(Same as WGSS 4340.) Examines representations of gender in film and media from a variety of analytical perspectives as a way to understand social relations and cultural practices.

Two lecture and two lab hours. Acting theory and practice for the performer and director of film and television production.

An in-depth study of the theoretical writing about film, particularly those classical and contemporary paradigms that have illuminated the medium: realism, formalism, structuralism, semiotics, psychoanalysis, Marxism, and feminism.

An intensive examination of one media text (or televison series), selected for its aesthetic, social, and/or historical importance. (Example might include Hitchcock’s Psycho, the TV series Queer As Folk, the video game Grand Theft Auto, etc.) May be repeated once if medium to be analyzed is different.

Dramatic fiction writing for short film and video production. Provides and in-depth dramatic writing course for students intending to make short film and videos in subsequent production courses.

Two lecture and two lab hours. Seminar combines service learning and digital video production to preserve stories of overlooked local communities.

One lecture and three lab hours per week. A comprehensive introduction to Cinematography covering framing and lighting for different film and electronic imaging formats. Out of class collaboration is required. Student must bear all additional costs for productions during the semester.

The creative, technical and managerial process of developing serialized entertainment for television as it propagates the Internet, both as audio-visual entertainment and audience response data. Students will learn the development, production, post-production, dissemination and analytic stages of contemporary New Media television practice by working in teams to produce a serial or episodic internet-based TV show. Extensive collaborative production required.

Two lecture and two lab hours per week. An intensive exploration of the practice, technique, and aesthetics of editing the motion picture image and sound visual media. Non-linear editing software will be used in the creation of process-oriented exercises and short projects. Students are responsible for the cost of materials required for class projects. Outside class time will be required for collaborative student projects.

Two lecture and two lab hours per week. Seminar combines film and digital video production to explore a variety of conceptual and expressive strategies and techniques.

Students will develop or continue to develop a media concept, business or technology through an intensive semester long curriculum structured as an incubator/accelerator. This class will study the convergence of media producer and media entrepreneur while students create at the intersection of media, business and technology and culminate with a final presentation of the student’s pitch and prototype to media industry professionals.

Design multimedia stories from the ground up in which movies, video games, web sites, smart phone applications, comic books, and other media are equal partners and all elements of a complete story.

An exploration of the production visual and audio assets for Internet transmission and interactive media experience, using techniques and forms that best utilize the evolving aesthetics of the digital and interactive media cultures of the moment. New concepts of interactive storytelling in documentary and/or fiction, and for the visualization of characters and their settings will blend cinematic aesthetics with other aesthetic systems.

An introduction to the production of creative components of interactive and digital media derived from code and computation that is at the forefront of new forms of personal and public expression. Popular culture in the form of games, websites, interactive television, interactive animation and digital art use computational media, and will be the genres that students will produce.

Graduate faculty and specific tools for this course will change according to the specialized expertise of participating faculty.

Graduate faculty and specific tools for this course will change according to the specialized expertise of participating faculty.

Discussion of the structural, aesthetic, and social factors that shaped American film from its inception through the classic studio period.

An examination of a specific major international film industry or movement and its contributions to world cinema. Films will be studied in their immediate cultural and larger historical and critical contexts. May be repeated once if topic varies.

History of television and its origins in radio, focusing on the medium as a technology, an industry, a site of gender and racial representation, a component of American social history, and a cultural forum.

This course provides grounding in the major historical landmarks/movements in international cinema and American broadcasting. Its surveys the primary sociocultural, aesthetic, economic, policy, technological, and industrial forces that shaped film and television in the 20th century.

The history of non-fiction film and production.

Role of the producer in film, broadcasting, and theatre. Refinement of skills in developing program ideas, supervising, and financing productions.

A study of how one medium is transformed into another based on a close reading of both. Adaptation theory will be included, as well as a consideration of the interim screenplay and the film production process where possible.

Examination of the work of a major media author (Hitchcock, Kubrick, Godard, etc.) or of a media genre (melodrama, Western, situation comedy, etc.), with attention to the theoretical, aesthetic, and social/historical questions raised by the work studies. May be repeated once if topic is different.

Principles of writing the full-length screenplay for feature film. Preparation for and writing of the first half of the screenplay. The second half will be completed in the sequence course, COMM 6320: Feature Screenwriting II.

Principles of writing the full-length screenplay for feature film, including contest competitions and marketing. Writing and revising the second half of the screenplay begun in COMM 6310: Feature Screenwriting I.

The expressive aesthetics of motion picture sound, its technology and methods of production will provide students the foundations for creating soundtracks for their own films in progress, or for films already completed. Extensive lab time is required. Students must be able to work collaboratively to produce studio and field recordings.

An advanced production course that explores highly-personal avant-garde and experimental media making by any means necessary, including but not limited to: experimental documentary and fiction, found footage/cameraless filmmaking, new media, web video, mobile media, video art, installation, etc.

This course will explore concepts of visual effects for film, television and games. These concepts will be applied to practical exercises where student will learn to manipulate media through compositing and 2-D animation.

This advanced course explores the history and developing aesthetics of music video through hands-on production exercises and projects. Participants learn about, analyze, and discuss the variety of modes in which musicians promote themselves, express their worldviews, and tell stories through the music video medium.

Examines some of the major strands in Critical Theory that have contributed to institute the interdisciplinary field of Visual Culture Studies and the various theories of the image emerging from this field.

Examines the historical, technological, economic, political, and social forces shaping the media industries and explores the range of established and emerging theoretical and methodological approaches employed in media industry analysis. 3.0 credit hours.

(Same as CSC 6840.) Study the theories, techniques and tools for creating 3D graphics content. Topics include 3D modeling, camera, lighting, materials, texture mapping, physics based modeling, basic animation, and rendering techniques (such as tracing and radiosity).

(Same as CSC 6841.) 3D computer animation including classical animation techniques, cel animation, key framing, storyboarding, physically-based modeling, character animation, lighting, camera placement and motion, motion blur, compositing, and other relevant topics.

Supervised experience in individual projects developed out of the student’s professional or vocational interests and responsibilities.

Supervised experience in individual projects developed out of the student’s professional or vocational interests and responsibilities. There is a fee associated with this course that must be paid on enrollment in the course.

Course traces development of television studies. Also looks at recent work in the field as a means of assessing the changing nature of television and of television studies as an area of inquiry. Readings explore range of industrial, sociocultural, textual and audience analyses, approaches and issues.

History of American Film from the post-classical period to the present. Discussion of the semiotics, aesthetics, economics, and politics of Hollywood and independent cinema.

Professional field experience with an organization in the student’s area of concentration. Only M.A. students in Communication may enroll.

There is a fee associated with this course which must be paid upon enrollment.

Techniques and approaches to pedagogy in the communication field. Includes a supervised teaching presentation before members of the graduate faculty and graduate students.

Introduction to the academic processes, the requirements of the doctoral prospectus and dissertation, and professional opportunities and expectations of the communication discipline.

Seminar focused on preparing advanced communication research for publication.

Methods of qualitative analysis for studying the style and narration of film, television, and/or new media texts. An emphasis on close readings of the formal properties of texts. May be repeated once if content varies.

Examines some of the major strands in Critical Theory that have contributed to institute the interdisciplinary field of Visual Culture Studies and the various theories of the image emerging from this field.

Examination of theoretical and methodological approaches to researching media history.

Examines the historical, technological, economic, political, and social forces shaping the media industries and explores the range of established and emerging theoretical and methodological approaches employed in media industry analysis.

Course traces development of television studies. Also looks at recent work in the field as a means of assessing the changing nature of television and of television studies as an area of inquiry. Readings explore range of industrial, sociocultural, textual and audience analyses, approaches and issues.

Examination of qualitative theories and methodological approaches for researching media reception by audiences.

Examination of the relationship between culture and power. Readings include both founding theoretical texts (the Marxist tradition, the Frankfurt School, the Birmingham School) and current applied scholarship. The class addresses a range of popular media, including film, television, music, new media, and others. Multiple, intersecting structures of power are interrogated, including class, gender, and race.

Professional field experience with an organization in the student’s area of concentration. Only Ph.D. students may enroll.