An Interdepartmental Program in Film, Television and Interactive Media

Last updated: October 4, 2021 at 1:42 PM

The Film, Television and Interactive Media major exemplifies interdepartmental inquiry and multi-cultural exploration. The course of study is not a pre-professional one, but rather a liberal arts field of scholarly inquiry. In the program, the study of Film, Television and Interactive Media offers interdisciplinary insight into motion picture media. Broadly understood to encompass inquiry into the aesthetics, history, and cultural meanings of the moving image, the major has two primary goals: to provide an informed background in motion picture history and to develop a critical appreciation of the cultural meanings of film.

This humanities-driven course of study stresses analysis of film style and content, film history, and the relationships between cinema and culture. The curriculum is designed to provide a broad overview of the history of the moving image, to promote expertise in cinematic style and cultural meaning, to lend theoretical sophistication to an understanding of the moving image, and to ensure some appreciation of the practical and technical side of motion picture production. Students develop an awareness of cinema as a complex narrative form and as an art. They learn the rhetorical and syntactical conventions of moving images and how this language has developed historically. No more than three courses in production can count towards the nine classes required.

Learning Goals

Film, Television, and Interactive Media draws on faculty in the Humanities, the Social Sciences, the Creative Arts, and Computer Science, to offer liberal arts courses in cinema and television as well as in film production. The major provides a distinctive and innovative setting for the education and training of students in the newer media and of fiction and documentary filmmakers. We empower graduates with deep knowledge of cinematic history and culture, and foster their technical skills and creative abilities in media capture, editing, sound, lighting, directing, cinematography and screenwriting. We prepare students to apply their understanding of conventional film and television to new domains in interactive media, such as movies for mobile devices and games with a strong narrative and visual appeal. In short, we teach majors to understand and respect the creative process and artists to value and learn from scholarship.

Knowledge

Students completing the major in Film, Television and Interactive Media will come away with a strong understanding of:

American and international cultures of the moving image
Film criticism, auteurial cinema, independent film, and the studio system
Appreciation of film as text and narrative
Global, national and regional cinemas
Implications of the new and emerging technologies for the creative process
Economic and business dimensions of the industry

Core Skills

The creative aspects of film production, including screenwriting, editing, interactive media, 3D animation, sound design, and digital media capture, as they relate to film, gaming, and web-delivered visual work
Techniques and the art of production
Ability to provide insightful criticism of film, television, and enriched media

Upon Graduating

A Brandeis student with a Film, Television and Interactive Media major will be prepared to:

Undertake graduate study or a career in the cinematic arts
Work in production
Pursue, as many of our concentrators have done, careers in law, business, entertainment, journalism, and media-based endeavors

How to Become a Major

The program is open to all undergraduates. To declare and design a major or a minor in Film, Television and Interactive Media, a student should first meet with the undergraduate advising head. Together they will select as an adviser a faculty member who seems best suited to that student's area of scholarly or creative interests.

Committee

Alice Kelikian, Chair and Undergraduate Advising Head
(History)

Patricia Alvarez Astacio
(Anthropology)

Gannit Ankori
(Fine Arts)

Steven Burg
(Politics)

Tory Fair
(Fine Arts)

Timothy Hickey
(Computer Science)

Paul Morrison
(English)

Fernando Rosenberg
(Romance Studies)

Affiliated Faculty (contributing to the curriculum, advising and administration of the department or program)
Steven Burg (Politics)
Timothy Hickey (Computer Science)
Alice Kelikian (History)
Paul Morrison (English)

Requirements for the Minor

Students must complete six courses, including:

FILM 100a (Introduction to the Moving Image)
One course in World Cinema (see course list below).
One course in the creative aspects of film production (see course list below).
Three courses selected from the World Cinema, creative aspects of film production, and elective course lists (see below); however only two courses may be from the creative aspects of film production list.
Students may double-count no more than three courses used to fulfill the minor in Film, Television and Interactive Media with another major or minor.

No course with a final grade below C can count toward the minor nor any course graded on a pass/fail basis.

Requirements for the Major

Students must complete nine courses, including:

FILM 100a (Introduction to the Moving Image)
One course in World Cinema (see course list below).
One course in the creative aspects of film production (see course list below).
Six courses selected from the World Cinema, creative aspects of film production, and elective course lists (see below); however only two courses may be from the creative aspects of film production list. One semester of FILM 92 may be taken for credit towards the major.
Foundational Literacies: As part of completing the Film, Television and Interactive Media major, students must:
- Fulfill the writing intensive requirement by successfully completing one of the following: ENG 79a, ENG 139b, ENG 149a, HISP 193b, HIST 131a, and HIST 170a.
- Fulfill the oral communication requirement by successfully completing one of the following: GER 103a.
- Fulfill the digital literacy requirement by successfully completing one of the following: FILM 110a, FILM 110b, FILM 120a, HIST 170a, COSI 155b, or COSI 164a.
Candidates for departmental honor considerations must satisfactorily complete FILM 99d (Senior Thesis) under the supervision of a member of the executive committee and may count two semesters towards the required courses for the major.
Students may double-count no more than four courses used to fulfill the major in Film, Television and Interactive Media with another major or minor.
No course with a final grade below C can count toward the major nor any course graded on a pass/fail basis. Courses cross-listed in Creative Writing, which are credit/non-credit courses, may be counted towards the major.

Courses of Instruction

Expand All

(1-99) Primarily for Undergraduate Students

FILM 92a Internship in Film Studies
Usually offered every year.
Staff

FILM 98a Independent Study
Usually offered every year.
Staff

FILM 98b Independent Study
Usually offered every year.
Staff

FILM 99d Senior Thesis
Students who are candidates for degrees with honors in Film, Television and Interactive Media must register for this full-year course. Usually offered every year.
Staff

(100-199) For Both Undergraduate and Graduate Students

FILM 100a Introduction to the Moving Image
[ hum ]
An interdisciplinary course surveying the history of moving image media from 1895 to the present, from the earliest silent cinema to the age of streaming media. Open to all undergraduates as an elective, it is the introductory course for the major and minor in film, television and interactive media. Usually offered every year.
Staff

FILM 110a Film Production I
[ ca dl ss ]
Preference given to Film,Television and Interactive Media majors and minors.
An introduction to the basic principles and techniques of fictional narrative motion picture production. Each student will produce three short films. The films will emphasize dramatic development and creative storytelling through image composition, camera movement, editing, and sound. Usually offered every year.
Staff

FILM 110b Motion Picture Editing
[ dl ss ]
Preference given to Film, Television and Interactive Media majors and minors.
Students will develop visual literacy through a study of the editor's role in cinematic storytelling. The course provides an overview of the craft's history and theory and offers practical training in editing digital video with Final Cut Pro. Usually offered every year.
Staff

FILM 114a Genre Films in Cinema and Television
[ hum ]
Explores the analytical framework for understanding genre film. From Steven Spielberg's Jaws to Quentin Tarantino's Reservoir Dogs and Tim Story's Barbershop, genre films break box office records and have lasting cultural significance in cinema. Usually offered every third year.
Alice Kelikian

FILM 120a Cinematography
[ ca dl ]
Gives students the ability learn lighting, media capture techniques, camera and subject movement choreography in both analog and digital formats. They will gain knowledge of axis and frames, dynamic editing points and creating a motion picture as an essay tapestry. Usually offered every year.
Daniel Mooney

FILM 130b Film Production II
[ ca ]
Prerequisite: FILM 110a.
In this advanced filmmaking class, students will work on fictional narrative and nonfiction motion picture production techniques. Films made for this class will go through all stages of the filmmaking process: preproduction and planning, production, and post-production. Usually offered every year.
Daniel Mooney

Film, Television and Interactive Media Electives

The following courses are approved for the program. Not all are given in any one year. Please consult the Schedule of Classes each semester.

AAPI/WGS 137b Performing Asian/American Women on Screen and Scene
[ deis-us ss ]
Examines performances of Asian/American women and how they have changed over the course of the twentieth and twenty-first centuries. We analyze American film, television, and stage performances to trace the shifting, yet continuous participation of Asian/American women on screen and scene in the United States. Important issues include Orientalism and representation, race and racism, immigration and diasporas, militarisms and empire, gender and hypersexuality, yellow face practices then and now, as well as assimilation and resistance. We ask: what have dominant representations of Asian/American been like from the silent film era to the current digital age? How have the figures of the lotus blossom, the dragon lady, the trafficked woman, the geisha, the war bride, the military prostitute, the orphan, among other problematic tropes emerged to represent Asian/American women? How has the changing political, social, and cultural position of Asian/Americans shaped their participation in media production, as well as their media representations in the United States broadly speaking? Usually offered every second year.
Yuri Doolan

AMST 35a Hollywood and American Culture
[ ss ]
This is an interdisciplinary course in Hollywood cinema and American culture that aims to do justice to both arenas. Students will learn the terms of filmic grammar, the meanings of visual style, and the contexts of Hollywood cinema from The Birth of a Nation (1915) to last weekend's top box office grosser. They will also master the major economic, social, and political realities that make up the American experience of the dominant medium of our time, the moving image, as purveyed by Hollywood. Usually offered every second year.
Thomas Doherty

AMST 36b Television and American Culture
[ ss ]
May not be taken for credit by students who took AMST 130b in prior years.
An interdisciplinary course with three main lines of discussion and investigation: an aesthetic inquiry into the meaning of television style and genre; a historical consideration of the medium and its role in American life; and a technological study of televisual communication. Usually offered every second year.
Thomas Doherty

AMST 116b Race and American Cinema
[ hum ]
From its earliest beginnings, the history of American cinema has been inextricably--and controversially--tied to the racial politics of the United States. This course explores how images of racial and ethnic minorities such as African Americans, Jews, Asians, Native Americans, and Latino/as are reflected on the screen, as well as the ways that minorities in the entertainment industry have responded to often limiting representations. Usually offered every second year.
Staff

AMST 129a From American Movie Musicals to Music Videos
[ ss ]
Examines the spectacle of song and dance in movie musicals and music videos, beginning with the earliest talking pictures in the late 1920's and continuing to the present. Particular emphasis will be on technological change, race, gender and the commodification of culture, among other topics. Usually offered every second year.
James Mandrell

AMST 131b News on Screen
[ ss ]
An interdisciplinary course exploring how journalistic practice is mediated by moving image--cinematic, televisual, and digital. The historical survey will span material from the late-nineteenth-century "actualities" of Thomas Edison and the Lumiere Brothers to the viral environment of the World Wide Web, a rich tradition that includes newsreels, expeditionary films, screen magazines, combat reports, government information films, news broadcasts, live telecasts, television documentaries, amateur video, and the myriad blogs, vlogs, and webcasts of the digital age. Usually offered every second year.
Thomas Doherty

AMST 136a Planet Hollywood: American Cinema in Global Perspective
[ hum ss ]
Examines the global reach of Hollywood cinema as an art, business, and purveyor of American values, tracking how Hollywood has absorbed foreign influences and how other nations have adapted and resisted the Hollywood juggernaut. Usually offered every second year.
Thomas Doherty

AMST/MUS 55a Music in Film: Hearing American Cinema
[ ca oc ]
Formerly offered as MUS 55a.
Examines the aesthetics and the history of music in film. Through lecture, class discussions, screenings, and readings, the course teaches students how to critically read image, script, and music as an integrated cultural text, ultimately helping one understand and appreciate the progression of film and sound technology from the 1890s to the present. Usually offered every third year.
Staff

ANTH 26a Communication and Media
[ dl ss ]
An exploration of human communication and mass media from a cross-cultural perspective. Examines communication codes based on language and visual signs. The global impact of revolutions in media technology, including theories of cultural imperialism and indigenous uses of media is discussed. Usually offered every second year.
Janet McIntosh

ANTH 130a Filming Culture: Ethnographic and Documentary Filmmaking
[ djw dl nw ss ]
Introduces the history, theory and production of ethnographic and documentary filmmaking. This course traces how ethnographic and culturally-inflected filmmakers have sought to depict cultural difference, social organization, and lived experiences. Students will learn the basics of non-fiction film production. Usually offered every second year.
Patricia Alvarez Astacio

COML/ENG 70b Environmental Film, Environmental Justice
[ djw hum ]
Examines films that address nature, environmental crisis, and green activism. Asks how world cinema can best advance the goals of social and environmental justice. Includes films by major directors and festival award winners. Usually offered every third year.
Caren Irr

ENG 27b Classic Hollywood Cinema
[ hum ]
A critical examination of the history of mainstream U.S. cinema from the 1930s to the present. Focuses on major developments in film content and form, the rise and fall of the studio and star system, the changing nature of spectatorship, and the social context of film production and reception. Usually offered every second year.
Paul Morrison

ENG 30b American Film Auteurs of the 1970s
[ deis-us hum ]
Interrogates idea of cinematic style. Examines works by directors such as Robert Altman, Peter Bogdanovich, Bob Fosse, Roman Polanski, and Martin Scorsese. Usually offered every third year.
Caren Irr

ENG 61b Philosophical Approaches to Film Theory
[ hum ]
Studies a philosophical approach to film theory, examining both what philosophy has to say about film and what effects the existence and experience of film can have on philosophical thinking about reality, perception, judgment, and other minds. Usually offered every third year.
William Flesch

ENG 70a The Birth of the Movies: From Silent Film to Hollywood
[ hum ]
Explores the birth of moving pictures, from Edison and Lumiere's experiments to "Birth of a Nation" and "The Jazz Singer". Traces film's roots in the photographic experiments, visual spectacles and magical lanterns of late nineteenth-century France, England, and America, and its relationship to the era's literary experiments. Filmmakers include: Georges Melies, Abel Ganz, Sergei Eisentein, D W Griffiths, Charlie Chaplin. Usually offered every third year.
John Plotz

ENG 128a Race and US Cinema
[ deis-us hum ]
Explores the central role film plays in the construction and policing of racialized identities in the US. We will focus primarily, but not exclusively, on the Black/white binarism. The course is structured as a survey. US cinema originates in the white depiction of Blacks or in the white deployment of blackface, and racialized bodies continue to serve as a ubiquitous (if frequently unacknowledged) source of fascination and anxiety in contemporary cinema. We will begin with early “whitewashing” films and D.W. Griffith’s foundational epic, The Birth of a Nation, and conclude with new queer Black cinema and contemporary Black filmmakers. Usually offered third year.
Paul Morrison

ENG 147a Film Noir
[ hum ]
A study of classics of the genre (The Killers, The Maltese Falcon, Touch of Evil) as well as more recent variations (Chinatown, Bladerunner). Readings include source fiction (Hemingway, Hammett) and essays in criticism and theory. Usually offered every third year.
Paul Morrison

ENG 177a Hitchcock's Movies
[ hum ]
A study of thirteen films covering the whole trajectory of Hitchcock's career, as well as interviews and critical responses. Usually offered every second year.
Paul Morrison

ENG 180b Romantic Comedy / Matrimonial Tragedy
[ hum ]
A genre study of romantic comedy, from early to recent cinema. How does its narrative machinery work and what social functions does it serve? An exploration of comedic pleasure as strategy for fashioning gender identities, sexualities, marriages, and anti-marriages. Usually offered every third year.
David Sherman

FA 8a Introduction to Video Art
[ ca dl ]
Explores producing moving images as fine art. While a basic overview of Adobe Premiere software is offered, emphasis is on conceptual framework and cultivating methodologies that best suit ideas. Students will experiment with materials, modes of production (performance, experimental documentation, appropriation, non-linear narrative), and exhibition (video monitors, projection, theatrical, installation, Internet) in order to consider the effect of these decisions on generating meaning and to better communicate one's statement through the genre. Usually offered every year.
lauren woods

THA 155a Icons of Masculinity: Media Images of Men
[ ca ]
Using icons from movies, fiction, theater, and television who represent manhood, this course explores how American men have defined and performed their masculinity. Various archetypes, including the cowboy, the gangster, the rogue cop, the athlete, the buddy, the lover, and Woody Allen are examined. Usually offered every second year.
Arthur Holmberg

Electives: Courses in World Cinema

AAAS 102a African Cinema
[ nw ss ]
Explores the foundation and development of African cinema in the context of African history, culture and politics. Examines issues of social change, gender, class, tradition, and modernization through various African cinematic genres. Usually offered every second year.
Staff

CHIN 130b China on Film: The Changes of Chinese Culture
[ hum nw ]
Taught in English. All films viewed have English subtitles.
Focuses on the enormous changes under way in Chinese society, politics, and culture. Helps students to identify and understand these fundamental transformations through a representative, exciting selection of readings and films. Usually offered every second spring.
Staff

ENG 20a Bollywood: Popular Film, Genre, and Society
[ djw hum nw ]
An introduction to popular Hindi cinema through a survey of the most important Bollywood films from the 1950s until today. Topics include melodrama, song and dance, love and sex, stardom, nationalism, religion, diasporic migration, and globalization. Usually offered every third year.
Ulka Anjaria

ENG 170a The Globalization of Nollywood
[ hum nw ]
Introduces students to Nigeria's film industry, one of the world's largest. It focuses on both the form and the content of Nollywood films. Examines how Nollywood films project local, national, and regional issues onto global screens. Usually offered every third year.
Emilie Diouf

FREN 141b Introduction to French Cinema: un certain regard
[ fl hum ]
Prerequisite: FREN 106b or the equivalent, or permission of the instructor.
Introduces students to the major trends in French cinema since the forties (New Wave, "cinema du Look," feminist cinema, cartoons, "comédie à la française," beur cinema, etc.) Students will learn the critical vocabulary necessary to describe the formal aspects of film and to analyze films from a variety of theoretical approaches. Films will also be viewed as cultural products influenced by their social, political contexts and their modes of production and diffusion ("l'exception française.") Usually offered every third year.
Martine Voiret

GER 103a German Culture Through Film
[ fl hum oc ]
Prerequisite: GER 30a.
Approaches an understanding of contemporary German culture through film by focusing on one of the most fascinating and turbulent of national cinemas. Landmark films from the 1920s to the present and pertinent essays, articles and studies will provide a historical perspective on decisive social and cultural phenomena. Major themes include Vergangenheitsbewältigung, multi-ethnic societies, terrorism, life in the GDR, and cultural trends at the beginning of the 21st century. Students learn also about the technical side of filmmaking and produce their own short film under professional guidance. Usually offered every second year.
Kathrin Breuer

HBRW 170a Take I: Hebrew through Israeli Cinema
[ fl hum wi ]
Prerequisite: Any 40-level Hebrew course or permission of the instructor.
An advanced culture course that focuses on strengthening all language skills by studying the various aspects of Israeli society as portrayed in Israeli films and television. In addition to viewing films, the students will be asked to read Hebrew background materials, to participate in class discussions, and to write in Hebrew about the films. Usually offered every second year.
Staff

HISP 162b New Latin American Cinema: From Revolution to the Market
[ fl hum ]
Prerequisite: HISP 109b or HISP 111b, or permission of the instructor.
Studies and compares two pivotal periods of film production, both of which were considered "new waves" of Latin American cinema. On the one hand, the new cinemas of the 1960s and 1970s, which accompanied moments of radical change and movements of revolutionary insurrection. On the other hand, the film boom of the 1990s and 2000s, in which aesthetic experimentation intersected with new realities of neoliberal policies and market globalization. Usually offered every second year.
Fernando Rosenberg

HISP 192b Latin American Global Film
[ hum nw ]
May be taught in English or Spanish.
Studies films that re-imagine Latin America’s place in the world, focusing on how images are produced and consumed transnationally. ‘Traditional’ topics like cultural identity are refashioned for international consumption, and local issues are dramatized as already crisscrossed by global flows of which the films themselves partake. Close analysis of visual representation and film techniques will be complemented in each case by a study of historical and cultural background. Usually offered every second year.
Fernando Rosenberg

HISP 193b Topics in Cinema
[ fl hum ]
Open to all students; conducted in Spanish. Course may be repeated for credit. Does not fulfill writing intensive beginning fall 2020.
Topics vary from year to year but might include consideration of a specific director, an outline of the history of a national cinema, a particular moment in film history, or Hollywood cinema in Spanish. Usually offered every second year.
Juan Sebastián Ospina León

HIST 131a Hitler's Europe in Film
[ ss wi ]
Takes a critical look as how Hitler's Europe has been represented and misrepresented since its time by documentary and entertainment films of different countries beginning with Germany itself. Movies, individual reports, discussions, and a littler reading. Usually offered every second year.
Alice Kelikian

HIST 170a Italian Films, Italian Histories
[ dl ss wi ]
Explores the relationship between Italian history and Italian film from unification to 1975. Topics include socialism, fascism, the deportation of Jews, the Resistance, the Mafia, and the emergence of an American-style star fixation in the 1960s. Usually offered every second year.
Alice Kelikian

IGS 160a Asian Gangsters: Contemporary Crime Cinema
[ djw ss ]
Studies contemporary crime films to examine modern Asian society and politics. Drawing upon film theory, cultural studies, historical and sociological research, this class considers the world’s largest media market to understand the continent’s rapidly changing socio-political milieu. Usually offered every second year.
Avinash Singh

JAPN 135a Screening National Images: Japanese Film and Anime in Global Context
[ hum nw ]
All films and readings are in English.
An introduction to some major directors and works of postwar Japanese film and anime with special attention to such issues as genre, medium, adaptation, narrative, and the circulation of national images in the global setting. Usually offered every third year.
Matthew Fraleigh

NEJS 182a Jewish Life in Television, Film, and Fiction
[ hum ]
Film and fiction are windows through which we can view transformations in American Jewish life. This course concentrates on cinematic and literary depictions of religious, socioeconomic, and cultural change over the past half-century. It does this through films and fiction, which reflect and help to shape shifting definitions of the American Jew. Usually offered every second year.
Rachel Greenblatt

RECS 150a Russian and Soviet Cinema
[ hum ]
Open to all students. Conducted in English. Readings in English.
Examines the Russian/Soviet cinematic tradition from the silent era to today, with special attention to cultural context and visual elements. Film masterpieces directed by Bauer, Eisenstein, Vertov, Parajanov, Tarkovsky, Mikhalkov, and others. Weekly screenings. Usually offered every second year.
David Powelstock

RECS 152a Russian Science Fiction Literature and Film
[ hum ]
Open to all students. Conducted in English. Readings in English.
Examines the Russian science fiction tradition in the context of philosophical, historical, and political developments, with attention to topics such as futurism, science and technology, the perfectibility of humanity, the nature of time, the proximity of the unknown, and otherness. Usually offered every third year.
David Powelstock

SAS 130a Film and Fiction of Crisis
[ hum nw ]
Examines novels and films as a response to some pivotal crisis in South Asia: Independence and Partition, Communal Riots, Insurgency and Terrorism. We will read and analyze texts from India, Pakistan, Bangladesh, Nepal, and Sri Lanka in an effort to examine how these moments of crisis have affected literary and cinematic form while also paying close attention to how they contest or support the narrative of the unified nation. Usually offered every third year.
Ms. Singh

SAS 150b Love, Sex, and Country: Films from India
[ djw hum nw ]
A study of Hindi films made in India since 1947 with a few notable exceptions from regional film, as well as some recent films made in English. Students will read Hindi films as texts/narratives of the nation to probe the occurrence of cultural, religious, historical, political, and social themes. Usually offered every third year.
Harleen Singh

Electives: Courses in Creative Aspects of Film Production

COSI 155b Computer Graphics
[ dl sn ]
Prerequisite: COSI 12b.
An introduction to the art of displaying computer-generated images and to the design of graphical user interfaces. Topics include graphic primitives; representations of curves, surfaces, and solids; and the mathematics of two- and three-dimensional transformations. Usually offered every third year.
Timothy Hickey

COSI 164a Introduction to 3-D Animation
[ dl sn ]
May not be taken for credit by students who took COSI 65a in prior years.
Covers the fundamental concepts of 3-D animation and teaches both the theory underlying 3-D animation as well as the skills needed to create 3-D movies. Students demonstrate their understanding of the concepts by creating several short animated movies. Usually offered every third year.
Timothy Hickey

ENG 79a Screenwriting Workshop: Beginning Screenplay
[ dl hum wi ]
Offered exclusively on a credit/no credit basis. Enrollment is by instructor permission after the submission of a manuscript sample. Please refer to the schedule of classes for submission information. May be repeated for credit.
Fundamentals of screenwriting: structure, plot, conflict, character, and dialogue. Students read screenwriting theory, scripts, analyze files, and produce an outline and the first act of an original screenplay. Usually offered every third year.
Marc Weinberg

ENG 139b Screenwriting Workshop: Intermediate Screenwriting
[ hum oc wi ]
Prerequisites: ENG 79a. Offered exclusively on a credit/no credit basis. Enrollment is by instructor permission after the submission of a manuscript sample. Please refer to the schedule of classes for submission information. May be repeated for credit.
In this writing-intensive course, students build on screenwriting basics and delve more deeply into the creative process. Participants read and critique each other's work, study screenplays and view films, and submit original written material on a biweekly basis. At the conclusion of the course each student will have completed the first draft of a screenplay (100-120 pages). Usually offered every second year.
Marc Weinberg

ENG 149a Screenwriting Workshop: Writing for Television
[ dl hum wi ]
Offered exclusively on a credit/no credit basis. Enrollment is by instructor permission after the submission of a manuscript sample. Please refer to the schedule of classes for submission information. May be repeated for credit.
Introduces students to the craft of writing for a variety of television programming formats, including episodic, late-night, and public service announcements. Students will read and view examples and create their own works within each genre. Usually offered every second year.
Marc Weinberg

THA 125a Acting for the Camera
[ ca ]
A process-based acting class. Emphasis is on developing the actor's ability to work honestly and creatively in front of the camera. All work is videotaped. Students regularly review their performances in order to advance their critical understanding of the work. Usually offered two consecutive years with a third-year hiatus.
Staff

University Bulletin (2021-2022)