Documentary Production Workshop | NFLM3715

A 15 sessions. Wed., 6:00 p.m.-8:40 p.m., beg. Aug. 31. Leslie McCleave

Students learn the essentials of shooting a five- to seven-minute documentary. They learn how to develop an idea, research the topic, interview subjects, and create a visual strategy and master basic skills of location scouting, lighting, and shooting. They also explore the use of still photographs, artwork, and stock footage. Students may work individually or in groups and by the end of the term should have a working rough cut or fine cut edited with Final Cut Pro. Students have access to New School digital video cameras but must have a firewire drive. (3 credits) CRN: 3483 

 

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Script Analysis | NSRW2800

Script Analysis NSRW2800 

B 15 sessions. Thurs., 8:00 p.m.-9:50 p.m., beg. Sept. 1.

Loren-Paul Caplin

Whether you are a writer, a director, or a producer, an understanding of story structure and dramatic principles is essential. In-depth analysis of a screenplay’s storyline, characters, dialogue, images, and theme reveals a wide range of narrative techniques and storytelling styles, from Hollywood to independent and everything in between. Students view successful films and analyze their scripts, learning how essential information is conveyed, how story elements are communicated through visual means, how dramatic momentum is built with cause and effect, and what makes a character credible and complex. Students end the term with the ability to analyze any film script and apply that knowledge to their own screenwriting. (3 credits) Section A

 

Developing Ideas for Film | NFLM3500

NFLM3500 Developing Ideas for Film CRN: 1762
A 15 sessions. Tuesdays, beg. 8/31/2010 6:00pm–7:50pm

John Freitas

In developing an idea for any film, three primary questions need to be addressed: What are you going to film? How are you going to film it? How are you going to structure the material? In this course, each student develops a concept for a five-minute non-sync-sound film (which could be produced in the Filmmaking Studio course), exploring these questions before production begins. Through class and instructor analysis of each student’s idea, the course covers preproduction details: initial concept, synopsis, treatment, script, storyboards, shot list, scheduling, location scouting, and cost. Through screenings and analysis of classic movie scenes, the cinematic choices available to a filmmaker are explored with a focus on subsequent application, choices about character and story development, narration and dialogue, visual composition and camera placement, jumpcuts, continuity, montage, camera movement, and lighting. Recommended for students planning to take Filmmaking Studio 1. 3 credits

Introduction to Cinema Studies | NFLM2400

NFLM2400 Introduction to Cinema Studies CRN: 1719

A 15 sessions. Mondays, beg. 8/30/2010 6:00pm–10:00pm

Professor John Freitas

Some scholars have suggested that because it’s so easy to enjoy movies, there is no such thing as “film illiteracy.” Yet literacy has many levels. In applying a literary analysis of narrative, characterization, and symbolism to film, we often neglect the cinema’s own language—the techniques filmmakers use to communicate with viewers. This course introduces basic concepts of cinematic communication: the shot and its relation to other shots in a sequence; the composition of shots, camera movement, editing, sound, and light that make up the design of a film; and the relationship between form and content. The aesthetic concerns are grounded in theoretical approaches: gestalt, formalist, realist, auteurist, semiotic, psychoanalytical, and feminist. Theory is understood as a richer and more exhilarating way of experiencing the movies. The class views and discusses a range of classic films (and excerpts from others) as students develop a cinematic vocabulary and the ability to read a film through critical analysis. Students also critique new, first-run features so that they can explore one another’s reactions to today’s commercial cinema.

The following films are screened: Vertigo (Alfred Hitchcock, 1958), In the Mood for Love (Wong Kar-Wai, 2000), Days of Heaven (Terrence Malick, 1978), Night of the Hunter (Charles Laughton, 1955), Memento (Christopher Nolan, 2000), The Conversation (Francis Ford Coppola, 1974), Last Year at Marienbad (Alain Resnais, 1961), Salaam Bombay! (Mira Nair, 1988), Ugetsu Monogatari (Kenji Mizoguchi, 1953), Do the Right Thing (Spike Lee, 1989), The Conformist (Bernardo Bertolucci, 1970), 3 Women (Robert Altman, 1977), Peeping Tom (Michael Powell, 1960), Sans toit ni loi aka Vagabond (Agnés Varda, 1985)and The Lady Eve (Preston Sturges, 1941). 3 credits