courseoFFerInGs F H J D I P G - USC Cinematic Arts | Homecinema.usc.edu/assets/103/16421.pdf ·...

course oFFerInGsFor tHe non-maJoranD mInor ProGramDescrIPtIonsSSPPRRIINNGG 22001111

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Where can I get more information onthese courses?

Contact the appropriate division office if you have questions regarding a specific class. SCA Student Services(SCB 105) can provide you with information on the degree programs and the Cinematic Arts Minor.

I am an undergraduate. Can I take graduate courses?

To take a graduate course, you must receive approvalfrom the department offering the course, and the chairof your major department. See your academic advisor forfurther information.

Is there a different tuition rate for undergraduate and graduate SCA courses?

Yes. Please check the Spring 2011 Schedule of Classes fortuition rates.

Where can I sign up for “D” classes?

Beginning Monday, November 8, 2010, prior to registration, students should do the following:

Animation & Digital Arts (CTAN):Go to the Animation & Digital Arts office (SCB 210D).

Digital Studies (IML)Email the Institute for Multimedia Literacy at [email protected].

Critical Studies (CTCS):Go to the Critical Studies office (SCA 320).

Interactive Media (CTIN):Go to the Interactive Media front desk (across from SCA 218).

Production (CTPR):Go to the Student Services office (SCB 105).

Writing (CTWR):Go to the following address: cinema.usc.edu/students/studentaffairs/dclearance.htm

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Check the USC Catalogue for official program requirements.

course oFFFFerIInGGs FFor tHHe non-maJJoranD mInor ProGramDescrIPtIonsSSPPRRIINNGG 22001111

For course updates and additions, please see: cinema.usc.edu/NonMajorCourses

*Minor LegendANDA designated classes apply toward theAnimation & Digital Arts Minor.CART designated classes apply toward the Cinematic Arts Minor.DGST designated classes apply toward the Digital Studies Minor.SCWR designated classes apply toward the Screenwriting Minor.CNHP designated classes apply toward the Cinema-Television for the Health Professions Minor.VGDM designated classes apply toward the Video Game Design & Management Minor.

JoHn c. HencH anImatIon & DIGItaL arts cinema.usc.edu/[email protected] Services and Media Arts Building (SCB) 210D

CTAN 330 Animation Fundamentals 2 units (DGST)*An introduction to the fundamentals of animation, covering such topics as timing, anticipation, reaction, overlapping action, and metamorphosis.Tom Sito

CTAN 432 The World of Visual Effects 2 units(DGST)*Introduction to the expanding field of animation, fromclassical to experimental and computer animation, including virtual reality and the latest digital visual effectsfor Hollywood feature films.Mike Fink

CTAN 448 Introduction to Film Graphics-Animation 4 units (ANDA, DGST)*Practical course in concepts, media, and techniques relatedto the graphic film: symbology, composition, kinestasis, animation, typography, color, and materials. Survey; lecture;production. Non-majors admitted on a space-available basis.Shelley Wattenbarger

CTAN 450AAnimation Theory and Techniques 2 units(ANDA, CART)*Direct application of animation theory and techniques todrawing skills, story, and continuity: design staging, timing,camera potential, and action analysis. Lecture and laboratory.Mike Patterson

CTAN 452 Introduction to 3-D Computer Animation 2 units (ANDA)*Exploring computer animation, including geometric modeling,motion specification, lighting, rendering, texture mapping,compositing, production techniques, and systems for computer synthesized animation. Lecture and laboratory.Dariush Derakhshani, Marcel Valcarce, Maks Naporowski

CTAN 462 Visual Effects 2 units (CART)*Survey of contemporary concepts and approaches to production in the current state of film and video effectswork. Digital and traditional methodologies will be covered,with a concentration on digital exercises illustrating modern techniques. Lecture and laboratory. Darren Kiner

CTAN 460 Character Design Workshop 2 unitsAn introduction to the basics of character design for animation. An exploration of the approach to and con-struction of many designs, from Golden Age Hollywoodto Anime to Cartoon Network.Tom Sito

CTAN-470Documentary Animation Production 2 unitsNew OfferingExploring the history, techniques, and methods of documentary animation production. Students will gainan understanding of the scope and issues concerningdocumentary animation production. In-depth critical discussion will provide further understanding of this new genre and students will collaborate on a short filmproject.Sheila M. Sofian

CTAN 503 Storyboarding for Animation 2 unitsFocus on film grammar, perspective and layout, staging,and acting as they relate to storyboarding for animation. Paul Demeyer

CTAN 508L Live Action Integration with Visual Effects 2 units Survey of the digital techniques required to successfullymarry live-action shooting with CGI elements and greenscreen footage. Eric Hanson Prerequisite: CTAN 462

CTAN 550 Stop Motion Puppet and Set Design 2 unitsPuppet and set design for stop motion animation whileproviding guidance on armature rigs that allow the character to be animated effectively.Musa Brooker

CTAN 551 Stop Motion Performance 2 unitsIncorporating classic stop motion techniques for puppetperformance and animation. Emphasis on timing,performance, movement, animation and gesture.Musa BrookerPrerequisite: CTAN 550

CTAN 565L Motion Capture Performance 2 unitsThe art of acting, directing, story, and performance for motion capture will be explored while learning cutting-edge technologies involved in bringing virtual actors and worlds to life.Eric Furie Prerequisite: CTAN-564L

Additional division info: anim.usc.edu

CTCS 190 Introduction to Cinema 4 units (ANDA,CART, CNHP)*Rated one of the top six “USC classes you cannot affordto miss” by Saturday Night Magazine (9/04), this adventureexplores the formal properties of movies: literary design,performance, visual design, composition, editing, sounddesign, genre, style, and the production process. SomeLike It Hot, Chinatown, True Grit, Mr. Smith Goes ToWashington, Singin’ In The Rain, Marathon Man,Casablanca, Love Is A Many Splendored Thing, The Secret In Their Eyes, Glengarry Glen Ross, and Two ForThe Road are only some of the films that will enthrallyou. This perennial favorite is certain to fill fast! Youmust also register for a discussion section.Drew Casper

CTCS 191 Introduction to Television andVideo 4 units (CART)*There is much more to TV than just tuning in. This classwill explore aspects of television as wide-ranging as animation, advertising and consumerism, acting andstardom, the rise of digital and satellite media, modes ofproduction, fan communities, classic TV genres, and narrative structures. We will explore how race, class, andgender are represented both on screen and behind thescenes in television production. Screenings will likely include: The Sopranos, The Daily Show, Lost, BattlestarGalactica, 24, Project Runway, Oprah, I Love Lucy, 30Rock, and others.Ellen Seiter

CTCS 192M Race, Class and Gender in American Film 4 unitsOne of the most popular classes offered at USC, CTCS 192focuses on the relationship between film and Americansociety in order to address some of the pressing politicaland cultural issues of our time. Specifically, this coursewill focus on the representation of race, class, and genderin contemporary Hollywood cinema. This course satisfiesthe university diversity requirement. Screenings will include:Crash, Do the Right Thing, The Godfather and GodfatherII, Silence of the Lambs, 8 Mile, and Gran Torino, amongothers.Todd Boyd

CTCS 201 History of the International Cinema II 4 unitsThis course will examine international social history fromthe Second World War to the beginning of the 21st

century as dramatized by world cinema. The goal will beboth to examine the history of national and internationalcinematic conventions and to see these as cultural responses to changes in the political and social climate.Tom Kemper

CTCS 306 Research Practice Seminar 2 unitsLearn to connect critical studies and social issues withnew media and movies in this two-unit critical studiescourse. This course combines documentary history andtheory with a practical research and production component.Christine Acham

crItIcaL stuDIescinema.usc.edu/[email protected] of Cinematic Arts (SCA) 320


CTCS 392History of the American Film, 1925-19504 unitsThis course examines the development of the Hollywoodfeature film during the “Golden Era” of the studio system.Special attention will be paid to historical context, businesspractices, technological developments, censorship, narrative strategies and style, genres, stars and to certainexemplary films produced during the period.Rick Jewell

CTCS 394 History of the American Film, 1977-Present 4 units The Postmodern stew of cultural heterogeneity, commerceand technology as driving devils, film/TV/video emergents,the high tech style, the rating system, the cult of celebrity,animation/documentary ascendency, and neo-classicism, asseen in The Talented Mr. Ripley, Terminator 2, Punch-DrunkLove, Who Framed Roger Rabbit?, Drag Me To Hell, QuizShow, My Best Friend’s Wedding, Clear And Present Danger, and The Thomas Crown Affair.Drew Casper

CTCS 402 Practicum in Film/Television Criticism 4 unitsThis course will teach students how to write film and, to a lesser degree, television criticism, with particular attention to the rapidly changing nature of the profession and the expansion of internet film journalism,feature writing and reviewing. There will be weeklyscreenings across a wide range of genres, and studentswill read widely in the practice of film criticism in parallelto the history of the medium. Ella Taylor

CTCS 403 Studies in National and RegionalMedia: Transnational Horror 4unitsIn an era of horror remakes, this class will examine horroras a genre at its many originating points across the globe.From Asia to Europe to South America, we will lookclosely at the ways fear and monstrosity are shaped bypolitical, cultural and national contexts. We will alsolook critically at horror as a “transnational” phenomenonin a global film market, specifically what is gained andlost in the adaptation of horror films across borders andboundaries.Janani Subramanian

CTCS 411 Film, Television and Cultural Studies:Buddhism 4units (CART, DGST)*This undergraduate seminar is a critical exploration ofBuddhism as it relates to film, culture and media fromaround the world. Buddhist themes have influenced thenarrative structures and characterizations in contemporarymartial arts, horror and science fiction films includingKung Fu Hustle, The Grudge, and The Matrix. Screeningsmay include: Groundhog Day, Kundun, UnmistakenChild, The Cup, Lost in Translation, and many others.William Whittington

CTCS 414 Chicana/o Cinema 4unitsThis course will explore the history of Chicana/o film and media from a variety of perspectives including howChicanas/os have been represented in mainstream U.S.films; how Chicana/o filmmakers have interpreted theChicana/o experience cinematically or through digitalmedia; the relationship of Chicana/o cinema to the CivilRights Movement, multiculturalism, and third world feminism. Readings focused on specific films will be supplemented by readings in literature, history, sociology,and anthropology. Films to be screened may include: Salt of the Earth, Bordertown, Zoot Suit, American Me,Señorita Extraviada, and La Mission.Laura Isabel Serna

CTCS 464 Film and/or Television Genres: American Film Comedy 4 Units (CART)*Something familiar, something peculiar; something appealing, something appalling; something convulsive,something repulsive; something aesthetic, somethingfrenetic... A COMEDY TONIGHT! Nothing with kings,nothing with crowns. Bring on the lovers, liars, andclowns: Charlie, Buster, Harold, the Marx Bros., W.C.Fields, Jean Harlow, Cary and Roz, Doris and Rock, Laureland Hardy, Woody, Ghostbusters, and Borat.Drew Casper

CTCS 464 Film and/or Television Genres:Screening the Past 4 Units (CART)*How do you analyze films that represent the past? Whatis at stake in representing history? What is the relevanceof a historical imagination to this present moment? This course will look at films from all over the world toweave discussions of history and fiction with an analysisof films that recuperate a certain version of past events,that construct the past for communities denied arecorded history, that appeal to popular memories orcounter-memories, or that demonstrate the impossibilityof complete remembrance.Priya Jaikumar

CTCS 466 Theatrical Film Symposium 4 units(CART)*A staple course in the school since 1960, CTCS 466 provides students with a unique opportunity only madepossible by USC’s close ties to the film industry. Each week,students are given the chance to view contemporary Hollywood films before their theatrical release and meetwith the film's creators for a one-of-a-kind Q&A sessionled by film critic and historian Leonard Maltin. Guests include actors, directors, writers, producers, editors, andother film industry professionals, many of whom are USCalumni. Past semesters featured Up in the Air, FunnyPeople, Pineapple Express, Adaptation, Hellboy, andFlags of Our Fathers, with such guests as Jason Reitman,Judd Apatow, Ron Howard, Forest Whitaker, JamesFranco, and Robert Zemeckis.Leonard Maltin

CTCS 467 Television Symposium 4 units (CART)*Modeled after the popular Leonard Maltin course, TheatricalFilm Symposium, the Critical Studies department now offers an exciting counterpart focusing on the televisionindustry, taught by Pulitzer Prize-winning television criticHoward Rosenberg, whose many years with the Los AngelesTimes have made him one of the most respected criticsof contemporary entertainment. Each week, students areshown selected television programming, followed by amoderated Q&A with guests from the show, often includingthe series creator. Previous guests included MatthewWeiner (Mad Men), David Simon (The Wire), Seth Mac-Farlane (Family Guy), David Shore (House), Ray Romano(Men of a Certain Age), Alan Ball (True Blood), DamonLindelof (Lost), Shawn Ryan (The Shield), Diablo Cody(The United States of Tara), Shonda Rhimes (Grey'sAnatomy), as well as actors such as Helen Mirren (PrimeSuspect) John Krasinski & Jenna Fischer (The Office), LisaKudrow (The Comeback), David Alan Grier (ChocolateNews), and Tracey Ullman (Tracey Takes On...).Howard Rosenberg

CTCS 469 Film and/or Television Style Analysis:The Films of Stanley Kubrick 4 Units (CART)*This class will study the life and work of film directorStanley Kubrick. Kubrick's development as a cinematicartist will be the principal subject of the course, but itwill also examine his style, worldview, technical achievements, narrative approach and business acumen, among other topics.Richard Jewell

CTCS 469 Film and/or Television Style Analysis:Sports, Media and Culture 4 Units (CART)*This course will analyze the relationship between sports,media and American culture. With a particular focus onthe social and political representation of sports in society,the course will highlight issues of race, identity, masculinity,and the “American Dream,” among other topics.Screenings will include: Any Given Sunday, Rocky, O.J.: AStudy in Black and White, When We Were Kings, MoreThan a Game, Unforgivable Blackness, Tyson, and TheTillman Story, among others.Todd Boyd


IML 101 The Languages of New Media 4 units(DGST)*This foundational course will jumpstart creative and critical uses of media, and students will discover newtools and new forms of communication useful through-out their undergraduate studies. Students will have theopportunity to begin working with still images, video,and interactive media to create a range of creative andcritical projects.Virginia Kuhn

IML 104 The Languages of New Media II 2 units(DGST)*This course is an introduction to the expressive range ofscreen languages in their cultural, historical, and technological contexts. Discussions focus on specific topicsin digital culture with attention to visual communication,hypertextuality, interactivity and virtual identity.Craig Dietrich

IML 140 Workshop in Multimedia Authoring2 units (DGST)**With sections offered on diverse topics such as Business,Storytelling, Social Sciences and Sciences, IML 140 introduces media-based research tools, presentationskills, still image and video creation within the context ofthese specific subjects. All sections are open to studentsof any major, who express an interest in the chosentopic. Past students have created digital film pitches, interactive websites, and expository video pieces.Instructors vary / Taper Hall or IML / see Schedule of Classes forsections and details

IML 340 The Praxis of New Media 2 units (DGST)*This class introduces media-based documentary production, giving equal weight to the concepts andconstruction of scholarly media to form a solid foundationfor producing research-oriented multimedia projects. Thisclass gives students unprecedented access to originalfootage, expert progressive filmmakers, and prominentcultural and political subject areas.DJ Johnson

IML 346 Methods in Scholarly Multimedia 2 units(DGST)*This preparatory seminar explores the challenges andpracticalities of creating large-scale media projects. Students will learn how to design, propose, and producesophisticated scholarly multimedia.Elizabeth Ramsey

IML 400 Web-Based Scholarly Multimedia 2 units(DGST)*Intended for students without previous Web design experience, this lab-based practicum explores the theoryand practice related to the creation of Web-based mediaprojects. The focus of the course is on Web-based storytelling and modes of information and aestheticpresentation.Craig Dietrich

IML 420 New Media for Social Change 4 units(DGST)*Through collaboration with a local nonprofit organization,this course asks students to investigate a social problemand respond with media-based solutions. From activistefforts to political campaigns, to games for socialchange, this course is for students who want to createreal social change through mobile, social, and virtualmedia. DJ Johnson

IML 466 Digital Studies Symposium 4 units(DGST)*The Digital Studies Symposium brings an array of established new media artists, scholars, and designers tothe USC campus to speak and present their work. Thiscourse offers students the chance to understand the creative challenges presented by new media design.Participants will showcase innovative projects, such ascutting edge gestural interfaces, mobile media experiments, innovative websites and augmented reality pieces. Holly Willis

InstItute For muLtImeDIa [email protected] W. Adams Boulevard (EGG building)

Note: All IML classes, with the possible exception of IML 140 are held at the Institute for Multimedia Literacy.For directions, please see iml.usc.edu/index.php/contact-map/Courses presume no prior media experience.

CTIN 309 Introduction to Interactive Entertainment 4 units (CART, DGST)*Offers students the historical perspective, critical vocabulary, and design skills by which they can analyzeand understand their own experiences with interactiveentertainment, as well as imagine and articulate theirown ideas for interactive experiences.William Huber

CTIN 404 Usability Testing for Games 2 unitsConcepts and methods of usability assessment. The emphasis will be on understanding the issues surrounding game interfaces, and utilizing usability assessment methods.Heather Desurvire

CTIN 405L Design and Technology for MobileExperiences 2 units (DGST)*Students will develop a strong sense of the design challengesand opportunities presented by mobile technologies.Through readings and discussions, students will developcritical and pragmatic insights into designing mobile experiences and technology. Students will form designgroups to develop a mobile project design using theprinciples from readings and class discussions. TBA

CTIN 406 Sound Design for Games 2 unitsThis course covers the technical, logistical, organizationaland creative elements of the major production areas forgames: dialog, sound effects, ambience, and music. Vincent Diamante

CTIN 462 Critical Theory and Analysis ofGames 4 units (DGST)*Formal, aesthetic, and cultural aspects of digital games,critical discourse around gameplay, and the relationshipof digital games to other media.William Huber

CTIN 483 Introduction to Game Development4 units (VGDM, DGST)*This introductory production class is focused on creating2D games. We will develop a number of prototypeswhile learning the technical capabilities and challengesof the game engine Torque 2D. In doing so, we will prepare ourselves for making a class project—a complete game.Jeremy Gibson

CTIN 484 Intermediate Game Development 2 units(VGDM)*This class is a follow-up to CTIN 483 and CTIN 488. It introduces students to more advanced concepts in gamedesign and development such as ideation, digital prototyping, interface design, usability testing, level design, quality assurance, team work, project planning, and management. Peter Brinson Prerequisite: CTIN 483, CTIN 488; concurrent enrollment: CTIN 489

InteractIve meDIa cinema.usc.edu/[email protected] of Cinematic Arts (SCA) 2nd floor


CTIN 488 Game Design Workshop 4 units (VGDM)*The purpose of this workshop is to examine models andstrategies for creating electronic games that are based insolid play mechanics. Students will experience the fundamentals of game design through the study of classic games, as well as design their own games andplaytest/critique the games of others.Jeremy GibsonRecommended preparation: CTIN 309, CTIN 483

CTIN 489 Intermediate Game Design Workshop2 units (VGDM)*This class is a follow-up to CTIN 483 and CTIN 488. Itintroduces students to more advanced concepts in gamedesign and development such as ideation, digital prototyping, interface design, usability testing, level design, quality assurance, team work, project planning,and management. TBAPrerequisite: CTIN 483, CTIN 488; concurrent enrollment: CTIN 484

CTIN 492 Experimental Game Topics 4 unitsThis Spring's focus will be Stereoscopic 3D Game Design.This 4 unit class will give students opportunities to developgames that utilize stereo 3D (S3D) as an essential componentof their game designs. Both technically and artistically,S3D promises to represent an important skill set and creative position in the game industry and so studentswill be encouraged to create experimental prototypesand games.Peter Brinson or Perry Hoberman

CTIN 499 Immersive Game Design 2 unitsThe objective of this course is to design and developgames and prototypes using various immersive input devices, including video cameras, Wii-motes, accelerometer-inertial-magnetic sensor combinations,and culminating in the use of Microsoft's Kinect systems.Unique input devices lead to unique game designs, andthis class will focus on that opportunity.Jeremy Gibson

CTIN 501 Interactive Cinema 2 unitsProvides students with a vocabulary of conceptual andartistic means to create computer-based interactive works.Andreas Kratky

CTIN 599 Introduction to Public Interactives 2 unitsThis course explores the design of public interactives as agenre of interactive experience. Public interactives arespecifically designed for display and presentation in public and communal settings such as museums, entertainment venues, civic spaces, libraries, hotels, information centers, sports facilities, festivals, and galleryshows. These interactives typically incorporate diverseforms of technology such as mobile communication devices, Bluetooth peripherals, touch screens, large displays, projection systems, networked embedded sensors, instrumented furniture, and distributed audio systems. Anne Balsamo

Additional division info: interactive.usc.edu

CTPR 288 Originating and Developing Ideasfor Film 2 unitsExercises in observation, imaginative association, visualization, etc., that deepen the creative process andlead to ideas, stories, characters, and images for narrative, documentary, and experimental films.Two sections taught by Steve Albrezzi or Jennifer Warren

CTPR 327 Motion Picture Camera 3 units (CART,DGST)*The magic of creating images on film from using cameras,lenses, and filters to photographic processes and the roleof the cinematographer in interpreting story. Use of motionpicture camera equipment, principles of black/white andcolor cinematography, and hands-on projects put theoryinto practice. Multiple sections taught by Tristan Whitman, Chris Chomyn, or Robert Ballo

CTPR 335 Motion Picture Editing 3 units (CART,DGST)*Exploration of aesthetics, theory, history, and procedures

of motion picture editing for many styles of film. Studentsview award-winning shorts and sections of features to illustrate different editing styles and edit a series ofscenes using the latest Avid Express DV equipment.Multiple sections taught by Tina Hirsch, Michael Hoggan or David Lloyd

CTPR 385 Colloquium: Motion Picture Production Techniques 4 units(ANDA, CNHP, CART, DGST)*Motion picture production from the writing of the scriptto planning, shooting, and completion of a movie. Theclass will write, direct, and shoot a digital video.TBA

CTPR 386 Art and Industry of the TheatricalFilm 4 unitsAnatomy of a film. Explore aspects of filmmaking within-depth study of all facets—screenplay to completion. A major current film is examined in detail and guestspeakers involved in the making of the film describeeach phase of production. Films previously studied include: Juno and Star Trek (2009). Jason E. Squire

CTPR 409 Practicum in Television Production2 or 4 units (CART)*Get hands-on experience at Trojan Vision, USC’s televisionstation that produces local and network programming.Work in the state-of-the-art Zemeckis Center for DigitalArts to learn all aspects of television production and create your own shows with professionals from the Hollywood television industry.Joel Parker

CTPR 410 The Movie Business: From StoryConcept to Exhibition 2 unitsCovers the gamut of the movie business, from story concept to film exhibition. Guest speakers and lectureswill cover the role of the writer, agent, studio executive,producer, director, marketing, and distribution.Peter Exline

CTPR 422 Makeup for Motion Pictures 2 unitsIntroduction to makeup for film, TV, and theater, exploring glamour, old age, gore, fantasy, and prosthetictechniques. Students learn through lectures, demos, andhands-on workshops.Ian Goodwin

CTPR 423 Introduction to Special Effects inCinema 2 unitsIntro to special effects techniques, cost, and operationalcharacteristics. Hands-on workshop environment wherestudents experience time and complexities involved witheffects/techniques now in popular use industry-wide.Great for aspiring production managers, directors, andcamera and effects specialists.Tom Anderson

CTPR 425 Production Planning 2 units From script to screen: practical application of methodsand tools for the scheduling, budgeting, and planning of a film.Robert Brown

CTPR 426 The Production Experience 2 unitsLearn the fundamentals of episodic TV drama and participate in the shooting of an episode written and directed by students. Positions available in producing,camera, sound, production design, or editorial.Helaine Head

FILm & teLevIsIon ProDuctIon cinema.usc.edu/[email protected] of Cinematic Arts (SCA) 427


CTPR 454 Acting for Film and Television 4 unitsLearn and apply prominent theories of performance and howthey relate to film and television. Students gain understandingof the tools of performance, as derived from the stage,and how they translate to film and television.Shirley-Jo Finney

CTPR 455 Introduction to Production Design 2 unitsIntroductory course in the principles of production design. Course includes: structure of the art department,fundamentals of design, and various other design elements. Lectures, screenings, guest speakers, and student projects.Mark Stratton

CTPR 456 Introduction to Art Direction 2 unitsStudents learn the current tools and techniques of the artdirector: written language (drafting), three-dimensionallanguage (model making), and the language of ideas(quick sketching). Learn how to present ideas and execute them in a professional manner. Joe Hoffman

CTPR 460 Film Business Procedures and Distribution 2 units (CART)*Introduction to film economics, exhibition, distribution,and production. Budgets, financing, television/non-theatrical and theatrical films, production and distributionagreements, copyright and legal considerations will alsobe covered.Jason E. Squire

CTPR 461 TV Station Management 2 units (CART)*Executives from all areas of the TV industry address classeach week to provide first-hand information about awide range of areas, including news production, sales,marketing, syndication, and networks.Dick Block

CTPR 470 Practicum in On-Screen Direction ofActors 4 unitsStudents learn to experiment and discuss the manychoices in directing actors, including laboratory andscene analysis. Also covered: breaking down a scriptfrom the emotional point-of-view of the actor.Shirley-Jo Finney

CTPR 474 Documentary Production 4 units(CNHP)*Pairs produce, direct, shoot, and edit a documentary ona subject of their choice. Students are encouraged toform pairs before class; individual students form partnerships at the beginning of the term. Students mustcome prepared with two to three documentary ideas.Finished films will be approximately 15 minutes in lengthand suitable for broadcast/festivals.Bill Yahraus

CTPR 495 Internship in Cinema/Television 2 or 4 unitsOn-the-job film and television experience in the areas ofinterest of the respective student. Companies and placespast students have had stints with include DreamWorks,HBO, and ICM. This course is open to both undergraduatesand graduate students.Jason E. Squire

CTPR 499 Hidden Storytellers: The Crafts of Cinema 2 unitsDiscover how cinematographers, sound designers, editors, costume designers, production designers, andcomposers are storytellers in their own right, using theirunique palette of tools to express the story of a motionpicture in ways that are often subliminal. Gary Leva

CTWR 410L Character Development and Storytelling for Games 4 units (SCWR)*Explore characters and story worlds as they relate togaming with an emphasis on emotionally rich environments in interactive entertainment.Danny Bilson

CTWR 412 Introduction to Screenwriting 2 units(CART, CNHP, SCWR)*Learn the basic building blocks of any screenplay—visualization, character, dialogue, scene structure, conflict, and sequence. After writing short premises, students will progress to combining scenes into sequences and a short script.Multiple sections taught by Ron Friedman, Frank McAdams, Jason E. Squire,Jim McGinn, David Milton, or Noreen Stone

CTWR 321 Introduction to Television Writing2 units (CART, SCWR)*Learn the basics of writing scenes from popular television shows and how to build a story within theconfines of a television series. David Balkan Prerequisite: CTWR 412

CTWR 415 Advanced Writing (SCWR)*Now that you know the fundamentals, start and finish your feature script!CTWR 415A taught by Babs Greyhosky 2 unitsPrerequisite: CTWR 412CTWR 415B taught by Paul Foley 4 unitsPrerequisite: CTWR 415A

CTWR 411 Television Script Analysis 2 units Spendthe afternoon watching the greatest television of ourtime with a new awareness of conflict and resolution inthe framework of the T.V. structure.Michael Cassutt

CTWR 421 Writing the Hour-Long DramaticSeries 2 units (SCWR)*Introduction to the principles of writing network-styleepisodic drama. Outline and write a “spec” script for anexisting hour-long television show such as Lost, CSI, orGrey’s Anatomy.Multiple sections taught by Lance Gentile, Pam Douglas, or Georgia Jeffries Prerequisite: CTWR 321

CTWR 431 Screenwriters and Their Work: The Genius of John Hughes 2 unitsAn exploration of the career and influence of screen-writer John Hughes, from National Lampoon's Vacationto Ferris Bueller's Day Off and The Breakfast Club.Hughes' work and the work of writers he inspired will beanalyzed from a screenwriter's perspective.Don Bohlinger

CTWR 434 Comedy Writing Genres 2 units (SCWR)*Exploration into situation comedy, writing by committee,developing comedic timing, and using humor as a styleof filmmaking. Outline and write a “spec” script for an existing half-hour sitcom. Multiple sections taught by Jim Staahl or Michael SaltzmanPrerequisite: CTWR 321 or CTWR 414

CTWR 437 Writing the Situation Comedy Pilot2 units (SCWR)*Have a great idea for a half-hour show? Come learn thecreative process of writing the comedy pilot.David GoetschPrerequisite: CTWR 434

CTWR 439 Writing the Original Dramatic Series Pilot 4 units (SCWR)*Create your own one-hour drama and write the pilotepisode.Pam DouglasPrerequisite: CTWR 421

WrItInGcinema.usc.edu/[email protected] of Cinematic Arts (SCA) 335


Cinematic Arts minors offer undergraduates an opportunity to become familiar with the art form,its history and techniques through a diversified setof classes in the school’s divisions. Students maychoose to sample two or more different aspects ofthe world of film, television, and interactive mediaor concentrate in an area of primary interest.

Animation & Digital Arts (ANDA)An introduction to the theory and practice of animation,including its relationship to the history of art and cinema,creative writing, and basic film production that will providestudents with an opportunity to create both personaland collaborative work in a wide range of genres. Successful completion of a final project is required.

Cinematic Arts (CART) A minor in cinematic arts is available to USC undergraduate students in all schools and departments.The minor provides the opportunity for students to become familiar with various aspects of media study.

Cinema-Television for the Health Profes-sions (CNHP) Done in collaboration with the Keck School of Medicineat USC, this program gives researchers and clinicians thecinematic knowledge they need to establish clear lines ofcommunication with television and movie producers.

Digital Studies (DGST)The minor in Digital Studies explores the rich potential ofdigital media for critical analysis and creative discovery.Learning the exciting and dynamic potential of a broadarray of tools and technologies, students create innova-tive, scholarly projects, ranging from photo-essays toWeb-based documentaries, from interactive videos to sophisticated Web sites, and from typography in motionto 3-D visualizations.

Screenwriting (SCWR) The minor in screenwriting is designed to train non-writingmajors in the challenging field of creating stories forscreen and television. Students learn to write feature-length screenplays, both comedic and dramatic teleplays,and explore specialized areas while learning the fundamentals of character, conflict, and scene structure.

Video Game Design & Management (VGDM) Offered jointly through the Interactive Media Division andthe Information Technology Program in the USC ViterbiSchool of Engineering, this minor integrates theoreticalconcepts and practical skills to prepare students for a career in interactive entertainment, specifically the videogame industry. Students enrolled in the program will beexposed to a variety of design concepts related to creating video games, including: level design, game-playcontrol, user interface, multiplayer, game mechanics andstorytelling. Successful completion of a working demo ofa video game is required.

unDerGraDuate mInorscinema.usc.edu/Minors

KeY weB PaGes:

cinema.usc.edu

cinema.usc.edu/CriticalStudies

cinema.usc.edu/Production

cinema.usc.edu/Animation

cinema.usc.edu/Interactive

cinema.usc.edu/Writing

cinema.usc.edu/Minors

cinema.usc.edu/IML

cinema.usc.edu/Admissions


course oFFFFerIInGGs FFor tHHe non-maJJor anD mInor ProGram DescrIPtIonsSSPPRRIINNGG 22001111

USC School of Cinematic Arts900 West 34th StreetLos Angeles, California 90089-2211

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courseoFFerInGs F H J D I P G - USC Cinematic Arts | Homecinema.usc.edu/assets/103/16421.pdf ·...

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Transcript of courseoFFerInGs F H J D I P G - USC Cinematic Arts | Homecinema.usc.edu/assets/103/16421.pdf ·...