Graduate Film & TV (GFMTV-GT)

This will be a required zero credit, passfail, "home room" where the entire 1st year cohort will gather weekly to meet with various department leadership (chair, area heads, production staff, deans) to go over plans for things like: production, registration, IDBE training, etc.

This course is an introduction to the principles of editing as elements of visual storytelling. Students will examine the design of sequences in various styles of films, discuss strategies of coverage, and trace the post-production workflow. The students will learn the basics of Avid in an intensive hands-on lab, cutting assigned exercises which will be reviewed for pacing, emphasis, and sequencing. After the production period, the class will apply the principles learned on the the four-minute MOS project.

During the first half of this course, students will learn how to structure non-fictional footage into a narrative arc while editing their Observational Character Study. Students explore the idea of editing as writing and rewriting. In the second half of the course, students prepare for and edit their first dialogue-driven drama for the Spring Narrative, exploring how editing can shape performances and story. Throughout the course, more advanced Avid techniques will be put into practice.

This screening series will focus on first features, allowing us to consider how young and/or novice filmmakers approached their initial foray into long form narrative film projects. In several cases we will also look at the work these filmmakers produced prior to their debut features, including short films and music videos. Along with the screenings, students will be asked to conduct a case study on a recent debut feature, researching how the filmmaker developed their project, how they got it funded, etc.

This screening series will focus on first features, allowing us to consider how young and/or novice filmmakers approached their initial foray into long form narrative film projects. In several cases we will also look at the work these filmmakers produced prior to their debut features, including short films and music videos. Films to be screened include Eraserhead (David Lynch, 1977), Boy Meets Girl (Leos Carax, 1984), Slacker (Richard Linklater, 1990), Being John Malkovich (Spike Jonze, 1999), Ratcatcher (Lynne Ramsay, 1999), Hunger (Steve McQueen, 2008), I Am Not A Witch (Rungano Nyoni, 2017), and Atlantics (Mati Diop, 2019). Along with the screenings, students will be asked to conduct a case study on a recent debut feature, researching how the filmmaker developed their project, how they got it funded, et al.

This course teaches students fundamental skills and procedures used in managing the making of a film. Topics covered include crew structure, agreements and deal memos, rights, copyright and trademark clearances, insurance, permits, SAG-AFTRA and non-union actor contracts, scheduling (using Movie Magic software), budgeting, transportation, and supplier contracts. Particular attention is paid to professional practice concerning the structure of the workday, shooting hours, turn around time and safety issues. Students will also prepare an industry-standard Production Notebook in preparation for the MOS project.

During the first 6 weeks, students are introduced to basic film techniques and their function in visual storytelling. Studied closely for their dramatic effects, techniques are also viewed with an eye toward their patterns and variations in creating coherent work. Clips are screened from films by directors world-wide, past and present, to demonstrate the use of location, activity, movement, gesture, camera placement, lighting, blocking and staging as tools integrated into the visual fabric of the story. After the production period, students examine basic principles of the documentary, particularly as an observational character study. Clips are screened to highlight examples of compelling locations, activities, interactions, and situations. Students are also introduced to the notions of “structuring audience sympathy” and the director’s stance.

Ever since Georges Melies’ “The Cabinet of Mephistopheles” began the era of narrative cinema, filmmakers have been making production design choices. As with any other visual medium, a successful end product demands careful consideration of composition, color and motif along with a consistent point of view. This course will give students an introduction to understanding the role of design in motion pictures and also give them basic practical knowledge that will help them successfully incorporate these principles into their films.

This course teaches the fundamentals of 16mm and digital cinematography with a focus on camera operation, light measurement, exposure, visual composition, as well as the observation and study of natural light and its effect on cinematography. The students will be taught to add, modify, and remove light to further enhance their imagery, and use filters to capture and control images. The students will also learn the essential job descriptions and division of labor that an efficient film crew requires, mastering the mechanical procedures and basic terminology required to be a successful cinematographer and artistic collaborator. In the spring semester, the course will introduce the students to basic color moving image-capturing techniques for digital media with a concentration in lighting.

This course is designed to deepen students’ knowledge and skill in the financial and legal aspects of filmmaking as well as provide an introduction to the promotion and distribution of short films. The course also prepares students for the skillful execution of their Spring Narrative projects. Topics covered include budgeting and scheduling, production insurance, a greater understanding of crew positions, as well as responsibilities both in the field and in the production office prior to the shoot. Students are also introduced to distribution options on the festival circuit once the films are completed.

In this course, students learn the techniques and methods of sound recording on set through in class lectures as well as hands-on assignments to develop and improve the aural sense and the ability to capture ambiences, sound effects, and dialogue - both wild and sync. By the end of the semester, students will have a working knowledge of industry standard recorders, mixers and microphones whose general principles can be applied to other sound recording equipment. Sound theory, including concepts of sound perspective and reverb, will be also be considered to help transition from the set, to the sound editing process.

The course provides an overview of film language and visual storytelling techniques which are then practiced in hands-on directing exercises shot both digitally and on film. In addition, each student develops and directs a four-minute black and white silent film, written in Fundamentals of Screenwriting I. Students work in crews of four to six, and rotate positions allowing exposure and contribution to a number of productions other than their own. The course encourages students to explore the personal and formal variations that will lead to discovery of one's own style.

This course explores what each director is attempting in their work, considering the work that has been shot, and early cuts of the material. A focus is directed at how camera, blocking, design and performance work toward the director's goal for the film.

In this course, students learn the techniques and methods of sound recording on set through in class lectures as well as hands-on assignments to develop and improve the aural sense and the ability to capture ambiences, sound effects, and dialogue - both wild and sync. By the end of the semester, students will have a working knowledge of industry standard recorders, mixers and microphones whose general principles can be applied to other sound recording equipment. Sound theory, including concepts of sound perspective and reverb, will be also be considered to help transition from the set, to the sound editing process.

This course is designed to provide an understanding of the actor's craft so that directors can guide actors toward delivering optimum performances. The actor's world is explored experientially through direct participation in acting exercises. Students learn various acting techniques that will aid in the rehearsal and casting of their MOS projects, and help bridge the communication gap between actors and directors by de-mystifying the actor's process.

In this course, students will build on the Actors Craft I foundation in preparation for the Spring Narrative. The emphasis will be on laying a solid foundation for working with actors in scripted material. Students will workshop scenes from their Spring Narrative scripts as well as other film scripts. Prior lessons learned are reinforced and new rehearsal methods like improvisation are introduced.

This course teaches the fundamentals of 16mm and digital cinematography with a focus on camera operation, light measurement, exposure, visual composition, as well as the observation and study of natural light and its effect on cinematography. The students will be taught to add, modify, and remove light to further enhance their imagery, and use filters to capture and control images. The students will also learn the essential job descriptions and division of labor that an efficient film crew requires, mastering the mechanical procedures and basic terminology required to be a successful cinematographer and artistic collaborator. In the spring semester, the course will introduce the students to basic color moving image-capturing techniques for digital media with a concentration in lighting.

This course is a workshop which explores the language of dramatic writing and visual storytelling through lecture, demonstration, and exercises. The instruction embraces all styles and methods of script writing, but also teaches industry standard formats and common story structures. Assignments lead to the completion of a shooting script for the first semester project, a four-minute silent film (the MOS). After the production period, the class focuses on writing dialogue and preparation for the next semester’s writing project, the Spring Narrative.

A weekly 3 hour workshop continuing the basics of screenwriting by developing a short screenplay inspired by a work of fiction or journalism. The film is no longer than seven minutes, consisting of at least 3 scenes, with at least half being in dialogue. After these scripts are shot, mid-semester, the class focuses on the development of the idea for the second year film.

The course will illustrate the various skill sets and techniques used in film and television productions, and familiarize students with the industry’s standard of best practices on set. Learning these basic “nuts and bolts” not only enhances safety and productivity, it enhances our artistic purpose. Through a series of lectures, demonstrations, and hands-on exercises, students will become familiar with the many tools used in physical production, with the goal of fostering their creative vision in a safe and healthful workplace that is both professional and productive. This class meets two hours per week for five weeks.

This course builds upon the principles of narrative editing, with a focus on the evolving grammar of cinema. In preparation for the 2nd year film, the class will examine pre-production and production strategies that insure the editor will have the optimum material for post-production. A number of creative tools used in post-production will also be explored - including the use of music, sound design, visual effects, and voice-over. Each student will then submit a short paper describing the design of his or her film with regard to the editing style.

This is a workshop for students to screen and explore the editing of their 2nd year films. With an emphasis on class participation, students will learn the art of feedback as well as editing. This class is designed to take students through the completion of their 2nd year film.

To help students prepare for the larger scale production requirements of 2nd year films, this course deepens understanding of the craft and creative aspects of producing. Students learn how to prepare a short business plan summarizing the key elements of their project--logline, synopsis, creative team, look book, festival strategy, etc. --to help attract financial and creative support and begin plans for public exhibition. They also prepare a detailed Production Notebook that includes all the necessary legal, financial and production information required for the safe execution and distribution of their film.

This course provides an overview of the business and creative fundamentals needed by directors, writers and producers to move feature and series ideas forward in the entertainment business. Students walk through the steps to develop a project from conception to completion by forming teams and creating a business plan for a long-form project of their choosing. Students learn how to option literary material, protect their creative rights, assemble cast and key crew, negotiate talent deals, identify audience and marketing/distribution possibilities, assess revenue potential, and articulate clear, concise and compelling descriptions of their films. At the end of the semester, students are given the opportunity to practice presenting their projects to potential investors and industry guests.

This seven-week workshop prepares students to work with actors in creative collaboration to obtain authentic, truthful performances for the second year film. The class will demonstrate the importance of communicating the vision of the script in a vocabulary that has meaning to an actor, with a focus on action and character behavior. Students will acquire a working knowledge of the language of actors through the application of various acting techniques created by influential acting teachers from Stanislavsky to the present.

Students will work the process of taking an idea and developing it into a feature script and/or a series pilot and story deck. This is a workshop, so students are expected to develop and write. Nothing is required to start, just an ambition to complete an original story for film, TV or streaming. Students can begin with a character, “world”, situation, real event or adaptation (with rights) and/or verbal or written pitch. The goal of the class is to complete a feature draft or a pilot draft and deck for a series. Class is intended to continue in the Spring to complete development.

This is an advanced course in directing actors through the study and application of established acting techniques and script analysis. Initially, students focus on different film genres using scenes and monologues from successful film scripts and plays. Later in the semester, scenes from material developed by the students in their writing courses will be staged focusing on character. The use of improvisation as both a rehearsal and development tool will be emphasized. The work of influential acting teachers and film directors is used as the basis of exploration of approach that will help students find their person directing styles and become more confident in guiding actors in rehearsal and on set.

In this course, students will gain practical experience with the tools and the hardware used in the industry. In-class cinematography exercises will help students work through aesthetic decisions to give their films unique life using lighting and composition: camera placement, camera angles, camera movement and lens choice. The course also includes technical instruction for the Sony F5 HD camera, essential lighting and grip equipment, color film stocks, hard light vs. soft light, color temperature, exterior lighting and control of natural light, continuity from a cinematographer’s point of view, and camera-actor choreography.

This course will help students develop engaging and imaginative, original or adapted, ten minute screenplays for production in the second year program. The semester will begin with an “intensive" devoted to table readings where each script will be taken through a formal process of oral and written feedback in preparation for the subsequent course work. Students will subsequently rethink, restructure, rewrite and further develop the scripts. After a brief review of common issues and key principles, each revised script will be read and discussed in class, with individual consultations offered. At the end of this course, each student should have a strong second draft screenplay ready for production.

This class prepares the students to develop their next writing projects, which may include short screenplays, and longer form work such as feature or television scripts. The class analyzes scripts and films and uses a combination of lecture and exercises to pursue the practice and theory of conceptualizing and writing more complex narratives. Students will complete the class with developed concepts or outlines, and be prepared to write a thesis script over the summer.

Formerly known as Chair's Workshop, is a weekly gathering of graduate film students with the Chair and special invited guests.

This course provides students a sophisticated understanding of film techniques that combine to effect a particular film style. Each week is devoted to a different topic including casting, location, production design, camera, lighting, mise-en-scene, sound design and editing. Comprehensive discussion in these areas will provide students with authority over their thinking and directing and will show that the choices made converge to reveal dexterity, precision, and narrative strength.

This course provides an opportunity for students to practice their skills as Directors of Photography - even if that is not a career objective. Each week the class will practice techniques commonly used for creating a look or mood. Other techniques, such as creating fire effects, and lighting for moonlight will be explored. Student will be required to light and operate the camera by shooting a scene employing the specific technique from each week’s lesson.

This course will be an in-depth study of influential cinematographers from the silent era to the present.

Students are expected to arrive on day 1 with a script for a ten-minute, color film with sound. The semester is divided into two sections: 7 weeks of pre-production during which the elements of the film are explored through exercises and screenings, followed by a production period that extends from early November, goes through the Winter Break, and ends when classes begin in late January. Every one of the tools at the director’s disposal will be explored in a more complex manner, all of which helps the filmmaker investigate and discover a style and manner of cinematic storytelling that most suits the kind of film being made.

This course explores what each director is attempting in their work, considering the work that has been shot, and early cuts of the material. A focus is directed at how camera, blocking, design and performance work toward the director's goal for the film. For the first 9 weeks of the semester, the entire class convenes as a group, with all the directing teachers to screen dailies, rough and fine cuts of the work. Evaluations are held during the 10th week by the entire departmental faculty. The class then meets in smaller sections for further discussion of the work done in order to prepare the final version of the second year film.

This course expands on the introductory documentary skills taught in the first year “Observational Character Study” and positions students to continue on in the third year advanced documentary courses. By examining the basic building blocks of documentary filmmaking and how they are useful for all storytelling strategies, students will identify style and voice in nonfiction work. Through screenings, lectures, and discussion, the course will look at how to recognize a viable documentary subject and situation, how that subject is developed into a story, and how that story is told. Besides looking at verité and interview-based films, the class will also explore how a variety of constructed and illustrative forms are evolving in the documentary form, looking at look at hybrid work, and how “reality” and directed “fictional” elements can be used together.

In this class students build on the techniques and methods of sound recording learned in Sound I and Sound II. Taught with sound mixers and directors in mind, the course consists of lectures on sound theory, hands-on assignments, and screenings of relevant films. By the end of the semester, students will be comfortable with industry standard mixers & digital recorders, digital slates, microphones, and the principles of sound recording. Using concepts learned in class, all students will "pre-auralize" their second year films in preparation for the production period.

This course covers the fundamentals of sound design, sound editing strategies, and technology. Students are introduced to ADR and Foley. By the end of the class, students will design and sound edit second year films, as well as prepare for the final mix.

Students may enroll in an Independent Study to do work that would not be covered by an existing course in the Department. Working with a full-time faculty member, students develop a plan of study that outlines the project, the schedule, and the number of contact hours with the faculty (minimum of one meeting every two weeks is required) an approximate number of hours per week to be spent on the project (approximately 5 hours per week for 14 weeks for each point of Independent Study).

This techniques class is designed to give cinematography majors practical and artistic experience in preparing for their professional careers as directors of photography. Designed as an intensive hands-on shooting experience, projects are shot and lit on the soundstage and on location while employing numerous exposure techniques using a 35mm Arri 435 camera and Kodak film stocks, or Digital HD cameras. A team of two students (DP/Operator and Gaffer) design and execute a scene each week. All students are required to serve as key grip, gaffer, and AC on each other’s projects. Professional DP’s may also be invited to guest lecture, and the class may also take off-campus trips to visit professional vendors.

In this class, students continue to work toward completion of their advanced-level narrative films using Avid Media Composer. Professional editors visit the class to screen their work and participate in discussions surrounding their aesthetic choices and editing strategies. The class has two components: lectures, in which concepts and procedures are discussed and demonstrated, and lab sessions in which students receive hands-on practice editing material from a professional feature film. Students who took the first part of the course will be provided with additional scenes to edit. During the final weeks of the course, students will edit the films created in the Collaboration Projects classes.

The course encourages an in-depth look at the possibilities of the short form through exercises, demonstration, and lecture. By the end of the semester, students will develop a short screenplay for production in third year classes or for a thesis project. Students may choose to present a complete draft to the thesis committee in April.

Primarily a workshop, this class is designed to explore feature writing and develop a working draft of a feature film script. Students may choose to present a complete draft to the thesis committee in April.

This course is designed for the completion of the feature film script begun in Writing the Feature l. Primarily a workshop, this class explores feature writing and by the end of the semester, students develop a working draft of a feature film script. Students may choose to present a complete draft to the thesis committee in April.

The course reviews the characteristics of 15 popular genres including an investigation of the role of theme, plot, casting, iconography, location and style in serving the tacit agreement between filmmaker and audience that any specific genre requires. Students become adept at analyzing the relationship between genre and narrative structure. This process leads to screenplay analysis which includes a study of character, theme, premise, management of time and space and overall structure. Specific scenes are discussed with a close reading of dramatic beats achieved through dialogue and subtext.

At the completion of this course, the student will have a working knowledge of the history of the art and of the craft of cinematography through the study of many of the most influential cinematographers past and present.

This course will help students gain an understanding of the constituent groups that drive decision-making for the creative and commercial processes of television, how an idea moves from conception to an on-air commitment, and what a content creator can do to help a TV show connect with the people who have the power to give an idea the green light. In addition, the class will examine what helps a show connect with audiences, how the path to entry in the TV business differs from the film industries, and will discuss similarities and differences between industries in the creative disciplines. By the end of the six weeks, students will create a written pitch for a fiction or nonfiction series that includes show title, logline, 1-2 page show bible, short character breakdowns and a range of appropriate TV channels/SVOD outlets.

This course will help student directors develop skills to collaborate more effectively with actors and, by extension everyone else on a film from the DP to prospective investors. Practical matters are covered regarding every phase of working with an actor, from character descriptions to aid in casting, and a range of rehearsal techniques. This comprehensive approach is integrated with key components of the filmmaking process. For instance, a heightened understanding of a character’s desires and the power dynamics between characters provides the basis for compelling performances, framing, and camera movement. Directors learn how to calibrate performance to the size of the shot and how to create blocking that frees an actor’s creativity. Throughout, students discover how preparation, attentiveness, and openness to happy accidents bring out the best not only in an actor and the rest of the creative team but also in directors themselves.

This advanced course focuses on the director-actor relationship. Each student directs three scenes, tailored to each student's skill-set. Students can cast from an informal ensemble of professional actors, with a range of experience from early-career to Broadway, TV series and film, who make a commitment to be available most weeks. Improvisation is learned to help build believable on-screen relationships between actors and to keep performances fresh despite repetition. Effective techniques are taught to help troubleshoot when a performance isn’t what’s desired or when the actor has off-camera. In the semester’s final weeks, students have the option of using personal hand-held cameras to practice focusing on performance with on-set dynamics in place.

Professor Spike Lee mentors students on their own thesis projects, feature plans and careers. He brings in industry professionals to discuss their work, and lecture covers his own work as well as aesthetic and practical issues. Students also have the opportunity to meet with Prof. Lee in 30-minute individual advisement sessions as part of this class.

This course will explore the crucial elements of running a successful independent production company through case history and analysis. Topics will include packaging material, attracting financing and distribution, and building the key relationships critical to bringing projects to fruition. Classes examine current and future avenues of financing/production/delivery/marketing and consumption, and the fusion of features and episodic content. Instructor John Sloss will examine his company’s own history and current endeavors in film finance, sales, distribution and talent management.

Special Topics in Producing course work will highlight a variety of specialities and areas of interest in the ever changing landscape of film and television producing. Course may be repeated.

This is a directing class focused on creating a short project that will continue to challenge the student as a filmmaker. The project may be related to the proposed thesis, or it can simply be an exploration of the writer/director’s voice and style.

Special Collaboration classes with Grad Film and other Tisch Departments (ie: Goldberg Department of Dramatic Writing, Design for Stage and Film and Graduate Acting Program. These special courses are enrolled by application. In Fall a collaboration with the Design Department on Commercials is offered which explores the art and business of directing commercials and examines various ways that film and advertising intersect and cross-pollinate. Each student will write and direct one 30-second spec commercial. Through the prism of this very short format, directors will be asked to define their voice and point of view, as well as learn to express themselves succinctly. With the focus on each student's particular assets and interests as filmmakers, the course explores short, medium and long-term career strategies. In the spring , the Acting and Design Collaboration will be a high level examination of the creative relationship between directors, actors and designers through the creation of a short film by each student director. The class will explore how a writer/director originates and communicates an artistic vision to her/his closest creative partners. For the actors and designers, the class will also function as an exploration of both the aesthetic and practical, working differences between the mediums of theater and film. Directing Projects: Commercials GFMTV-GT.2247.03 Studio / Lecture 4 Credits This course explores the art and business of directing commercials and examines various ways that film and advertising intersect and cross-pollinate. Each student will write and direct one 30-second spec commercial. Through the prism of this very short format, directors will be asked to define their voice and point of view, as well as learn to express themselves succinctly. With the focus on each student's particular assets and interests as filmmakers, the course explores short, medium and long-term career strategies.

This course allows students to develop the styles, tools, and skills associated with documentary filmmaking through a series of exercises designed to either combine into a single short film or to work as separate films. The course is designed for students who want to make documentaries, and also benefits those who would like to learn writing or creating narrative in a documentary style. Topics covered include the interview, the verite situation, and the act of illustrating what is real - be it through reenactment or other arts, and delves into the structure of a nonfiction tale. Fundraising that is particular to documentary will also be covered in more detail. Students who would like to present a documentary as a thesis presentation in April should discuss with the Instructor the previous spring before they register for this fall class. Since the thesis presentation will involve a trailer of some kind, it is important that students shoot something over the summer if locations are not easily accessible from New York. Documentary Project with ITP: In this class, Grad Film directing and cinematography students and ITP students will look at Virtual Reality and experiment with VR storytelling techniques, focusing on the artistic possibilities of cinematic VR. The first half of the class will focus on technique, theory, and history, where the latter part will focus on production. The course is 12 weeks scheduled over the course of 14 weeks-- with two weeks off for out-of-class production. The students will form cross-departmental teams, creating several short experiments and one more developed piece.

In this course we will explore the power dynamics and incentives that maintain the Hollywood status quo. We will analyze the financial and ethical values of alternate models of financing, distribution and brand building. The aim is to get your voice, and films,seen, heard and taken seriously by your unique audience. We come with an awareness that despite the potential for diverse content when done right, Hollywood has been complacent in its support of diverse filmmakers. We know that media incumbents have not only tacitly contributed to, but also exacerbated a culture that underrepresents women and POC creatives, among other marginalized groups. In this class we aim to uncover, demystify and assert for methods outside of the traditional Hollywood system to find empowerment and exposure for diverse filmmakers.

GFMTV-GT.2255.01: This course is focused on developing the director’s voice though lecture and exercises in directing the camera that continuing to challenge students as directors. Work done is in preparation for directing the thesis. GFMTV-GT.2255.02: Rewrites and Remakes: This course will explore the process of writing and rewriting, making and remaking short films and short scripts. Students are required to submit a script (up to five pages max) for a short film at the first class. Some of these scripts will be selected for production, but all students ultimately will be required to present a short film by the end of the semester.

In this course, students will continue their work from Television Writing and Series Development I to develop a concept, treatment and pilot for a half or full hour, episodic or serialized television series. Students may choose to present a complete draft to the thesis committee in April.

In this class, students will learn how to use Avid Media Composer using industry standard and professional practices. Using footage from a previously released feature film, students will practice setting up a professional project, organizing their drives and media, syncing and grouping footage, and bringing an edit from start to finish. Through a combination of lecture and hands-on editing time, students will learn how to advance their cuts through sound work, basic visual effects, and music, with particular emphasis on utilizing keyboard shortcuts and adhering to proper workflow. As a final assignment, students will edit the commercials shot in the production class.

This course provides students with in-depth analysis of budgeting for a both a union and a non-union feature film. Particular emphasis will be placed on understanding union/guild protections, obligations, and their impact on a budget and shooting schedule. Students will create working budgets for each as part of the course.

This course is designed for students with long-form treatments or scripts for features and series intended for a thesis project, or for production post graduation. Building on the foundational principles acquired in Producing For Directors: Independent Features, students prepare detailed packages and business plans and pitch their projects multiple times to class and industry guests. Students will exit the class with clear, concise and compelling presentations of their projects--on the page and on their feet-- to present to potential supporters. Permission of the instructor and completion of Producing For Directors: Independent Features are required.

The geography of the film world is rapidly changing, no longer revolving exclusively around Hollywood, or even the U.S. Opportunities abound around the world for new filmmakers to gain entry and thrive in foreign markets. The course will examine the historical changes that have occurred in the foreign markets and attempt to forecast where the business is headed internationally, and create an awareness in graduate film students on how to access jobs and produce films in foreign countries.

Movie marketing and creative advertising is an interactive course designed to encourage future filmmakers and give a basic understanding of movie marketing, with a focus on developing the correct distribution strategy and creating the right marketing materials—from the filmmakers POV. The course will examine a wide range of movies, from low-budget independent to billion dollar-grossing sequels and explore concepts, processes and different strategic approaches used by the film industry. The class will consist of lectures, case studies, industry news, guest speakers and heavy classroom discussion to dissect current and past campaigns. The course helps filmmakers develop the tools to make their films as marketable as possible.

Movie Marketing and Creative Advertising is a highly interactive course designed to encourage future filmmakers and give a basic understanding of movie marketing, focusing on developing the correct distribution strategy and creating the right marketing materials from the filmmakers POV. The course will examine a wide range of movies, from low-budget independent to billion dollar-grossing sequels and explore concepts, processes and different strategic approaches used by the film industry. Marketing is a critical and essential component in the film and television landscape.

Course description (optional): Auto Fictions is a studio class focusing on the creation of immersive, multi-path and interactive experiences based on personal narrative. Documentary Art has included the Art of the installation for decades, but now with all the new technologies it has exploded. In this collaborative class, Grad Film students and ITP students will team up -- but each one will make a project with the help of the other. The intention here is to practice collaboration between different practices, values, and artistic cultures. to create a work of immersive fiction based on materials gathered from the past, filmed in the present or imagined for the future. The course will be taught on the 3-Legged Dog Immersive Interactive Platform a cross platform, multi modal system for immersive design and creation.

This DP Practicum is designed for directors of photography interested in shooting projects created in the Third-Year Collaboration series, which include collaborations with Dramatic Writing, Acting/Production Design, as well as the collaboration with the student directors in the TV Commercials class. All students work as a Director Of Photography on at least one production.

Internships in the entertainment industry are eligible to earn academic credit for those interested.