 413. practical problems and assignments. ect. Prerequisite: CTPR 541, CTPR 551. Prerequisite: CTPR 241, CTPR 242, CTPR 301 Creating the Non-Fiction Film (4, Sp) 290 and CTWR 413; concurrent enrollment: 590 Directed Research (1-12, FaSpSm) Research and writing challenges of non- CTPR 310. Research project leading to the master’s fiction film (documentary, educational, indus- degree. Maximum units which may be trial, political, etc.), from treatment to fin- 380 Television Editing (4) Theory and prac- applied to the degree to be determined by ished script. (Duplicates credit in former tice of editing tape and film for television. the department. CTWR 301.) Prerequisite: CTPR 310, CTPR 376.

PRODUCTION (CTPR) 310 Intermediate Film Production (4, FaSp) 382 Advanced Multi-Camera Television Basic principles of visual and audio commu- Comedy Pilot (4, FaSp) A hands-on course 205 Introduction to Filmic Design (4, Sp) nication; idea development using image, which allows students to experience all The visual structure of film; basic compo- movement, pace, the spoken word and other aspects of multi-camera television production nents: space, line, color, contrast/affinity. Film sounds; action and sound relationships; indi- by creating a pilot episode of a situation com- and video projects. (Duplicates credit in for- vidual projects. Prerequisite: CTPR 241, edy. Recommended preparation: experience mer CTWR 205.) Prerequisite: CTWR 105. CTPR 242, CTPR 290, and CTWR 413; working at Trojanvision. concurrent enrollment: CTPR 376. 235 Techniques in Motion Picture Production 384 The Cinematic Structure of a Scene (2 or 4, max 4, Sm) Introduction to basic 318 Acting Experience for Writers (2, Fa) (4, Sm) Writing and directing scenes as the techniques used in films. Basic acting theory and techniques to basis for study of their cinematic structure acquaint the writer with the needs and tech- emphasizing tension, construction, camera niques of the performer. (Duplicates credit in placement, editorial structure, and contribu- former CTWR 318.) tion of sound and color. Prerequisite: depart- mental approval. 208 USC School of Cinema-Television

385 Colloquium: Motion Picture Production 424 Practicum in Cinematography (4, FaSp) 445ab The Filmmaker and the Motion Picture Techniques (4, FaSpSm) Basic procedures Camera and lighting workshop in color. Laboratory (2-2) Laboratory equipment and and techniques applicable to production of all In-class exercises working in professional film procedures; color theory and application; pho- types of films; demonstration by production crew positions that rotate each week. Class tographic solutions and controls; sensitometry; of a short film from conception to completion. starts with 35mm still photography and photographic aspects of sound; film/video moves into motion picture in 16mm and post-production. Lectures, demonstrations, 386 Art and Industry of the Theatrical Film digital formats. Prerequisite: CTPR 327 or field trips. Prerequisite: CTPR 310 or CTPR (4, FaSp) Detailed analysis of one theatrical CTPR 376. 508; recommended preparation: CTPR 480 or film from conception through critical recep- CTPR 546. tion to develop an understanding of motion 425 Production Planning (2, FaSp) Theory, pictures as art, craft, and industry. discussion, and practical application of pro- 451 Guerrilla Television (2, Fa) A history of duction planning during preproduction and TV made outside the mainstream, from the 405 Filmic Expression (4, Irregular) Creative production of a film. “guerrilla television” movement of the ’70s aspects of film production; analysis of audio to the best Independent TV of the ’90s. This and visual forces that make the film an 426 The Production Experience (2, FaSp) To course is taught from the producer’s/creator’s expressive means of communication; indi- provide students with basic working knowl- point of view. vidual projects. Lecture-demonstration. edge of both the skills of the motion picture Prerequisite: CTPR 310, CTPR 376. set and production operations through class- 452 Independent Video Production (2, FaSp) room lectures and hands-on experience. Documentary production course specifically 409 Practicum in Television Production designed to explore the non-traditional uses (2 or 4, FaSp) Television production labora- 428 Summer Production Workshop of digital video. Prerequisite: CTPR 451. tory course for students with a major pro- (2-4, max 8, Sm) To investigate disciplines of duction commitment with Trojan Vision. Cinema-TV with emphasis on one of the fol- 453 Personal Voice: Documentary/ Requires station management and Chair of lowing areas: writing, directing, editing, cam- Experimental Production (4) A production Production approval. era, sound, editing, producing, interactive, workshop that trains students to use personal computer animation or digital. experience as the basis for their story mate- 410 The Movie Business: From Story rial and video products in the tradition of Concept to Exhibition (2, FaSp) Examination 436 Editing for Writers (2, FaSp) Principles, diaristic literature, solo theatrical performance of the industry from story ideas through techniques, practices and theories of editorial and personal voice media. Prerequisite: script development, production and exhibi- construction of film and television to help THTR 479. tion; evaluation of roles played by writers, develop storytelling skills. Lectures and agents, studio executives, marketing and laboratory. Open to B.F.A. Writing for Screen 454 Acting for Film and Television (4, FaSp) publicity. and Television students only. Prerequisite: Intensive examination of skills and techniques CTPR 241, CTPR 290; recommended prepara- necessary for successful performances in film 419 Directing for Writers: Intermediate tion: CTPR 318, CTPR 319. and television. Practical application through (2, Fa) Advanced directing considerations and in-class exercises and assigned projects. techniques applied through the directing of 439 Seminar in Computer Editing (2, Sp) 2-3 scenes each outside of class on-location. Examines the differences between linear and 455 Introduction to Production Design Emphasis on considerations of art direction, non-linear editing systems through practical (2, FaSp) Structure of the filmic art depart- cinematography, and staging techniques; exercises, lecture, and demonstrations. ment, fundamentals and application of design editing concerns are explored in greater principles to film and television, including depth. Open to B.F.A. Writing for Screen 440 LightWorks Editing (2, Fa) Theory and script breakdown, design concepts and and Television students only. Prerequisite: practice of LightWorks computerized editing. storyboarding. CTPR 241, CTPR 290; recommended prepara- Students will study editing, input, output, tion: CTPR 318, CTPR 319. and file management. Prerequisite: CTPR 310 456 Introduction to Art Direction (2, FaSp) or CTPR 508; recommended preparation: com- Introduction to computer drafting, set design, 421 Intermediate Motion Picture Editing puter literacy. rendering and model-making for students (3, FaSp) Intermediate motion picture editing with diverse abilities. Guest lectures, group workshop; practical problems and assignments 442 Advanced Still Photography (4, FaSpSm) discussions and hands-on workshop. encompassing film, video, and non-linear A seminar and workshop on still photography editing techniques. Intermediate editing class and photographic technique. Individual proj- 458 Organizing Creativity: Entertainment for undergraduates. Open to CNTV Produc- ects and technical critique, studio and dark- Industry Decision Making (2, FaSp) Analysis tion students only. Prerequisite: CTPR 310. room demonstrations. Prerequisite: CTPR 324 of the unique structures in the entertainment or departmental approval. industry for organizing and managing creativ- 422 Makeup for Motion Pictures (2, FaSp) ity. Students research and chart pathways to Lecture-laboratory in makeup relating it to 444 Color Photography (4, FaSm) A study of leadership. Open to Cinema-Television pro- mood of the story and emulsion of the cam- color still photography including color print- duction majors only. Prerequisite: CTPR 310. era stock. ing, processing, quality control and the aes- thetics and history of the medium. Darkroom 423 Introduction to Special Effects in demonstrations and individual projects. Cinema (2, FaSp) Introductory workshop in the aesthetics and practices of special effects, embracing both the classical and contemporary modes. Courses of Instruction 209

460 Film Business Procedures and 475 Directing: Mise-en-Scene (4, FaSpSm) 489 Television Docudrama Production (4) Distribution (2 or 4, max 8, FaSpSm) Through a semester-long collaboration, direc- Research, planning, and production of the Financing, budgeting, management as tors and actors learn how to work and com- docudrama. applied to films; problems of distribution, municate with each other while shooting two including merchandising, cataloging, evalua- scenes on camera per director. Prerequisite: 493 Senior Television Seminar (2 or 4, max 4, tion, and film library management. CTPR 310, CTPR 376. FaSp) Detailed investigation and discussion of various aspects of television. 461 TV Station Management (2, FaSp) 476 Ethnographic Film Production Station organization and management of (4, Irregular) Problems, requirements, and 495 Internship in Cinema/Television locally produced programs. Topics include methods necessary to meaningful recording (1, 2 or 4, FaSpSm) On-the-job film, televi- program development, financing and distrib- of societies and cultures for anthropological sion and interactive industry experience in ution, network relations and program acquisi- study; film as a research tool. the areas of interest of the individual student. tion issues. Open only to upper division undergraduate 477 Special Problems in Directing (2 or 4, and graduate students. Requires departmen- 463 Production for Non-Profit Organiza- max 8, FaSp) Detailed investigation and tal approval. tions (2-4) Write, direct or produce a public analysis of problems in directing. Individual service commercial for television broadcast projects. Prerequisite: CTPR 310 and 496 The Film Industry: Career Challenges or a short video for a non-profit community CTPR 376. and Choices for Women (2, FaSp) This class service organization. Creation from concept discusses women’s roles in the entertainment through completed production. Prerequisite: 479 Single Camera Television Dramatic Pilot industry and career opportunities available CTPR 310 or CTPR 508 or departmental (2, Fa) Collaborative writing, preproduction for women in the business, corporate and cre- approval. and shooting of a pilot act for an original ative sectors. episodic television drama, shot on stage sets 467 Television Programming (2, Sp) built for the show. 497 Music Video Production (2, FaSp) Exploration of programming strategies, Writing the concept, budgeting, shooting, practices, sources, and services at local and 480 Production Workshop I (4, max 12, editing and directing a music video. Also cov- national levels; network, public, and inde- FaSp) Intermediate practical work in film ered: getting the job, dealing with the band, pendent broadcast and cable operations; production; creative use of camera, sound, working with the record company. Prerequisite: audience research; schedule development. editing, and production planning. Open to CTPR 241, CTPR 290, CTPR 310. Cinema-Television majors only. Prerequisite: 468 The Film Makers (4, FaSp) To define the CTPR 310, CTPR 376. 499 Special Topics (2-4, max 8, FaSpSm) roles and goals of production designers, cine- Detailed investigation of new or emerging matographers, editors, and directors by meet- 481abL Cinema Workshop (2-2, FaSpSm) aspects of cinema and/or television; special ing and discussing with them their responsi- Practical experience in motion picture pro- subjects offered by visiting faculty; experi- bilities in the filmmaking process. Prerequisite: duction. (Duplicates credit in CMPP 541abL.) mental subjects. CTPR 290. 484 Advanced Multi-Camera Television 506 Visual Expression (2, FaSp) Definition, 470 Practicum in On-screen Direction of Workshop (4, max 8, FaSp) Exercises and analysis, and structure of the visual compo- Actors (4, FaSp) Concentration on the basic practical application for writing and produc- nents that make film an expressive medium; skills in working with actors from a director’s ing a multi-camera television project. Special theory and practical application; individual point of view. attention to the development of the sitcom. projects and lecture/demonstration. To be Recommended preparation: CTPR 371 required taken in the second year. Prerequisite: 472 Non-Theatrical Aspects of Film and TV for students who wish to direct a sitcom. CTPR 508 and CTAN 547. Producing (2, max 4, FaSpSm) Basic film and TV business procedures: financing, produc- 485 Production Workshop II (4, Irregular) 507 Production I (4, FaSp) A practical explo- tion design, planning, management, and mar- Intermediate experience in group filmmak- ration of the fundamental technical and aes- keting of non-theatrical film and television ing affording expanded areas of responsibili- thetic principles of motion picture produc- products. ties. Take directorial responsibility or two tion. Involves individual and group projects. areas different from those taken in CTPR Graded CR/NC. 473 Directing the Composer (2, Sp) 480. Lecture and laboratory workshop in Acquaints aspiring filmmakers (who have no conjunction with CTPR 480. Prerequisite: 508 Production II (6, FaSp) Practicum in musical background) with the fundamental CTPR 480. group production, emphasizing the collabora- concepts of film music from theoretical, cre- tive process and the expressive use of sound ative, and pragmatic standpoints. Open to 486 Single Camera Television Dramatic and image. Open to graduate students only. Cinema-Television majors only. Series (4, Sp) Collaborative production Prerequisite: CTPR 507, CTPR 510, CTWR and post-production of three acts of an origi- 528; concurrent enrollment: CTWR 529. 474 Television Documentary Production nal episodic drama, 44 minutes in length. (4, FaSp) Production of short community- Shot on original sets on stage. Prerequisite: 510 Concepts of Cinematic Production based documentaries for telecast. Collabo- CTPR 479. (2, FaSp) Overview of the process of making rative research, writing, producing, direct- media. Introduces fundamental thinking typ- ing, shooting, and editing. Emphasizes 487 The Recording Studio in Film and Video ical of each craft. Presents realities of careers personal story telling. Class study of major Production (2) Exploration of the role of the and ethical issues in the media. Corequisite: documentaries. recording studio in professional film and CTPR 507. video productions. Emphasis on technical and hardware considerations. Prerequisite: departmental approval. 210 USC School of Cinema-Television

512 Television Management (2, Fa) 534 Intermediate Production Design 546L Production III (6, max 12, FaSp) An Problems of station and network manage- (2, Irregular) Exercises in production design intensive workshop experience in which ment; prerogatives and responsibilities in concentrating on practical and aesthetic students, crewing in their area of specializa- entertainment programming. approaches to designing for film, television tion, complete the shooting and postproduc- and commercials. Prerequisite: CTPR 508. tion of projects up to 30 minutes in length. 519x Introduction to Cinema Technique Prerequisite: CTPR 508. (2, Fa) Fundamentals of cinema production 535 Intermediate Editing (2, FaSp) Editorial techniques and equipment, including pro- construction of film sequences to analyze 551 Planning the Advanced Production ducing, directing, camera, lighting, sound and the interrelationships of the various film ele- (2, FaSp) An advanced preproduction work- editing. Not available for credit to production ments, both visual and aural. Prerequisite: shop in which students complete the plan- majors. Concurrent enrollment: CTPR 521x. CTPR 508 or CTAN 547. ning of an advanced project to be executed in CTPR 587ab, CTPR 581ab, CTPR 583, or 521x Filmic Communication (2, Fa) A hands- 536 Editing for Scriptwriters (2, FaSp) CTIN 584. Prerequisite: CTPR 546L. on introduction to the fundamental process Principles, techniques, practices and theories and aesthetic principles of motion picture of editorial construction of film and TV 552 Advanced Directing (2, FaSp) An production, including filmic expression, criti- scenes and sequences. Lecture, 2 hours; labo- advanced production class in directing. cism and ethics. Individual and group proj- ratory, 1 hour. (Duplicates credit in former Encounters with experienced directors; and ects. Not available for credit to production CTWR 536.) Open to M.F.A. Writing for individual student production of a short. majors. Screen and Television students only. Prerequisite: CTPR 532 or CTPR 546L.

525 Independent Feature Workshop 537 Intermediate Cinematography (2, FaSp) 554 Advanced Sound (2, FaSp) Study of the (2, FaSp) A practical examination of the inde- Close study through practical exercises of technical and aesthetic elements of sound pendent and low-budget feature film, includ- the technical and aesthetic principles of design at the professional level. Intended for ing development of individual projects and cinematography. Prerequisite: CTPR 508 or those contemplating a career in the field of discussions with industry professionals. CTAN 547. audio. Prerequisite: CTPR 540 or CTPR 545 Open only to Cinema-Television majors. or CTPR 546L. Prerequisite: CTWR 414 or CTWR 514 or 538 Intermediate Producing (2, FaSp) CTWR 529. Definition, examination and practical experi- 555 Advanced Production Design ence in the role of the line producer as it (2, Irregular) Execution of a complete produc- 527 Special Effects in Cinema (2 or 4, max 4, relates to preproduction, production and tion design including script breakdown, story- Irregular) Lecture, discussion, and exercises post production. Prerequisite: CTPR 508. boards, production sketches, plans, elevations in optical and/or mechanical special effects. and a color model. Prerequisite: CTPR 534. Prerequisite: CTPR 241 and CTPR 290. 539 Intermediate Graphics (2, Irregular) An investigation into the nature and meaning 556 Advanced Editing (2, FaSp) Advanced 530 Producing for Independent Films of graphic concepts relative to their use in editorial theory and practice intended for (2, FaSp) Producing film, television and multi- film and video. Prerequisite: CTPR 508. those specializing in film and electronic edit- media productions. Focuses on business pro- ing. Prerequisite: CTPR 535 or CTPR 546L or cedures, production design, planning, budget- 540 Intermediate Sound (2, FaSp) Practical CTPR 545. ing, management, marketing, financing, and and aesthetic considerations relating to the structures and practices of the industry. recording, editing and sound design. Prerequi- 557 Advanced Cinematography (2, FaSp) site: CTPR 508 or CTAN 547. Advanced camera and lighting techniques 531 Planning the Production (2, max 6, for those considering a professional career in FaSp) A preproduction workshop in which 542 Intermediate Electronic Imaging cinematography. Prerequisite: CTPR 537 or students complete the research and planning (2, Irregular) Technical and creative aspects CTPR 546L or CTPR 545. of an intermediate project to be executed in of electronic imaging such as high definition CTPR 546L. Prerequisite: CTPR 508. television, multi-media, and digital television. 558 Advanced Producing (2, Irregular) Emphasis on understanding potential and Defines and examines the role of the 532 Intermediate Directing (2, FaSp) limitations of state-of-the-art technologies. Executive/Feature Producer through the pre- Practical experience in staging dramatic nar- Prerequisite: CTPR 508. production, production and post production rative scenes, emphasizing directing actors, phases. Prerequisite: CTPR 538 or CTPR rehearsal techniques and camera blocking. 543 Editing the Advanced Project 546L or CTPR 545. Prerequisite: CTPR 508. (2, Irregular) Utilitarian seminar focused on editing advanced projects. Open to Cinema- 559 Advanced Graphics (2, Irregular) 533 Directing Techniques (2, FaSp) Television production students only. Advanced study in graphic film/video produc- Practicum in more complex directing issues Corequisite: CTPR 481a, 581a, 586a or 587a. tion including writing, graphic arts, camera, concentrating both on performance and editing and sound. Prerequisite: CTPR 539. exploration of shaping scenes visually through 545 Intermediate Multi-Camera Television blocking of action and placement of camera. Workshop (4, FaSp) Practicum in the cre- 560 Seminar in Motion Picture Distribution, Prerequisite: CTPR 532 or CTPR 546L. ative usage of multi-camera and single cam- Budgeting, and Management (2 or 4, era electronic production techniques. Stu- max 8, FaSp) Problems of location produc- dents will complete an 8-12 minute video tion, foreign release, and packaging. piece using three camera production proce- dures. Open to production majors only. 561 Publicity for Cinema and Television Prerequisite: CTPR 508. (4, Sp) Analysis and preparation of advertis- ing and publicity campaigns for entertain- ment films and television. Courses of Instruction 211

562 Seminar in Motion Picture Business 583 Graduate Television Production (6, FaSp) 213 Content and Consciousness (2, Fa) (2 or 4, max 8, FaSp) Problems of studio Advanced television group production work- Inquiry into the relationship between cogni- operation, production, distribution, exhibi- shop for students who want to produce an tive and affective knowledge as it relates to tion, or legal procedures relating to the advanced multi-camera project. Open to pro- the art of screenwriting and the screenwriter. motion picture. duction majors only. Prerequisite: directing and producing positions: CTPR 532, CTPR 551 215 Practicum in Writing Short Films (2, Sp) 563 The Business of Representation (4, FaSp) and CTPR 546L or CTPR 545; other posi- Developing stories less than feature length; Various roles an agent, manager, attorney or tions: CTPR 546L or CTPR 545. writing screenplays from them; understand- publicist play in representing talent, produc- ing what length each story demands; creating ers and writers. Taught by professionals who 586ab Production IV (6-0, FaSpSm) Advanced idiosyncratic forms and styles. Open to B.F.A. are at the forefront of the entertainment group production workshop for students who Writing for Screen and Television students industry. have successfully completed Production III. only. Prerequisite: directing position: CTPR 532, 566 Developing and Selling Your Film and CTPR 546L, CTPR 551; non-directing posi- 306ab Advanced Screenwriting (a: 4, Fa; TV Projects (2, FaSp) Developing, pitching, tions: CTPR 546L and related intermediate b: 2, Sp) a: Developing, revising the feature and selling your feature motion picture and seminar. length treatment and screenplay for film or TV projects. Open to undergraduate seniors television; writing the first draft screenplay. and third-year graduate cinema majors only. 587abcz Group Production Workshop b: Analyzing, rewriting the screenplay devel- (4-2-2-0, FaSpSm) Advanced group project oped in CTWR 306a through final draft. 568 Advanced Electronic Imaging involving the creative use of visuals (live Open to B.F.A. Writing for Screen and Tele- (2, Irregular) Electronic imaging in high defi- action or animated) and sound. Minimum vision students only. nition television, interactive multi-media, and enrollment: Director and Producer. Open to computer animation. Emphasis on creative production majors only. Graded IP/Letter 315x Filmwriting (3, FaSpSm) The basics use of the technologies for new forms of Grade. Prerequisite: for directing position: of screenwriting: theme, story structure, char- expression and communication. Prerequisite: CTPR 532, CTPR 551; for producing posi- acterization, format, dialogue, and scene CTPR 542. tion: CTPR 551. description. A character profile, short treat- ment, and first 30 pages of the screenplay are 570 Studies in the Functions of a Director 594abz Master’s Thesis (2-2-0) Credit on written. Lectures, screenings, and in-class (2, Fa) Analysis of the director’s relationship acceptance of thesis. Graded IP/CR/NC. readings. Not for degree credit for Cinema- to the multiple facets of film production. Television majors. 599 Special Topics (2-4, max 8, Irregular) 571 Personal Expression through Video Detailed investigation of new or emerging 410L Character Development and Story- Art (2) Examines innovative format and aspects of cinema; special subjects offered by telling for Games (4, Fa) An exploration of techniques in television and video art; facili- visiting faculty; experimental subjects. characters and story worlds as they relate to tates development of a personal voice and gaming with an emphasis on emotionally rich point-of-view. Open only to CTPR majors. environments in interactive entertainment. Prerequisite: CTPR 508. WRITING (CTWR) Recommended preparation; CTIN 488.

575 Directing for Scriptwriters (2, Sp) 105 Nonverbal Thinking: Visual and Aural 412 Introduction to Screenwriting (2) Practical experience in directing for screen; (2, Sp) An introduction to non-verbal ele- Introduction to the formal elements of writ- special attention to framing, staging and use ments of images and sounds which convey ing the short film. of camera. Group projects in video or film. meaning, mood, and emotion. (Duplicates credit in former CTWR 575.) 413 Writing the Short Script I (2, FaSp) Open to M.F.A. Writing for Screen and Tele- 106ab Screenwriting Fundamentals (4-4, Preparation of scripts for short films: form, vision students only. Prerequisite: CTWR 572. FaSp) a: Introduction to and overview of the structure, planning. elements of theme, plot, character, and dia- 580abL Graduate Production Workshop logue in dramatic writing for film. b: Exercises 414 The Screenplay (2, FaSpSm) Students (4-4, FaSp) Group film production. Prerequisite: in dramatic writing: theme, plot, character, study story structure and develop several CTPR 480. dialogue and images. Integration of these ele- story outlines, and a short script for possible ments into scenes and sequences. Open to CTPR 480 production. They will also write a 581abcz Individual Production Workshop B.F.A. Writing for Screen and Television stu- detailed, 15-25 page treatment for a feature (4-2-2-0, FaSpSm) Individual experimental dents only. film. Prerequisite: CTWR 412 or CTWR 413. projects involving the creative use of visuals (live-action or animated) and sound. Open to 206ab Writing the Screenplay (a: 4, Fa; 415ab Advanced Writing (4-2, FaSpSm) Production majors only. Prerequisite: CTPR 532, b: 2, Sp) a: Development of synopsis and a: Principles of the two-hour story for film CTPR 546L, CTPR 551. Graded IP/Letter treatment for a theatrical or documentary and television, creating theme, character, and Grade. screenplay: theme, plot, character, mise-en- structure that combine into a feature-length scene and utilization of cinematic elements. story. Prerequisite: CTWR 414. b: Creating a 582abz Advanced Production Seminar b: Creation of feature-length theatrical or feature-length script for film or television, (2-2-0, FaSpSm) Advanced individual film documentary screenplay based on treatment using the craft of the screenwriter to convey or video projects under the guidance of a fac- developed in CTWR 206a. Open to B.F.A. mood, energy, character, structure, and intent. ulty mentor, without benefit of university Writing for Screen and Television students Prerequisite: CTWR 415a. equipment or resources. Open to production only. majors only. Graded IP/Letter Grade. 416 Motion Picture Script Analysis Prerequisite: CTPR 546L, CTPR 551. (2 or 4, FaSp) Evaluation of completed scripts prior to their production; evaluation of existing classic scripts. 212 USC School of Cinema-Television

418ab Senior Thesis (a: 4, Fa; b: 4, Sp) 453 Advanced Feature Rewriting (4, FaSp) 516 Advanced Motion Picture Script a: Creation of feature-length treatment and An advanced workshop in which a feature Analysis (2 or 4, FaSp) Detailed evaluation first draft senior thesis screenplay, including length screenplay will be rewritten using a of completed scripts prior to their production; “pitching” experiences. b: Completion and specific methodology that focuses on a macro evaluation of existing classic scripts. revision of senior thesis project and introduc- to micro approach to revision. Prerequisite: tion to motion picture industry procedures CTWR 306b, CTWR 415b. 517 Studio Communications (2, FaSp) and practices through interaction with indus- Comprehensive examination of forms; meth- try representatives. Prerequisite: CTWR 459ab Entertainment Industry Seminar ods used by motion picture companies to dis- 306ab. Open to B.F.A. Writing for Screen and (2, Fa; 2, Sp) Examination and analysis of seminate literary, business, production, and Television students only. various topics, issues and resources pertaining other information. to creative, legal and business perspectives 421 Writing the Hour-Long Dramatic Series for writers in the entertainment industry. 518 Introduction to Interactive Writing (2, FaSp) Writing an episode of an existing Prerequisite: 459a for 459b. (2, Sp) A series of exercises written and dis- dramatic television series within the hour- cussed for interactive experiences. long format with an emphasis on conception, 494x Practicum in Screenplay Development pitching, characterization and structure. (2, Sm) Development of writing skills learned 520 Advanced Scene Writing Workshop Prerequisite: CTWR 206b or CTWR 414 or in CTWR 315x; students will develop and (2, SpSm) Intensive workshop oriented CTWR 514a or CTWR 529. write the second and third acts of a screen- specifically to writing and rewriting the most play begun in CTWR 315x. Prerequisite: effective and telling dramatic scenes to 430 The Writer in American Cinema and CTWR 315x. Not for degree credit for heighten audience participation and greater Television (2, FaSp) American and inter- Cinema-Television majors. story impact. Prerequisite: CTWR 414, national writers in cinema; screenwriting; CTWR 514b, or CTWR 529. political and economic aspects of the writer 499 Special Topics (2-4, max 8, FaSpSm) in the motion picture industry. Lectures, Detailed investigation of new or emerging 521 Seminar in Writing Drama for guest speakers, screenings. aspects of cinema and/or television; special Television (4) Writing for a variety of televi- subjects offered by visiting faculty; experi- sion formats: the series, the individual drama, 431 Screenwriters and Their Work (2, FaSp) mental subjects. the musical, children’s programs; working Lectures and readings on creative problems within television time constraints; use of in screenwriting: current scripts; interviews 509 Understanding the Process of established characters as required. with visiting screenwriters. Filmmaking (2, Sp) An introduction for screenwriters to the process of creating a fea- 528 Screenwriting Fundamentals (2, FaSp) 433 Adaptations: Transferring Existing ture film, from script through release print, Introduction to the principles of screenwrit- Work to the Screen (2, Fa) An examination including pre-production, production and ing with special emphasis on story, characteri- of motion picture adaptations; problems post-production. zation and dramatization. attendant upon translating a novel, play, or other creative forms into screenplays. 513 Writing the Short Script (2, Fa) 529 Intermediate Screenwriting (2, FaSp) Prerequisite: CTWR 206b or CTWR 414 or Preparation of scripts for short films; dra- Emphasizes structural elements crucial to the CTWR 514a or CTWR 529. matic, informational, experimental, and other feature film. Techniques for creating an origi- forms. Open to screenwriting (CNTV) and nal and adapted theatrical-length script. 434 Comedy Writing Genres (2, max 6, dramatic writing (Theatre) majors only. Con- Prerequisite: CTPR 507 and CTWR 528. FaSp) Exploration into filmic comedy; writing current enrollment: CTWR 514a. by committee; developing comedic timing; 533ab Writing the Feature Script (4-2, using humor as a style of filmmaking. 514ab Basic Dramatic Screenwriting FaSp) Advanced screenwriting workshop. Prerequisite: CTWR 206b or CTWR 414 or (a: 2, Fa; b: 2, Sp) Dramaturgy for the fiction a: Development of treatment and first act for CTWR 514a or CTWR 529. and nonfiction work. Techniques for creating feature-length script. Prerequisite: CTPR 508 the original or adapted theatrical script. Open and CTWR 529. b: Completion of second 435 Writing for Film and Television Genres to graduate screenwriting majors (CNWR) and third acts and revision. Prerequisite: (2 or 4, max 8, FaSp) Preparation of propos- and dramatic writing (Theatre) majors only. CTWR 533a. als and scripts for different types of film and a: Emphasizes narrative development, television programming: emphasis on concep- through short scripts, sequences, and story 541 Writing from the Unconscious (2, FaSp) tion, structure, characterization and format. outlines. Concurrent enrollment: CTWR 513. Students are introduced to unique problem Prerequisite: CTWR 206b or CTWR 414 or b: Development of an outline and feature solving methods over a broad spectrum of CTWR 514b or CTWR 529. length, original script. subject matter and integrate the results in specific creative writing assignments. 437 Writing the Situation Comedy Pilot 515abcd Practicum in Screenwriting (2, FaSp) Essentials of television comedy (4-4-1-1, FaSp) a: Creation of a feature 553 Advanced Screenwriting (4, FaSp) with in-depth study of ideas, character, and screenplay from presentation through treat- Advanced feature screenwriting, emphasizing venues. Students will write an original story ment, including some scene work. b: Com- the rewrite of a first draft script. (Duplicates outline, treatment and polish. prehensive rewriting of a second and third credit in former CNTV 553b.) Prerequisite: draft of a feature screenplay leading to a pol- CTWR 533ab. 441 Writing Workshop in Creativity and ished and professional piece. c and d: Super- Imagination (2, FaSp) Students will explore vised rewrite of feature screenplay. Prerequi- a variety of problem solving techniques to site: CTWR 514a; CTWR 515a for CTWR strengthen their creative work and apply 515b; CTWR 515b for CTWR 515c; CTWR these techniques to individual writing 515c for CTWR 515d. projects. Courses of Instruction 213

572 Practicum in Directing Actors for Film 550 Script Analysis for the Producer (2, FaSp) 569 Seminar on Non-Mainstream Producing (2 or 4, FaSp) Seminar in directing actors for Detailed evaluation of completed scripts and (2, FaSp) Discussions on non-major studio film; emphasis on demonstration and labora- of the producer’s role in bringing them to producing options, including non-traditional tory exercises, script analysis, and detailed fruition. Open to MPPP students only. financing and non-theatrical producing. Open study in character motivations. to MPPP students only. 560 Script Development (2, FaSp) From idea 574 Advanced Seminar in Directing Actors and story to finished shooting script. Open to 570 Advanced Television (2, Fa) Advanced for Film (2, FaSp) Emphasis on detailed MPPP students only. studies of the business of television, includ- script analysis and character motivation. Indi- ing the economic structure of the television vidual projects. Prerequisite: CTWR 572, 561 Motion Picture Marketing (2, Sp) industry. Open to MPPP students only. CTCS 673 or CTPR 532. Analysis and preparation of marketing cam- paigns from concept to budgeting for various 571 Producing the Screenplay (2, FaSp) 577ab Intermediate Screenwriting Work- media. Open to MPPP students only. Overseeing the initiation and creation of the shop (2-4; 2-4, FaSp) a: Ideation and devel- screenplay. opment of a treatment for a feature length, 563 Producing Symposium (2, FaSp) original screenplay. Writing first act. Prerequi- Lectures on creative and business problems 589ab Graduate Film Business Seminar site: CTWR 514b. b: Completion of the first associated with producing. Case studies of (a: 4, Fa; b: 4, Sp) Economic structure and draft of the screenplay; introduction of tech- classic films. Open to non-majors. Depart- history of the film industry, including enter- niques for rewriting; revisions of the first mental approval required. tainment law and studio management. Open draft of the screenplay just completed. to MPPP students only. 564 Producing Business Procedures (2, FaSp) 599 Special Topics (2-4, max 8, Irregular) Seminars on various management and entre- 591 Producing Practicum (2, Irregular) Detailed investigation of new or emerging preneurial techniques, including exhibition. Producing workshop encompassing all aspects of cinema; special subjects offered by Open to MPPP students only. aspects of producing, including script devel- visiting faculty; experimental subjects. opment, budgeting, casting and actual 565 Scheduling and Budgeting (4, FaSp) production. Concept and preparation of a complete bud- MOTION PICTURE PRODUCING get and production board. Open to MPPP 592 Individual Project Seminar (4, Sp) (CMPP) students only. Directed research project and seminars in related topics. Open to MPPP students only. 541L Producing Workshop (4, FaSp) 566 Finance (2, FaSp) Seminar on financial (Duplicates credit in former CTPR 592.) Practical experience in motion picture pro- aspects of film industry and methods of duction as it relates to the producer. Open to financing films. Open to MPPP students 599 Special Topics (2, max 4, Irregular) MPPP students only. (Duplicates credit in only. Investigation of new and emerging aspects of CTPR 481abL.) producing motion pictures and television; 568 Producing for Television (2, Fa) special and experimental subjects. Open to Discussions of the creative and financial MPPP students only. aspects of television producing. Open to MPPP students only.