2024 - Fall

MEDIA STUDIES COURSES

RTF 380D         THE BUSINESS OF HOLLYWOOD • ALISA PERREN

What is going on in the media industries today? What kinds of issues and challenges are entertainment industry professionals dealing with? This class has two key goals: First, students will learn how the media industries operate, gaining a sense of the “big picture” of the contemporary film, television, and digital video landscape. Large-scale issues being faced by those working in the entertainment industry – including the impact of conglomerate ownership, regulation, globalization, and digitization on creative practices and work roles – will be addressed through readings and class discussion. Second, students will hear from a range of guest speakers coming from Hollywood, New York, and Texas about their personal experiences navigating the media business, past and present. While some of those visiting the class will work in production and postproduction (writing, directing, editing, etc.), most of the guests will work in other types of creative, managerial, and executive roles (e.g., studio and network development, acquisitions, marketing, talent management, etc.).

RTF 386C         FAN IDENTITIES AND CULTURES • SUZANNE SCOTT 

This graduate seminar surveys contemporary fan studies from the 1980s to the present, with an emphasis on digital fan practices and cultures. Using gender as a critical axis, this course will consider the lingering impact of fan studies’ roots in feminist and queer media studies, and contemplate how gender shapes discussions of fan labor, fan representations, fannish taste, modes of fan performance and production, and industry-audience power dynamics. This seminar will additionally consider more emergent and intersectional identity work within the field to contemplate how "fan identity" and our identities as fan scholars are shaped by race, sexuality, class, ability, nationality, and so on. 

RTF 386C         MUSIC AND MEDIA CULTURE • CURRAN NAULT 

This course critically considers the mediation of music and sound, as well as the relation between this mediation and the formation of (sub)cultural communities, their politics and practices. From music videos, to film/TV soundtracks, Spotify playlists, album covers, Tik Tok videos, and beyond, we will explore myriad ways in which music and its mediations shape public and private life. Rigorous attention will be paid to music media texts, their fandoms, and production cultures, alongside attendant issues of identity, ideology, economics, pleasure and participatory practice. Students can expect to examine a wide selection of music genres and to bring complex questions of taste, style and sociality to bear. This course insists on intersectional, humanistic, cultural studies approaches through which gender, race, ethnicity, sexuality, generation and beyond (as well as feminism, queerness, anti-racism, decolonialism...) will factor as key frames for our contemplations.

RTF 390N         NEW MEDIA TECHNOLOGY AND CULTURES • MADHAVI MALLAPRAGADA 

"New Media” is an umbrella term that has been in usage for a few decades now to refer primarily to technologies and media shaped by the development of the Internet in the 1980s, the creation of the Web in 1990s, and the emergence of social media platforms since the 2000s. In the 1990s, scholars debated the “new-ness” of digital and virtual technologies but more recently, they have also wondered whether the term “new” is outdated for media that have been around for over three decades now. Today it is virtually impossible to not have some aspect of our everyday life intersect with or be shaped by new media technologies and cultures. 

This graduate seminar will introduce students to cultural studies scholarship on new media. Readings will be a mix of theoretical essays and qualitative research-oriented case studies from around the world. Issues relating to power relations, discursive constructions, ideological politics, and socio-cultural contexts will be centered in the course readings and class discussions. A sampling of topics that will be included in the course include digitization, interactivity, virtual communities, online identities, hashtag activism, streaming, big data, surveillance, privacy, mobility, digital capitalism, cultural citizenship, and information economies. The two key course goals are (1) to provide an overview of the key debates, theories, and methods in the field of new media studies and (2) help students develop critical skills relating to theoretical frameworks and research methods that can be applied to the study of new media texts, cultures, and contexts.  

RTF 395           THEORY AND LITERATURE (MA) • MIRASOL ENRÍQUEZ

This course provides an introduction to the broad range of theoretical scholarship that informs contemporary media studies in the humanities. It is required for all Master’s students in the RTF Department’s Media Studies graduate program, and is also open to other graduate students interested in media-focused scholarship, with the permission of the instructor. We will review the primary theories and work of scholars who have contributed to media studies, with an emphasis on the development of the discipline and its varied trajectories. The course will be conducted as a seminar, with in-depth discussions of the readings and authors we encounter. 

RTF 395           THEORY AND LITERATURE (PHD) • SHANTI KUMAR

Drawing on literature from a rangy archive in the interdisciplinary field of media studies, this course aims to (re-)familiarize students with the established “canon,” while also broadening its horizons into dynamic and overlooked “elsewheres.” Charting significant developments in media theory, across differences in methodology, platform, representation and beyond, students will participate in debate, thought experiments, writing projects and rigorous discussion filtered through class readings and images. Within this framework of thoughtful engagement, students will explore how these texts can be activated, applied and reimagined. This course is required for all new PhD students in the RTF Department and is also open to PhD students from other departments interested in media-focused scholarship, with the permission of the instructor.

MFA SCREENWRITING COURSES

RTF 380J          FIRST-YEAR SCREENWRITING • STUART KELBAN 

The gateway course for entering MFA Screenwriters, this class focuses on writing the feature-length screenplay, which means delving into the three primary elements of screenwriting: story, character and structure. Students discuss and evaluate each other's work on a weekly basis, developing their critical skills as screenwriters. By the end of the semester, each student will have a completed treatment, step-outline, and Act I of a feature-length screenplay. RTF Screenwriters will complete-and-revise their screenplay during the Spring, in the 380J companion course.

RTF 380M        ADVANCED SCREENWRITING I • RICHARD LEWIS 

The goals of this course: 1) That you complete a feature script or television pilot(s) suitable for submission to agents, production companies and/or contests. 2) That you leave this course a better writer than when you entered. 3) That you help your fellow classmates achieve the above two goals and vice-versa. *This course fulfills the second year, first semester writing requirement for all MFA screenwriting majors. Other qualified students will be admitted as space permits, by instructor permission.

RTF 380N         DEVELOPMENT FOR SCREENWRITERS • MAYA PEREZ 

What does the career of a professional screenwriter involve? Through lectures and conversations with a series of guest speakers, students will get answers to this question and more. This is an advanced course in which we will cover “generals” and staffing meetings, screenplay competitions and fellowships, pitches, one-pagers, navigating a TV writers' room, production company/studio/network notes, networking, and building a community in pursuit of a professional screenwriting career.

RTF 380N         WRITING FOR SERIES TV • CINDY McCREERY 

MFA PRODUCTION COURSES

RTF 380C         SCREENWRITING FOR DIRECTORS • RICHARD LEWIS

While focusing on fictional shorts, 380C explores basic dramatic elements – story, character, structure, and conflict – that are applicable to all forms of storytelling. Students apply these narrative principles to the development of their own original short scripts, with an emphasis on the writing process: from the initial premise, through character exploration and outlining, to drafting and revision. Toward the end of the semester, attention is given to non-fiction storytelling, with students researching and writing short documentary treatments.

RTF 388F          POST PRODUCTION TECHNIQUES • DAN STUYCK 

This course involves intensive hands-on work in digital color grading. It is designed to familiarize students with the entire digital image-making process, whether you are a director or a cinematographer who wants to understand how picture finishing works, to more advanced students who wish to specialize in post production or color correction.

RTF 388F          PRINCIPLES OF DIRECTING ACTORS • ANDREW SHEA 

Principles of Directing Actors. This class explores the role of the director in the process of translation from page to screen, focusing on the director/actor relationship, narrative structure and visual language. Assignments will include the casting, mounting, and realization of dramatic narrative scenes. Special emphasis will be placed on the development of the skills necessary to communicate effectively with actors to achieve authentic and vivid performances.

RTF 388P         CINEMA LABORATORY • DEBORAH EVE LEWIS 

Limited to 20 participants. In the Cinema Laboratory, you’ll make ten short films – some during class and some outside of class – with an emphasis on making, taking risks and exploring the cinematic form on an elemental level. There will be failures and triumphs—all work strengthening and stretching your ability to express ideas and feelings through moving pictures and sound. Cinema Laboratory’s practice of consistent moviemaking aims to create a space and time where filmmaking efforts are not expensive and precious, but intuitive, brief, engaging, and challenging in a fast-paced workshop setting. Motivated, hard-working, curious, playful and highly creative students are sought to participate.

Robert Bresson wrote, “It is with something clean and precise that you will force the attention of inattentive eyes and ears.” Precision arises through both practice and experimentation.

Cinema Laboratory seeks self-driven RTF graduate students, upper level RTF undergraduates (especially those in their last semesters at UT), Photojournalism students, SOA, and College of Fine Arts students. You must have at least some experience with digital photography and nonlinear editing in order to take the class. Reach out to the instructor if you have any questions about your readiness.

It’s recommended that Undergraduates registering for this class reach out to the instructor before registering to make sure this class is a good fit. Please contact Deb Lewis with any questions regarding the Laboratory: deb.lewis@utexas.edu.  

See website for more information: https://www.deborahevelewis.com/cinema-laboratory

RTF 388P         CINEMATOGRAPHY • DEBORAH EVE LEWIS

This course explores visual storytelling and the art of cinematography through practice in a workshop environment. We will explore visual expression through a variety of cinema tools including camera and lighting. Students are encouraged to think cinematically in both fiction and non-fiction approaches. A number of readings and exercises are assigned to also increase a student's technical knowledge and understanding of one's tools, leading to greater creative and personal visual expression.

RTF 388P         EARS ONLY: AUDIO STORYTLLNG • TODD THOMPSON 

Audio production and post for storytelling using voice, actuality, music, ambiences and sound effects. Structuring stories for audio only, plus microphone and recorder techniques, mono, stereo, and binaural recording, field mixers, basic Pro Tools, signal processing, and noise reduction, applicable to sound for picture as well. Students will make a variety of small projects leading up to a longer, final project of their choice.

RTF 389P         PRODUCING SHORT FILMS • SARAH OH 

Short films are often seen as an excellent calling card for first time filmmakers. But it’s much more than just a way to practice your craft or make something that is shorter or cheaper than a feature film. Though the principles and steps involved to produce a short film is no different than producing a feature film, it is also a unique discipline of its own. How do you tell an interesting and compelling story in a short film? How do you translate a minimum budget into maximum quality on screen?
This course will examine all fundamental aspects of development, pre-production, production, and distribution of producing a short film. Students will practice the step-by-step processes of physical production such as script breakdown, scheduling, budgeting, location scouting, crew hiring, working with cast and crew, etc. Using weekly lectures, homework assignments, course readings and class workshops to reinforce each class topic, students will put together a final production binder for a short film

RTF 488M        PRE-THESIS PRODUCTION • YA’KE SMITH 

This class focuses on the development and production of the MFA pre-thesis project. Production must be completed prior to the end of the semester. Students are not required to write or produce this project, only to direct and edit. The pre-thesis must be a complete, stand-alone project, and not an excerpt from a larger work. Pre-thesis fiction projects shall be under 12 minutes in length, and documentary projects shall not exceed 30 minutes.

RTF 488M        THESIS PRODUCTION • PJ RAVAL 

This course is designed to aid students in the planning, production and completion of "short project" film/video projects required as partial fulfillment of the MFA degree; Students involved in pre-production must complete a story synopsis, treatment and/or shooting script (if the latter is already under way), plus a production budget and date for production start and completion; a student must have script, production plan, budget, and equipment list approved by his/her MFA committee before shooting can begin; and each project in post-production must have a budget and picture delivery date set by the student producer's MFA committee and course instructor.

RTF 681KB       PRINCIPLES OF FILM AND TV PRODUCTION • MIGUEL ALVAREZ

This course is an intensive workshop in narrative directing and film production. Its goal is to develop the ability and self-confidence to translate, from the page to the screen, the narrative and corresponding visual/aural structures of a scene or short film. The course explores the role of the director in narrative filmmaking and the director’s storytelling and aesthetic responsibilities. For the final project, each student will direct and edit an original, non-dialogue short film, under six minutes in length. In addition, each student will fill a number of crew positions on other students’ projects. Readings, exercises, screenings and other assignments throughout the semester are designed to sharpen the directors’ narrative and visual awareness.

SPECIALTY COURSES

RTF 388C         RESEARCH PROBLEMS: DOCTORAL EXAM PREP   

RTF 388D         RESEARCH PROBLEM IN SPEC FIELD OF RTF   

RTF 388E          RESEARCH PROBLEM IN SPEC FIELD OF RTF 

RTF 398R         MASTER'S REPORT

RTF 698A         THESIS

RTF 698B         THESIS

RTF 399W        DISSERTATION

RTF 699W        DISSERTATION

RTF 999W        DISSERTATION