Elizabeth Daley was appointed dean of the cinemaschool in May 1991. She is the inaugural holder of theSteven J. Ross/Time Warner Dean’s Chair. Daley was alsothe founding executive director of the USC AnnenbergCenter for Communication (1994-2005) and serves asthe executive director of the USC Institute forMultimedia Literacy.

Since becoming dean, Daley has strengthened theschool’s academic programs, infrastructure, and ties withthe entertainment industry and media arts community.Under her leadership, the school has added two newdivisions in animation & digital arts and interactivemedia, built the Robert Zemeckis Center for DigitalArts, installed 13 endowed chairs, and formed successfulpartnerships with a variety of entertainment and technologycompanies. On Oct. 4, 2006, Daley presided over theofficial creation of the USC School of Cinematic Arts andbroke ground for the school’s new 137,000-square-footbuilding complex.

She joined the school in 1989 as chair of the Film &Television Production Program. Before coming to USC,Daley served as director of the film and televisionsubsidiary of the Mark Taper Forum, and prior to thatwas a producer for MGM/Television. She has also beenan independent producer and media consultant, andserves on the boards of directors of the Center forGovernmental Studies, the Benton Foundation, theDigital Coast Round Table, and AVID Technologies, aswell as the Board of Governors of Operation Smile.

Daley has been honored by American Women in Radioand Television and was twice nominated for a Los AngelesArea Emmy Award. She has received a Cine Golden Eagleand the Barbara Jordan Award, as well as the CaliforniaGovernor’s Award for her work with programming aboutthe handicapped.

Daley earned a Ph.D. from the University of Wisconsinand M.A. and B.A. degrees from Tulane University andNewcomb College.

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

eLIzaBetH M. DaLeYDEAN, USC SCHOOL OF CINEMATIC ARTS

Critical StudiesDegrees offered: B.A., M.A., Ph.D.Committed to the understanding of film, television, andinteractive media in relation to the world by studyingand analyzing the processes behind their creation.Scholars are engaged with the examination of movingimage media, popular culture, and the art and industriesof film, television, and interactive media, exploring theirsocial, political, economic, and aesthetic impact both athome and abroad.cinema.usc.edu/criticalstudies

Film & Television ProductionDegrees offered: B.A., M.F.A.Designed to build specific skills upon a strong foundationof general knowledge of film and television production.Students learn all aspects of cinematic storytelling, fromwriting and producing to directing, sound design,cinematography, and editing.cinema.usc.edu/production

John C. Hench Division of Animation & Digital ArtsDegrees offered: B.A., M.F.A.Combining experimentation and innovation with digitaltechnologies and rigorous course work that includes thehistory of animation, writing for animation, animationfundamentals, film and television techniques,experimental animation, interactive animation,computer animation and critical studies.cinema.usc.edu/animation

Interactive MediaDegrees offered: B.A., M.F.A.Critical and theoretical abilities, creative and conceptualdesign skills, and collaborative and production skills,combine with a deep understanding of the knowledgerequired to meld technology with storytelling, art,music, and game design.cinema.usc.edu/interactive

The Peter Stark Producing ProgramDegree offered: M.F.A.With an equal emphasis on the creative and themanagerial aspects of producing, the program prepareswomen and men for careers as independent film andtelevision producers or executives. The program coversthe industry’s economics and history, entertainment law,studio management, budgeting, marketing, andproducing for television and non-mainstream producing.cinema.usc.edu/producing

Writing for Screen & TelevisionDegrees offered: B.F.A., M.F.A.Focused on the fundamentals of creating for visualmedia, specifically writing scenes, short scripts, treatmentsand full-length feature screenplays. A broad breadth ofother courses concentrate on the unique structuring ofepisodic television, along with production, directing,editing, history and theory, and the business aspectsof the industry.cinema.usc.edu/writing

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

DIvIsIons:

Cinema-Televison Undergraduate MinorFor non-Cinematic Arts majors who are interested infilm study.

Animation & Digital Arts Undergraduate MinorAn introduction to the theory and practice of animation,including its relationship to the history of art andcinema, creative writing, and basic film production.

Cinema-Television for the Health Professions MinorDone in collaboration with the Keck School of Medicineat USC, this program gives researchers and clinicians thecinematic knowledge they need to establish clear linesof communication with television and movie producers.

The Undergraduate Minor in ScreenwritingThe Minor in Screenwriting is designed to train non-writing majors in the creatively challenging field ofcreating stories for screen and television.

MInors anD certIFIcate ProGrams:

continued...

Entertainment Technology Center (ETC)The Entertainment Technology Center seeks tounderstand the impact of new technologies on theentertainment industry. Research activities includeDigital Cinema testing and evaluation and the NewDigital Home (broadband entertainment on demand,home networking, and new content distributionmethods and devices).www.etcenter.org

Institute for Multimedia Literacy (IML)The Institute for Multimedia Literacy develops educationalprograms and conducts research on the changing natureof literacy in a networked culture. The IML’s educationalprograms address students, teachers, and faculty acrossthe educational spectrum: including K-12 teachers, studentteachers, and higher education faculty. In the fall of 2006,USC created the “Multimedia in the Core” program,extending the philosophy to general education coursesacross the university. The IML also supports faculty-directedresearch that seeks to transform the nature of scholarshipwithin the disciplines.cinema.usc.edu/iml

OrGanIzeD ResearcH unIts:

Undergraduate Minor in Video GameDesign & ManagementOffered jointly through the Interactive Media Divisionand the Information Technology Program in the USCViterbi School of Engineering.

Entertainment Concentration for Graduate Students/Undergraduate Program in Entertainment BusinessBoth programs done in conjunction with the USCMarshall School of Business.

Scott S. Fisher, ChairDivision of Interactive Media

Scott S. Fisher is a media artist and interaction designer

whose work focuses primarily on interactive environments

and technologies of presence. Well known for his

pioneering work in the field of virtual reality at NASA,

Fisher’s media industry experience also includes Atari,

Paramount, and his own companies Telepresence

Research and Telepresence Media. A graduate of MIT’s

Architecture Machine Group (now Media Lab), he has

taught at MIT, UCLA, UCSD, and is a project professor at

Keio University in Japan. His work has been recognized

internationally through numerous presentations,

professional publications, and in the popular media. In

addition, he has been an artist in residence at MIT’s

Center for Advanced Visual Studies, and his stereoscopic

imagery and artwork have been exhibited in the U.S.,

Japan, and Europe.

Anne Friedberg, ChairDivision of Critical Studies

A historian and theorist of modern media culture, Anne

Friedberg is the author of the influential study, Window

Shopping: Cinema and the Postmodern, chapters of

which have been widely anthologized and translated

into German, Finnish and Japanese. She is also the

co-editor of an anthology of critical and theoretical

writing about film, Close Up 1927-1933: Cinema and

Modernism. Her recent essays on new media technologies

have been included in Re-inventing Film Studies; The

New Media Book; Rethinking Media Change: The

Aesthetics of Transition; Film Theory and Criticism.

Her new book, The Virtual Window: From Alberti to

Microsoft, has just been published by MIT Press.

Friedberg received her Ph.D. in Cinema Studies from

NYU. Prior to joining the USC faculty in 2003, she was

on the faculty of Film and Media Studies at UC/Irvine,

where she was the principal architect for a new

interdisciplinary Ph.D. program in Visual Studies and

the founding director and programmer of UCI’s Film and

Video Center.

Howard A. Rodman, ChairDivision of Writing for Screen & Television

Howard A. Rodman adapted the Joseph Mitchell book

Joe Gould’s Secret, which was an Opening Night

selection of the Sundance Festival, and an October/USA

Films release. He also wrote several of the episodes of

the Showtime anthologies Fallen Angels and

The Hunger, writing for directors Tony Scott, Steven

Soderbergh, and Tom Cruise. The latter garnered him a

Cable Ace nomination for Best Writing. His original

screenplay, “F.,” was chosen by Premiere magazine in

July 1999 as one of “Hollywood’s Ten Best Unproduced

Screenplays.” His novel, Destiny Express, from

Atheneum, was termed “Daringly imagined, darkly

romantic–a moral thriller” by Thomas Pynchon. He

currently serves on the board of directors of the

Independent Feature Project/West, and has been a

mentor for Project: Involve. He is a creative advisor to

the Sundance Institute labs.

Kathy Smith, ChairDivision of Animation & Digital Arts

Kathy Smith is an Australian artist who has been working

with painting, installation and animation since 1982.

After graduating from Sydney College of the Arts in

1985, she studied and worked in Europe at Studio Art

Centers International, Florence, Italy, and the Cite

Internationale des Arts, Paris. Since 1986, her films have

been screened internationally, including the Hiroshima,

Anima Mundi, and Ottawa International animation

festivals. She has exhibited internationally at group and

solo exhibitions such as the Institute of Contemporary

Art, London; Conservatorio di Santa Maria degli Angeli

Florence, Italy; and the Australian National Gallery

Canberra. Smith has created and produced 11 animated

films, including traditional character cartoons,

experimental mixed media animations, and most

recently, two computer-assisted digital animated films.

Her work is currently documented in Animation Now,

a world-wide publication by Taschen Press and Anima

Mundi released in 2004.

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

DIvIsIon cHaIrPersons

continued...

Michael Taylor, ChairDivision of Film & Television Production

Michael Taylor is a producer of theatrical and television

films. He began his career as an executive at United

Artists Corporation and served as European head of

production. Having produced both within the studio

system and in the independent arena, his credits include

Instinct, Phenomenon, Bottle Rocket, The Hi-Line,

Last Embrace, The Pursuit of D.B. Cooper, Mrs.

Munck, and Princess of Thieves. Among other honors,

he is the recipient of the Genesis Award for Outstanding

Feature Film and the Variety/EDI $100 Million Award,

and is a member of the Academy of Motion Picture Arts

and Sciences.

Lawrence Turman, ChairPeter Stark Producing Program

Lawrence Turman has been a motion picture producer

for 35 years. His extensive body of work includes The

Graduate, The Flim Flam Man, The Great White

Hope, The Best Man, Running Scared, Short Circuit,

The River Wild and American History X. He has

directed two films, The Marriage of a Young

Stockbroker and Second Thoughts, and executive

produced many movies for television. A graduate of

UCLA, Turman is on the board of the producer’s branch

of The Academy of Motion Picture Arts and Sciences and

the President’s Council of National Public Radio.

Steven J. Ross / Time Warner Dean’s Chair inCinematic ArtsElizabeth M. Daley, Ph.D.

Hugh M. Hefner Chair for the Study ofAmerican FilmRichard B. Jewell, Ph.D.

Alma and Alfred Hitchcock Chair for the Study ofAmerican FilmDrew Casper, Ph.D.

Ray Stark Chair for the Study of American FilmLawrence Turman, B.A.

Mary Pickford Endowed ChairDoe Mayer, M.A.

Stephen K. Nenno Chair in Television ProductionGerald I. Isenberg, M.B.A.

Stephen K. Nenno Chair in Television StudiesEllen Seiter, Ph.D.

Kay Rose Chair in the Art of Sound andDialogue EditingMidge Costin, M.A.

Katherine and Frank Price Chair for the Study ofRace and Popular CultureTodd Boyd, Ph.D.

Electronic Arts Endowed Chair in InteractiveEntertainmentWilliam Bing Gordon, M.B.A.

Ken Wannberg Endowed Chair in Music EditingKenneth Hall

Conrad Hall Endowed Chair in Cinematography andColor TimingJudy Irola

Larry Auerbach Endowed ChairLarry Auerbach

enDoweD cHaIrHoLDers

Faculty ProfessorsAnne Balsamo, Ph.D.

Todd Boyd, Ph.D.

Drew Casper, Ph.D.

Elizabeth M. Daley, Ph.D.

Scott Fisher, M.S.

Anne Friedberg, Ph.D.

John Furia Jr., B.A.

Mark J. Harris, B.A.

Tomlinson Holman, B.S.

Gerald Isenberg, M.B.A.

David James, Ph.D.

Richard B. Jewell, Ph.D.

Robert Jones

Jeremy Kagan, M.F.A.

Marsha Kinder, Ph.D.

Akira Mizuta Lippit, Ph.D.

Doe Mayer, M.A.

Michael Renov, Ph.D.

Howard A. Rodman

Ellen Seiter, Ph.D.

Michael Taylor, B.A.

Lawrence Turman, B.A.

Associate ProfessorsTom Abrams, M.F.A.

Don Bohlinger, M.F.A.

Mark Bolas, M.S.

Linda Brown, M.F.A.

Midge Costin, M.A.

Pamela Douglas, M.A.

Jack Epps Jr., B.A.

Kenneth Hall

Helaine Head, B.A.

Norm Hollyn, B.A.

David Howard, M.F.A.

Judy Irola

Priya Jaikumar, Ph.D.

Georgia Jeffries, B.A.

Curtis Marez, Ph.D.

Tara McPherson, Ph.D.

Robert E. Miller, Ph.D.

Amanda Pope, B.A.

Kathy Smith, B.A.

Assistant ProfessorsSteve Anderson, Ph.D.

Julian Bleecker, Ph.D.

David Bondelevitch, M.F.A.

Tracy Fullerton, M.F.A.

Chris Swain, B.A.

Visiting Associate ProfessorsEverett Lewis, M.F.A.

Sheila Sofian M.F.A.

Michael Uno, M.F.A.

Visiting Assistant ProfessorsMiranda Banks, Ph.D.

Peggy Weil, M.S.

Senior Lecturers/LecturersSteve Albrezzi, B.A.

Robert Ballo, B.A.

Theodore Braun III, M.F.A.

Chris Chomyn, M.F.A.

Jed Dannenbaum, Ph.D.

Mary Beth Fielder, M.F.A.

Pablo Frasconi, B.F.A.

Robert Gardner, B.A.

Gary Goldsmith, B.A.

Brenda Goodman, B.S.

Don Hall, B.A.

Carroll Hodge, M.F.A.

Mary Jansen, B.A.

Mardik Martin, M.A.

Angelo Pacifici, B.A.

Earl Rath

Mark Shepherd, M.F.A.

John Tarver, M.F.A.

Doug Vaughan, M.A.

Jennifer Warren, B.A.

David Weber, M.F.A.

Tristan Whitman, M.F.A.

Paul Wolff

William Yahraus, M.A.

Research ProfessorLarry Auerbach

Research Associate ProfessorPerry Hoberman, B.A.

Michael Naimark, M.S.

Richard Weinberg, Ph.D.

Instructors of Cinema PracticeJoseph Janeti, Ph.D.

Jason E. Squire, M.A.

Adjunct FacultyKate Amend

Sterling Anderson

Tom Anderson

Wendy Apple

David Baron

Deborah Baron

Anne Beatts

Sandra Berg

Alan Berger

Fred Bernstein

Bruce Block

Steve Blume

Janet Graham Borba

Elizabeth Brauer

Paul Bricault

Peter Brinson

Jody Brockway

Robert Brown

Laurie Burton

Richard Burton

Ed Callahan

Tim Clawson

Joseph Cohen

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

tHe FacuLtY

continued...

Cornelius Cole

Kenneth Cosby

Lindsay Crouse

Martin Daniel

Johanna Demetrakis

Paul Demeyer

Bill Dill

Sharon Doyle

Mar Elepano

Peter Exline

Nina Foch

Kathy Fogg

William Fraker

Ron Friedman

Andy Friendly

Lance Gentile

Jean-Pierre Geuens

Andrew Given

Scott Gorden

Erick Green

Barbara Greyhosky

Karen Halverson

Eric Hanson

Steven Hirsen

John Hoffhines

Joe Hoffman

Todd Hoffman

Michael Hoggan

Joan Hyler

Jason Ipson

Gabor Kalman

Kristy Kang

Thomas Kang

Aaron Kaplan

Jeffrey Kleeman

Louis Kleinman

Randal Kleiser

Jeffrey Korchek

Paul Koval

Tony Krantz

Matt Kregor

Lisa Leeman

Robert Levin

Andrew Licht

Topper Lilien

David Lloyd

Leonard Maltin

Lisa Mann

Kataryna Marciniak

Ron Mardigian

Morgan Martin

Peter Marx

Frank McAdams

Jim McGinn

Phil Messina

Alex Metcalf

David S. Milton

James Mitchell

Jay Moriarty

Maks Naporowski

Noel Nosseck

Peter Pampusch

Vicki Paul

Rebecca Pollack Parker

David Pendleton

Sanford Reisenbach

Vincent Robert

Howard Rosenberg

Fred Rubin

Mann Rubin

Allen Rucker

Lionel Schaen

Michael Scroggins

Bonnie Senter

Beth Serlin

Reid Shane

Thomas Sito

Lucy Stille

Brandon Stoddard

Noreen Stone

Jeffrey Stott

Mark Stratton

Chris Sturgeon

Brian Swardstrom

Gabriela Taylor

Duke Underwood

Jon Wagner

Matthew Weisman

David Weitzner

Tristan Whitman

William Whittington

Oscar Williams

Holly Willis

Robert Zemeckis

Emeritus ProfessorsGene Coe, M.F.A.

Ronald Curfman, M.F.A.

Herbert E. Farmer, M.A.

Trevor Greenwood, M.A.

Richard Harber, M.A.

Edward Kaufman, Ph.D.

E. Russell McGregor, Ph.D.

K. Kenneth Miura, M.A.

Woody Omens, A.S.C., M.A.

Gene Petersen, M.F.A.

Melvin Sloan, M.A.

Wolfram von Hanwehr, Ph.D.

Daniel Wiegand, M.A.

Morton Zarcoff, M.A.

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

George Lucas’ devotion to timeless storytelling and

cutting-edge innovation has resulted in some of the most

successful and beloved films of all time.

His films celebrate the boundless potential of the individual

to overcome any limitations, a theme especially strong in

the movies that marked the start of his career. In 1971,

with long-time friend Francis Ford Coppola as executive

producer, Lucas transformed an award-winning student

film into his first feature, THX-1138. Lucas’ second feature

film, the low-budget American Graffiti (1973), became the

most successful film of its time, and garnered numerous

awards including the Golden Globe.

But it was Lucas’ third film, 1977’s Star Wars, that changed

everything. A deceptively simple morality tale of good

versus evil told across a fantastic landscape of exotic

planets and bizarre creatures, Star Wars became an

international phenomenon. Star Wars broke all box-office

records, set new standards for sophistication in film

visuals and sound, garnered eight Academy Awards, and

inspired a generation of young people to follow their

imagination and dreams.

Lucas has been the storywriter and executive producer of

a series of box-office hits beginning with The Empire

Strikes Back in 1980 and Return of the Jedi in 1983. He

also created the classic adventurer Indiana Jones, and

co-wrote and executive-produced Raiders of the Lost Ark

(1981), Indiana Jones and the Temple of Doom (1984) and

Indiana Jones and the Last Crusade (1989), a trilogy that

won eight Academy Awards. Later, a television series, The

Young Indiana Jones Chronicles, won 12 Emmy Awards.

GeorGe LucasCLASS OF ‘66

continued...

Lucas’ additional film credits include Akira Kurosawa’s

Kagemusha (1980); Mishima (1985); Latino (1985); Howard

the Duck (1986); Labyrinth (1986); Willow (1988); Tucker:

The Man And His Dream (1988); Radioland Murders

(1994); Special Editions of the Classic Star Wars Trilogy in

1997; and Star Wars Episode I The Phantom Menace

(1999); Episode II Attack of the Clones (2002); and

Episode III Revenge of the Sith (2005).

Lucas has received some of the entertainment industry’s

highest honors, including the Academy of Motion

Picture Arts and Sciences’ Irving G. Thalberg Memorial

Award; the American Film Institute’s Lifetime

Achievement Award; and the Visual Effects Society’s

Lifetime Achievement Award. In 2004, Lucas received the

National Medal of Technology, the nation’s highest

award for technological achievement, from the president

of the United States, for 30 years of innovation at

Industrial Light & Magic.

As Lucas has continued making movies, his Lucasfilm Ltd.

has grown into one of the world’s leading entertainment

companies. Founded by Lucas in 1971 in San Rafael,

California, it is a privately held, fully integrated

entertainment company. In addition to its motion-picture

and television production operations, the company’s

global activities include Industrial Light & Magic and

Skywalker Sound, LucasArts, Lucasfilm Animation, Lucas

Licensing, and Lucas Online. Lucasfilm’s motion-picture

productions include five of the 20 biggest box-office hits

of all time. Together, Lucasfilm, ILM and Skywalker

Sound have received 40 Oscars and special achievement

awards and more than 100 Academy Award nominations.

Lucas is chairman of the board of the George Lucas

Educational Foundation and also serves on the board of

the Film Foundation and is a member of the USC School

of Cinematic Arts Board of Councilors.

Architect Urban Design Group, Inc.www.urbandesinggroup.com

Contractor Hathaway Dinwiddie

Square footage (gross) 137,000

Square footage (useable) 122,816

Number of stories 4 (plus sub-level post-production floor)

Number of classrooms 8

Number of multimedia conference rooms 9

Number of conference rooms 14

Number of screening rooms 8 (One 200-seat, one 100-seat,

two 80-seat, and four 40-seat)

Exhibition/Installation space 700 square feet

Café 200 seats (approximately)

Groundbreaking October 4, 2006

Estimated time of completion January 2008

Estimated cost of construction $75,000,000

Estimated cost of furnishing $18,000,000

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

comPLex overvIew

ProducersChris Black (Desperate Housewives)Michael Bostick (Bruce Almighty)Robert Breech (The Practice, LA Law)Bryan Burk (Lost)Sean Covel and Chris Wyatt (Napoleon Dynamite)Josh Donen (The Quick and the Dead, Spider Man 3)Bob Ducsay (The Mummy, Van Helsing)Lori Forte (Ice Age)David Foster (McCabe & Mrs. Miller)Gary Foster (Sleepless in Seattle)David Goffin (American Idol, Rockstar:INXS)Gordon Gray (Miracle, The Rookie)Brian Grazer (24, A Beautiful Mind)Andrew Gunn (Freaky Friday)Ron Howard (24, Arrested Development)Nancy Juvonen (Donnie Darko, Never Been Kissed)David Kirschner (Frailty)Matt Kunitz (The Real World, Fear Factor)Alan Ladd Jr. (Braveheart)Jon Landau (Titanic, Solaris)Damon Lee (Undercover Brother)Michelle Manning (The Breakfast Club, Book of Skulls)Kerry McCluggage (Star Trek: The Beginning)Kevin McCollum (Rent, Avenue Q)Neal Moritz (Prison Break, The Fast and the Furious)Erin O’Malley (Curb Your Enthusiasm, Da Ali G Show)Gabe Sachs (Freaks and Geeks, Life As We Know It)Ed Saxon (Adaptation, Silence of the Lambs)Tom Shelly (Survivor)Stacey Sher (Erin Brockovich, Garden State)Jason Shuman (Little Black Book)Tom Spezialy (Desperate Housewives)Scott Stone (The Mole)Jennifer Todd and Suzanne Todd (Memento, Must Love Dogs)David L. Wolper (Roots, Willy Wonka and the Chocolate Factory)Mark Wolper (Mists of Avalon, Penn & Teller’s Bullshit)Laura Ziskin (Spider-Man I & II)

Writer/ProducersRobert Borden (The George Lopez Show)Russel Friend & Garrett Lerner (House)

Al Gough & Miles Millar (Smallville)Grant Heslov (Good Night, and Good Luck)Evan Katz (24)Eric Kripke (Supernatural)Norman Morrill (Thief)Jack Orman (ER)Shonda Rhimes (Grey’s Anatomy)Josh Schwartz (The O.C.)Matthew Weiner (The Sopranos)John Wells (ER)

Directors / Writer-Directors / Producer-DirectorsLiz Allen (Aquamarine)Judd Apatow (The 40 Year-Old Virgin)Gregg Araki (The Doom Generation, Mysterious Skin)Doug Atchison (Akeelah and the Bee)Steven Cantor (Family Bonds)John Carpenter (Halloween)Sebastian Cordero (Crónicas)Ericson Core (Invincible)Scott Derrickson (The Exorcism of Emily Rose)Breck Eisner (Sahara)Rick Famuyiwa (Brown Sugar, The Wood)Bahman Farmanara (Smell of Camphor, Fragrance of Jasmine, Iran)James Foley (Glengarry Glen Ross, At Close Range)Gary Fleder (Runaway Jury, Kiss the Girls)Frank Flowers (Haven)David Goyer (Blade: Trinity)James Gray (The Yards)Luke Greenfield (The Girl Next Door)Taylor Hackford (Ray, An Officer and A Gentleman)Ron Howard (A Beautiful Mind, Apollo 13)James Ivory (Howard’s End, The Remains of the Day)Phil Joanou (Gridiron Gang, U2: Rattle and Hum)Rian Johnson (Brick)Richard Kelly (Donnie Darko, Southland Tales)Randal Kleiser (Grease, The Blue Lagoon)Ken Kwapis (The Office, The Sisterhood of the Traveling Pants)Michael Lehmann (Heathers, 40 Days and 40 Nights)Shawn Levy (Cheaper by the Dozen, The Pink Panther)Doug Liman (Swingers, Mr. and Mrs. Smith)George Lucas (Star Wars, American Graffiti)

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

SAMPLING OF USC ALUMNI WORKING IN CINEMA/TELEVISION/INTERACTIVE(NON-CINEMA MAJORS INCLUDED – AS OF 9/08/06)

notaBLe aLumnI

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Jason Reitman (Thank You for Smoking)Jay Roach (Meet the Parents, Austin Powers)Peter Segal (Anger Management, 50 First Dates)Bryan Singer (Superman Returns, The Usual Suspects, X-Men)John Singleton (Boyz n the Hood, Four Brothers)Stephen Sommers (The Mummy, Van Helsing)Tim Story (Barbershop, Fantastic Four)Jon Turteltaub (National Treasure, Phenomenon)Lee Unkrich (Finding Nemo, Monsters, Inc.)Edward Yang (Yi-Yi)Robert Zemeckis (Forrest Gump, Cast Away)Randy Zisk (Monk)

WritersScott Alexander & Larry Karaszewski (Ed Wood,The People Vs. Larry Flynt)John August (Go, Charlie and the Chocolate Factory)Paul Harris Boardman (The Exorcism of Emily Rose)Robert Gale (Back to the Future series)Josh Goldsmith and Cathy Yuspa (What Women Want,The King of Queens)David Goyer (Batman Begins, Blade)Robert Guza, Jr. (General Hospital)Willard Huyck (American Graffiti)Karey Kirkpatrick (Chicken Run)Scott Kosar (The Machinist)Paul Laverty (The Wind that Shakes the Barley, Bread andRoses, Sweet Sixteen)Marlowe (Air Force One, Hollow Man)John Milius (Apocalypse Now, Clear and Present Danger)Jeffrey Nachmanoff (The Day After Tomorrow)Wayne and Donna Powers (The Italian Job)Robert Rodat (Saving Private Ryan, The Patriot)Stephen Susco (The Grudge)Jamie Vanderbilt (Basic, Zodiac)David Weiss (Shrek 2)

CinematographersChris Baffa (Nip/Tuck, Running With Scissors)John Bailey (As Good As It Gets, The Kid Stays in the Picture)Peter Collister (Higher Learning, Poetic Justice)Jeff Cronenweth (Fight Club, One Hour Photo)Caleb Deschanel (The Natural, Being There)Robert Elswit (Boogie Nights, Syriana)William Fraker (Rosemary’s Baby, Close Encounters of the Third Kind)

Conrad L. Hall (deceased) (American Beauty, Road to Perdition)Nathan Hope (CSI, The Fog)Woody Omens (Coming to America, Boomerang)John Schwartzman (Seabiscuit, Pearl Harbor)Robert Yeoman (The Royal Tenenbaums, The Squid and theWhale)

EditorsJeff Betancourt (The Good Girl, The Grudge)Anita Brandt-Burgoyne (Legally Blonde)Robert Dalva (October Sky, Hidalgo)Jeffrey Ford (One Hour Photo, Shattered Glass)Richard A. Harris (Titanic, L.A. Story)Lee Haxall (Arrested Development)Sheldon Kahn (Out of Africa, Be Cool)Steve Kemper (Face/Off, Windtalkers)Marcia Lucas (Star Wars)Walter Murch (Apocalypse Now, The English Patient, Jarhead)John Ottman (The Usual Suspects, X-Men 2)Jon Poll (Meet the Parents, Meet the Fockers)Eric Sears (Must Love Dogs, Gia)Terilyn Shropshire (Eve’s Bayou, Diary of a Mad Black Woman)

Production DesignersRobert Boyle (Troop Beverly Hills)Henry Bumstead (deceased) (Million Dollar Baby, Mystic River)Greg Fonseca (Gladiator)

Sound Editors and Re-Recording MixersRichard L. Anderson (Raiders of the Lost Ark)Ben Burtt (Star Wars Episodes I-III)Thierry Couturier (The X-Files)Stephen Hunter Flick (Apollo 13)Doug Hemphill (Walk the Line, The Insider)Tom Johnson (Titanic, Million Dollar Baby)F. Hudson Miller (Gone in 60 Seconds, Pearl Harbor)Gary Rydstrom (Saving Private Ryan, Finding Nemo)Mark Stoeckinger (The Last Samurai)Sharon Tylk-Gersh (ER)Eliot Tyson (Glory, The Shawshank Redemption)

Visual EffectsJohn Cox (Babe, X-Men)Richard Edlund (Alien, Star Wars)Ray Harryhausen (Jason and the Argonauts)John Knoll (Pirates of the Caribbean, Star Wars) continued...

Gray Marshall (Being John Malkovich)Michael McAlister (Indiana Jones and the Temple of Doom)Lewis Siegel (The Matrix, Technical Director)Lindy Wilson (Deep Impact, Digital Effects Artist)

Documentary FilmmakersLes Blank (Garlic Is as Good as Ten Mothers)Jeff Blitz (Spellbound)Chuck Braverman (Curtain Call)Bill Couturie (Dear America: Letters Home from Vietnam)R.J. Cutler (American High)Lisa Leeman (Metamorphosis)Alec Lorimore (IMAX: Everest)Ellen Perry (The Fall of Fujimori)

Executives (Film/Television/Interactive)Angela Bromstad (President, NBC/Universal Television Studios)Kevin Bachus (Creator of X-Box)Polly Cohen (President, Warner Independent Pictures)Samuel Dickerman (Sony Pictures Entertainment)Jonathan Glickman (President, Spyglass Entertainment Group)Liz Glotzer (President, Castle Rock Productions)Robert Greenblatt (President, Showtime)Peter Kang (Vice President of Production, Twentieth Century Fox)Jon Kroll (Executive Vice President, Original Programming,New Line Television)Laird Malamed (Activision)Bill Mechanic (President, Pandemonium)Sharon Morrill (President, DisneyToon Studios)Mark Ordesky (Executive Vice President, New Line Productions)Bob Osher (Chief Operating Officer, Columbia Pictures MotionPicture Group)Santiago Pozo (Chief Executive Officer, Arenas Group)Michelle Raimo (Senior Vice President, Production, Paramount)Jason Reed (Vice President, Buena Vista MotionPictures Group)Bruce Rosenblum (Executive Vice President, Warner Bros.Television Group)Ira Rubenstein (Senior Vice President, Sony PicturesDigital Entertainment)Scott Sassa (Kleiner Perkins)

Toper Taylor (President and COO, The Cookie Jar Company)James Whitaker (President of Production, ImagineEntertainment)

AgentsFrank Balkin (Paradigm)Glen Bickel (Creative Artists Agency)Charlie Ferraro (United Talent Agency)Todd Hoffman (International Creative Management)Ramses Ishak (William Morris Agency)Aaron Kaplan (William Morris Agency)David Kramer (United Talent Agency)Brian Lourd (Creative Artists Agency)Gregory McKnight (William Morris Agency)Dan Rabinow (International Creative Management)Phil Raskind (Endeavor)Elizabeth Swofford (Creative Artists Agency)Jim Wiatt (President and Co-CEO of William Morris Agency)

Scholars/AuthorsRichard Cante (University of North Carolina, Chapel Hill)Mary Desjardins (Dartmouth College)David Desser (University of Illinois, Urbana)Anna Everett (UC Santa Barbara)Sean Griffin (Southern Methodist University)Mary Kearney (University of Texas, Austin)Amy Lawrence (Dartmouth College)Hilary Nerone (University of Vermont)Abé Markus Nornes (University of Michigan)Bhaskar Sarkar (UC Santa Barbara)Ellen Strain (Georgia Tech)Gaylyn Studlar (University of Michigan)Christina Venegas (UC Santa Barbara)Mark Williams (Dartmouth College)

CriticsScott FoundasPeter RainierHolly Willis

Mission:To develop and articulate the artistic, scholarly and

entrepreneurial principals and practices of the cinematic

arts—film, television and interactive media—and in

doing so inspire and prepare the women and men who

will become its leaders.

Organization:The School of Cinematic Arts is composed of six divisions

and two Organized Research Units (ORU). They are:

Division of Critical Studies

Division of Film & Television Production

Division of Interactive Media

Division of Writing for Screen & Television

John C. Hench Division of Animation & Digital Arts

Peter Stark Producing Program

The Entertainment Technology Center (ORU)

The Institute for Multimedia Literacy (ORU)

Program Founded:1929

Degrees Granted:B.A., B.F.A., M.A., M.F.A., Ph.D.

Undergraduate Student Body:728

Male: 61 percent

Female: 39 percent

Ethnicity:

Asian/Pacific Islander: 9.9 percent

Black/African American: 4.4 percent

Hispanic: 13.46 percent

Native American/American Indian: 1.79 percent

Non-Resident Alien: 3.16 percent

White/Caucasian: 63.87 percent

Unknown/Other: 3.43 percent

Graduate Student Body:621

Male: 60 percent

Female: 40 percent

Ethnicity:

Asian/Pacific Islander: 12.4 percent

Black/African American: 6.44 percent

Hispanic: 8.37 percent

Native American/American Indian: .64 percent

Non-Resident Alien: 13.37 percent

White/Caucasian: 47.5 percent

Unknown/Other: 11.27 percent

Faculty:Full-time: 80

Part-time: 230

StaffFull-time employees: 116

Student workers: 350

Living Alumni:(Number rounded to the nearest 100)

10,100

2006-2007 Tuition and Fees:Undergraduate: $33,892 (12-18 units for two semesters)

Graduate: $22,942 (8-14 units for two semesters)

$33,836 (15-18 units for two semesters)

Current Endowment:Paid in: $37,638,172

Committed: $12,431,006

Projected: $200,000,000

Current Number of Endowed Chairs:13

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

overvIew

1929: The program beginsas a collaboration betweenthe Academy of MotionPicture Arts & Sciences andthe University of SouthernCalifornia.

It is the first cinematic studiesprogram established at a U.S.college or university. Earlylecturers include: IrvingThalberg, Clara Beranger,Ernst Lubitsch, DouglasFairbanks, Sr., WilliamDeMille and Mary Pickford.

1932: USC creates the nation’sfirst bachelor’s degree programin cinematic studies.

1935: The cinematographycurriculum is expanded toinclude one year of graduatestudy leading to a master’sdegree in cinema.

1947: “Films for Television”is added to the cinema course list.

1955: The Face of Lincoln,co-produced by USC andCavalcade Pictures, wins theAcademy Award for best two-reel short subject and isnominated for bestdocumentary.

1958: USC offers the nation’sfirst Ph.D. in critical studies.

1970: USC students win theAcademy Award for best live-action short subject for TheResurrection of Bronco Billy.

1980: Ray and Fran Starkfund the creation of thePeter Stark ProducingProgram.

1983: USC expands thecinema department into anindependent academic unitofficially designated as theSchool of Cinema-Television.

1992: The school establishesits first endowed chair withthe creation of the Steven J.Ross/Time Warner Dean’s Chair.

1995: The school creates theDivision of Animation &Digital Arts.

2001: The school dedicatesthe 35,000-square-footRobert Zemeckis Center forDigital Arts. The facility featuresover 5,000-square-feet ofsoundstages, all-digitalclassrooms and editing suites,and a screening room capableof handling digital or film-format materials.

2002: The school creates theInteractive Media Division.

2006: The school adds its 13th

endowed chair.

2006: Alumnus George Lucas’66 donates $175 million – thelargest gift in USC history –for construction andendowment funds. The USCSchool of Cinematic Arts isofficially inaugurated.

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

PromInent HIstorIcaL events

A strong endowment is crucial to securing the future

of the School of Cinematic Arts and today we have an

incredible opportunity before us to ensure that

generations of women and men receive the preeminent

education in film, television and interactive media at

USC. In addition to seeking $25 million to complete the

new complex that was made possible by a $75 million

construction gift from the Lucasfilm Foundation, the

school has announced a campaign to raise its endowment

to $200 million. With Lucasfilm’s lead pledge of $100

million, added to $50 million* already donated by our

friends and supporters, that goal is in sight.

Endowment funds will support four core areas:

Students – includes such items as scholarships,

fellowships, teaching and research assistantships,

as well as production funds and support for festival

distribution of student projects.

Faculty and staff – includes enhanced financial

support for faculty and staff, as well as for academic

activities, from classroom instruction to the operation

of post-production labs and screening rooms.

Facilities, equipment and technology – includes

hardware and software applications ranging from

screening rooms to cameras, lights, editing equipment,

motion capture, and green screen programs.

Alumni – includes sponsored internships, mentorships,

career seminars, and extended career support services.

U N I V E R S I T Y O F S O U T H E R N C A L I F O R N I A

enDowment overvIew

* The current $50 million endowment is applied to these areas as well.

Direct Student Support

$50 Million

Faculty and Staff

$55 Million

Technology,

Equipment and Facilities

$35 Million

Alumni

$10 Million

Incoming Endowment