• SW621 Film Genres

    4 Credits

    This course is designed to provide an introduction to the historical study of film through the lens of genre. We will highlight popular Hollywood media and endeavor to raise questions of film and media history while acknowledging that American genres have connections to other national media outputs. Genre study is one entry point into a discussion about film and media and how it has been written, produced, directed and consumed through time and in place. We acknowledge that there are many other ways to study media but for the purposes of this course, and also hopefully for the use value of students studying writing for the media, genre will be the organizing principle.

    Instructors James Lane
  • SW622 The Writer's Room

    4 Credits

    Congratulations, you have just become the showrunner of ""Luther, Season 0.1"" In your new role, you are now responsible for putting together a plan for this season's story arc, character arc and episodic arc. You will also need to hire a new writing staff and utilize The Writers Room to lead your staff through the creation of story ideas, beat sheets, outlines, script drafts and multiple revisions. At the same time, you'll be responsible for budgets, schedules, hiring, firing, casting, pre-production, production, and post production. Oh, and writing and rewriting.

    Instructors Mark Saraceni
  • SW623 Television Genres

    4 Credits

    The term “genre” refers to an independent style or characteristic grouping. This class is designed to examine, interrogate and evaluate the definitions and boundaries of genre in television. By introducing students to the historical, critical and evaluative methods of looking at genre in American television, this class will examine how genre conventions develop within the United States and how these conventions inform the proliferation of certain types of television programming. In addition to examining genres like Soap Operas/Telenovelas, Children’s Television, Animation, Melodrama, Reality, Horror and Science Fiction/Speculative Fiction, this course will also equip students with ways to understand and read genres in a transnational framework, with a focus on how international markets deploy genre in their television.

    Instructors Eric Vanstrom
  • SW624 Writers in Development

    4 Credits

    Closely examines our ability as writers to effectively communicate and describe our own writing within industry standards, as well as to evaluate work by other writers. Students create log lines and premise paragraphs for projects, examine screenplays and write script coverage, and engage in the “notes process” akin to what would transpire between producers and writers, and directors and writers.

    Instructors Linda Reisman
  • SW631 Writing for Short-Form Media

    4 Credits

    The short script is an art form of its own, often dominating film and video festivals. Short scripts also often present in-roads to a career in television or film. In this dynamic workshop course, students progress through writing a series of short scripts of varying lengths and following the parameters laid out by the instructor. Webisodes are included. This workshop emphasizes the role of story and the narrative and visual world with minimal dialogue. Students explore aesthetic theory as discussed in the online course modules. Pacing, tension, and timelines are also explored. This course has three components: independent writing and reading, asynchronous and synchronous group workshops, and individual meetings with the workshop instructor.

    Instructors Nicole Shaw, Jong Ougie Pak
  • SW632 Writing Series Television

    4 Credits

    With the quantity of TV programming exploding over multiple platforms—network stations, cable stations, and streaming video services—the demand for TV content has never been higher. In this workshop, students learn writing original TV pilots and spec scripts for existing cable/streaming/television shows—and decide which to pursue and complete from outline to final draft. They learn how to best position themselves in this expanding, but still extremely competitive market. Each student completes two drafts of a script with the final draft worthy of submitting to script competitions, national television writing workshops, and a growing number of television festivals. This workshop has three components: independent writing and reading, advisory meetings, and asynchronous and synchronous group workshops with peer critiques.

    Instructors Robert Eckard, Larry Caldwell
  • SW633 Feature Film Screenwriting

    4 Credits

    The advent of online video streaming production companies, along with the regeneration of cable movies and miniseries, have opened up exciting new avenues for long-form writing. Working from step outlines developed in Residency III, students write the first draft of a feature-length screenplay. They are also responsible for writing critical analyses of each other’s work and engaging in discussion of genre, aesthetics, craft, and form. Students are expected to understand potential markets and venues for their work. This workshop has three components: independent writing and reading, asynchronous and synchronous group workshops and peer critiques, and advisory meetings.

    Instructors Weiko Lin
  • SW698 Thesis Project Workshop

    4 Credits

    A feature-length screenplay or television pilot equivalent for 4 credits counted toward the degree and taken during the final semester. Thesis projects will be supervised by a committee of one faculty member as chairperson and the GPD as second committee member. There is a required workshop component of the thesis project process. Students must have a proposal approved by the MFA thesis project committee in order to register.

    Instructors Diane Lake, Jean Stawarz, Weiko Lin
  • VM100 History of Media Arts I

    4 Credits

    This is the first of a two-semester course that explores the historical development of the media arts, including the film, broadcasting, and sound recording industries until 1965. Investigates the relationships between economics, industrial history, and social and political systems, and the styles and techniques of specific films and broadcast programs. Special attention is given to the diversity of styles of presentation in the media.

    Instructors Michael Selig, Andre Puca, Sharifa Simon-Roberts, Eric Schaefer, Barry Marshall
  • VM101 History of Media Arts II

    4 Credits

    This is the second of a two-semester course that explores the historical development of the media arts, focusing on the continuing development of the film, broadcasting, and sound recording industries after 1965, as well as the development of video and digital technologies. Investigates the relationships between economics, industrial history, and social and political systems, and the styles and techniques of specific films and videos, broadcast programs, and digital media products.

    Instructors Patrick Marshall, Leonard Cortana, Dennis Major, Alexander Svensson, Brian McNeil, Andre Puca, CHRISTOPHER McKENZIE, Barry Marshall, Matthew Noferi