LOWER-DIVISION COURSES

RTF 301D        MEDIA STORYTELLING/ANALYSIS • SUZANNE SCOTT 

May count toward the Media Studies Minor and the Latino Media Arts & Studies Minor.                                                                                                               

This course is designed to help you understand and analyze the basic principles of story structure and storytelling technique through elements of style in contemporary film, television, and video games. Our primary goal is to understand precisely what these storytelling “rules” are, to understand how to use (and break) them when creating our own work, and how to produce textual analysis that critically engages how elements of narrative structure and style produce meaning.

RTF 302D        HISTORY OF MEDIA INDUSTRIES • KATHY FULLER-SEELEY                                                

May count toward the Media & Entertainment Industries Minor.                                                                              

This course examines the historical development of media industries—film, radio, television and digital. Through lecture, section discussions, readings and screenings, we will investigate historical contexts (cultural, industrial, technological) in which media have been produced and consumed in the US and globally.

RTF 303C        INTRO TO MEDIA AND ENTERTAINMENT INDUSTRIES • LESLEY STEVENSON
Fulfills a social & behavioral sciences core curriculum requirement. May count toward the Media & Entertainment Industries Minor. 
Open to BOTH RTF Majors & Non-RTF Majors. 

Using Hollywood as our primary focus, this course surveys the social, cultural, political, and economic contexts within which entertainment media are produced, distributed, and monetized. We will both survey the breadth of companies and stakeholders involved in shaping film, television, and digital media content and consider key challenges being faced by industry professionals today. A special focus will be placed on how media workers are navigating changing technological, economic, creative, and regulatory conditions in the streaming era.

RTF 303D        MEDIA AND CULTURE • DANIELA NORRIS, JOSEPH FISCHER, ANANDHA LEKSHMI NAIR

This course approaches media as a fundamentally cultural experience. Cultural values, beliefs, and ideologies all shape the media we create as a society and inform how we as individuals and communities interpret the media that surrounds us. In this course, we examine how politics, economics, and social relationships all simultaneously shape and reflect media, culture, and society.

RTF 304       STORYTELLING IN FILM AND TV • TERESA WARNER

In this introduction class, students will be given the fundamentals of story structure for Feature Films and Television. This will include analysis of three act structure, character development and the language of screenwriting.

RTF 304D      INTRO TO FILM PRODUCTION • ARTURO R. JIMÉNEZ

This course is designed to introduce fundamental production concepts and techniques through lectures, projects, and lab experiences. The acquisition of technical skills will be a priority, as this course is a prerequisite to upper-division production classes. Emphasis also will be placed on developing a storyteller's point of view and the ability to create works characterized by simple yet effective visual, aural and narrative structures. Students will be required to attend hands-on lab sections and to complete three short films.

RTF 306      INTRO TO WORLD CINEMA HISTORY• CASEY WALKER

The course fulfills VAPA requirements, and is designed for non-RTF majors who have not taken previous coursework in film or media studies. Love the movies? Join us and explore how the movies developed from a circus amusement to multinational industry as well as how film can be understood as socio-cultural , technological, aesthetic and economic artifact. Global in scope, this course will sample a variety of “national cinemas” in order to compare and contrast how moviemaking developed uniquely in different parts of the world. 

Digital Game Industries Courses - Open to RTF Majors

DGI 302       DIGITAL GAME INDUSTRIES • BEN BAYS

Sports Production/Broadcasting Courses - Open to RTF Majors

SPB 301       INTRO TO SPORTS PRODUCTION/BROADCASTING I • DAVID SCHNEIDER

This introductory course offers a comprehensive overview of the fundamental principles and practices involved in sports production and broadcasting. Designed for students with little to no prior experience in the field, this course covers essential topics such as live sports coverage, camera operation, video editing, storytelling, and broadcast journalism. Through hands-on practice and theoretical instruction, students will gain the skills necessary to produce and broadcast high-quality sports content. The course will also explore the evolving landscape of sports media, including digital platforms, audience engagement, and the ethical considerations in sports broadcasting.

Students will have access to professional-grade video camera equipment, tripods, and editing software, providing them with the opportunity to apply what they learn in real-world scenarios. By the end of the course, students will have produced their own sports broadcast segments, demonstrating their ability to capture and present sports events effectively.

SPB 302       INTRO TO SPORTS PRODUCTION/BROADCASTING II • JORDAN LEVIN

Success in the world of sports production, broadcasting, and media is heavily dependent on blending an understanding of production practices, engaging storytelling, and developing a strong and specific pov and sensibility. This course will build on the fundamental principles and practices learned in the Introduction to Sports Production and Broadcasting l course, strengthening video editing skills and storytelling, establishing professional post-production protocols and media management processes, developing audio segments for the podcasting medium,  and working collaboratively on feature stories, all while deepening an awareness of the current sports media and business landscape.

UPPER-DIVISION COURSES

RTF 321C        HISTORY OF AMERICAN TELEVISION • LESLEY STEVENSON
May count toward the Media & Entertainment Industries Minor. 

This course surveys the history of American network television during the 20th century. We will explore the complex ways that technological, social, political, industrial, and cultural factors have interacted to shape the form and content of broadcast, cable, and satellite television. Our discussion of industrial practices and regulatory decisions will be balanced with an analysis of representational and formal-aesthetic practices. The semester will briefly conclude with a consideration of the meaning and implications of digital convergence on contemporary American—and global—media culture.

RTF 322D        FILM HISTORY TO 1960 – Web-Based • 
May count toward the Media Studies Minor and the Latino Media Arts & Studies Minor.

This course is a survey of international film history for undergraduate students who seek an understanding of the history and aesthetics of the motion picture. On a weekly basis, it consists of two 75-minute lectures and a screening of a feature-length film. All RTF majors interested in learning more about the development of the motion picture are welcome, regardless of concentration. The course will cover the history of the medium from beginning (Thomas Edison and the Lumière brothers) to 1960.  While the history of cinema will be looked at from various perspectives (as a technology, an industry, an entertainment medium, and a mode of personal and national expression), particular attention will be given to the evolution and development of film’s formal elements. Several written assignments are designed to acquaint students with how research in film history is conducted; in addition, three exams are also required.

RTF 331P        INTERNET CULTURES • MADHAVI MALLAPRAGADA

The development of the World Wide Web in the 1990s transformed the internet into a popular and powerful tool for communication, commerce, and community formation. With the advent of social media, streaming platforms, and mobile apps, everyday life and culture is increasingly mediated by digital networks. This course will focus on the technological, financial, regulatory, and socio-cultural aspects shaping and shaped by the internet and the web. Drawing on studies of the historical and contemporary web, this course will delve into topics such as digital capitalism, social media platforms, online search, e-commerce, copyright, online communities, digital identity, virtual reality, open-source software, and transnational networks.

RTF 331P        VIDEO GAME CULTURE/CRITICISM • BYRON FONG

Games have always been an integral part of our culture, and studies of culture have long been fascinated by our propensity for play.  Beginning with a brief historical overview of the inception of the video game industry and arcade culture, this course is centrally concerned with identifying the pleasures of play and engaging with the cultural and academic discourses and debates that surround video games and game culture.  While video games have proven themselves as a dominant industrial force within over the past decade, the stigmas and social anxieties that circulate around video games persist. Consequently, one of the primary goals of this course is for students to both become conversant in these critiques and proficient in speaking back to them, acquiring the vocabulary to discuss and analyze the rules that govern our engagement with video games, and our experiences playing them.  To this end, in addition to discussing video game aesthetics and mechanics, we will have themed weeks on war and gaming, gender and gaming, and game-based learning. In addition to course assignments analyzing gameplay and considering the representation of video games in film and television, students will be required to collaboratively design and theorize a game as their final project.  No player or programming skill set is required, just a willingness to learn through (and about) video games.

RTF 333          INTRODUCTION TO SCREENWRITING • STUART KELBAN

RTF 333 will introduce students to screenwriting for both film & television. In lecture, we will study the fundamental concepts behind all screenwriting: story, character, and structure. In section, you will apply those concepts to writing your own original scripts for both features and TV in a workshop setting. Students will follow the same development process as professional screenwriters—from initial premise, through character exploration and treatments, to writing the first draft. The goal of this course is to develop skills to tell strong, engaging stories for the screen. This emphasis on storytelling will not only make you better screenwriters, but also better directors, editors, cinematographers, set designers, i.e.,  filmmakers.

RTF 340           MULTI-CAMERA TV DIRECTING • DAVID SCHNEIDER

This course will examine the techniques of multi-camera live television directing in numerous formats. It will provide an overview of the current technology and how that technology impacts directing decisions. Students will learn how directing styles shape various genres of broadcasts and how the director contributes to a successful production. The course will focus on planning and preparation and elements of production design. The demands of a controlled studio atmosphere will be compared and contrasted with those of live remote sports and entertainment programs. Exercises will acquaint the students with camera placement, shot blocking and shot selection.

RTF 340D/388F         PRODUCTION DESIGN BASICS • ADRIANA SERRANO

Understand the role of production design and how the creation and selection of sets, locations and environments contribute to the visual language of film. Explore fundamental elements of story, production, critical analysis, and the collaborative process of film making from the design perspective.

RTF 342          CONTEMPORARY MIDDLE EASTERN CINEMA • NAHID SIAMDOUST

This course on contemporary Middle Eastern cinema introduces students to some of the most celebrated films across the Arab world, as well as Turkey, Iran, and Israel & Palestine. In a region beset by colonial interference, decades of war, social uprisings, authoritarianisms, economic, social and political traumas, cinema has offered one of the most artistic and insightful avenues for its study. This course is organized in three modules. In the first we familiarize ourselves with some foundational topics and cinema across the region, examining key films and delving into important debates that cross national boundaries, surveying cinema from its beginnings to its classics, and from its overall trajectory to particular expressions in different country contexts. In the second module we learn the vocabulary necessary for discussing film, guided by relevant texts on film analysis. While delving into important socio-political currents across the region’s cinema, we engage with genres such as neo-realism, docu-fiction, exile cinema, and allegorical film. In the third module we will focus our attention more closely on issues that have affected the region acutely more recently, watching films on war, dispossession, gendered subjugation, and political repression. Students will be encouraged to participate in discussions where we prioritize an understanding of film as a medium that is both literary text and visual production, attending to both visual and narrative structures. In the film journal entries and exams students will have the opportunity to engage with the film theoretical texts that we will read and apply them to their analyses of assigned films. This course offers students an overall understanding of Middle Eastern cinema and equips them with the skills to discuss films like critics.  

RTF 343          CREATIVE MULTIMEDIA PRODUCTION • YA'KE SMITH

As the media landscape continues to evolve, the way we tell stories and engage with audiences must meet that evolution. In this hands-on production class, students will explore the art of crafting engaging narratives across different media landscapes: micro-dramas, web series, narrative podcasts, etc. Through collaborative projects and individualized guidance, students will bring their unique vision to life, mastering the tools and techniques required for modern media production.

RTF 343/RTF 388P          HYBRID FILMMAKING • ILIANA SOSA

Blurring Boundaries: Hybrid Filmmaking Between Documentary and Fiction

This production course explores the rich creative terrain where documentary and fiction converge. Students will research, write, and direct short films that incorporate documentary elements—real people, locations, and lived experiences—into structured or improvisational narratives. Emphasis will be placed on working with non-actors and drawing from real-life contexts, blurring traditional boundaries of authorship and representation.

The course takes inspiration from filmmakers who integrate documentary methods into fiction, including Chloé Zhao (The Rider), Garrett Bradley (Time), Eliza Hittman (Never Rarely Sometimes Always), and the Ross Brothers (Gasoline Rainbow). Students will consider the ethics of collaboration, the politics of representation, and the aesthetics of realism. By semester’s end, students will complete an original hybrid short film and critically engage with the form as a space of resistance, inquiry, and innovation.

RTF 343          ADVANCED NARRATIVE PRODUCTION • ROBERT MADER

From script, to production, to edit and sound design, students spend the semester completing an advanced video production (5–10 minutes). Emphasis is placed on storytelling, strong cinematic style, and production values. Students are not required to direct but must participate in the key crew positions on various projects for full credit.

RTF 343        ADVANCED DOCUMENTARY PRODUCTION •  ILLIANA SOSA

This course involves intensive hands-on work in all aspects of documentary video production, in addition to critical investigations of a variety of contemporary non-fiction forms. Much of the semester revolves around producing a documentary (either individually or in a small group) and completing workshop projects, thus offering experience in project development and conceptualization, camerawork, sound recording, lighting, and editing.

RTF 343/388P           CINEMA LABORATORY •  DEBORAH EVE LEWIS 

Limited to 20 participants. In Cinema Laboratory, you will make ten short films – some during class and some outside of class – with an emphasis on taking risks and exploring the cinematic form on an elemental level.

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 and highly creative students are sought to participate.

Cinema Laboratory seeks self-driven MFA students, RTF undergraduates (especially those in their last few semesters), Photojournalism students, Theatre Directors and students from the School of Architecture and the Art School. The T.A. will help non-RTF students learn RTF protocol and basic editing, camera and sound work, if necessary.

Undergraduates registering for this class should be seniors near graduation. Undergraduates: If you’re not a senior, please get permission of the instructor. If you have questions regarding Cinema Laboratory, don’t hesitate to contact the instructor: deb.lewis@utexas.edu.  

RTF 343C/388P         ACTING FOR FILMMAKERS • ANDREW SHEA

This workshop explores the key elements of basic acting technique through active engagement in a variety of exercises and assignments: improvisation, monologue and scene study, observation, and emotional preparation.  The goal is to develop a deep understanding of the job of the actor: to live life truthfully under imaginary circumstances. 

RTF 343D         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 as well as time, movement and color. 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 344C         2D ANIMATION • LANCE MYERS 

The study and practice of 2D digital and traditional animation, including its history, artistic theories, and current digital techniques. Hands-on exercises and creative projects include character concept and design, animated figures and walk cycles, lip sync and audio for cartoons, acting and performance for animation, and more.  Ultimately, students produce and animate their own 2D animated cartoon.  All skill levels welcome.  Taught in a state of the art computer animation lab.

RTF 344M           360 VIDEO PRODUCTION • OCTAVIO KANO-GALVAN

360-video technology offers creative and interesting new ways to create immersive visual content. The goal of this class is to provide students the required skills to plan, capture, edit, and produce 360-videos. Students will work individually and in groups to write scripts, video-shoot, and edit their own projects. Sample student projects during the semester include commercials, short films, music videos, and/or news stories. Selected videos are Oculus screened during class throughout the semester to enhance the analysis and learning process. Students will work with the following software on desktop/laptop computers: Adobe Premiere, After Effects, Audition, and Photoshop. Experimentation, exploration, and creativity are highly encouraged.

RTF 344M        WRITING INTERACT GAMES/MEDIA • NATHAN CUTIETTA

Interactive storytelling is a form of dramatic writing, just like theater or television. What makes the medium unique is that the author does not control the story; the audience does. Creatives have only just begun to explore the storytelling possibilities of this field. In this class, you will begin to develop the skills & knowledge necessary to write for interactive mediums such as video games, digital media, VR, and augmented reality. Your final deliverable in this course - a narrative design document - will serve as a writing sample for your portfolio. A limited number of seats are open to non-majors.

RTF 344M/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 344T          GAME DEVELOPMENT CAPSTONE: 2D GAMES • PAUL TOPRAC

The Capstone Game Development course brings together students from Computer Science, College of Fine Arts, and Radio-TV-Film to form small teams in which each student will contribute specialized knowledge to the group creation of 2D games for mobile, online, and social technology platforms. Students will gain a thorough understanding of the 2D game development process, through modeling of the environment and practices that are used in game studios.

*OFFERED IN FALL SEMESTER. If interested, please read instructions to apply. Consent of instructor required.

RTF 345          AMERICAN HORROR FILM • MIRASOL ENRIQUEZ                                                                           

This course focuses on one of the most popular and profitable genres of American cinema: horror. Throughout the course of the semester, we will be examining a variety of film texts, as well as their production and reception, within a range of cultural, theoretical, and historical contexts. Central to our examination will be a consideration of the ways in which the genre reflects American fears and anxieties related to race, gender, and sexuality (among other things), paying particular attention to the concept of difference and "otherness." From the Universal classic monster movies of the 1930s and 40s to more recent examples of "elevated horror," we will cover subgenres such as psychological, body, folk, and comedy horror, just to name a few. We will consider some of the most celebrated auteurs of the genre, such as George Romero, Wes Craven, and Jordan Peele (again, among others), and we will consider important international influences, as well. Overall, this course will investigate the wide range of meanings and pleasures that the genre provides for fans and audiences of horror films. Please be advised that because this course is focused on horror, weekly screenings will include images of graphic violence and a host of other traumatic situations that may be upsetting to some students.

RTF 345          CULT MEDIA • SUZANNE SCOTT

How do we determine which films or television shows are “cult media” objects? This course will address this question through an exploration of the economic, aesthetic, and audience properties that make cult media distinct and valuable. Drawing on foundational media studies scholarship on auteurs, star texts, camp, paracinema and exploitation, branding and marketing, representation, and censorship, this course is less interested in pinning down a definition of “cult” than in exploring its cultural construction and the affective experience of those who are drawn to it. Students will gain experience in archival research and producing critical arguments through research papers, and will additionally engage in participatory, project-based group assignments.

RTF 345          TEEN FILMS AND TELEVISION •  MARY BELTRAN

This course critically explores U.S.-produced coming-of-age films and television series that have featured teen protagonists since the 1950s and particularly those from the 1980s through the present day. Topics we’ll explore include the construction of the teenager in the 1940s and 1950s, media panics over social issues linked to teens, the development of the teen genre in film and television across the decades, and how it has become more diverse and inclusive in recent years. The course also will further students’ historical knowledge of social issues that impacted teens and young adults across the decades and media makers who have played a role in the development of teen-focused media entertainment.

RTF 346          INTODUCTION TO EDITING •  CHRIS ROLDAN, ANNE LEWIS, MATT LENON

Whether you want to be an editor, director or producer, Introduction to Editing is an essential, hands-on course for any production student. By completing a series of narrative and nonfiction assignments, students will finish this course with increased confidence in, and understanding of, Avid software and editing technique and style. We will view and analyze film scenes to understand how editing contributes to meaning.

RTF 347C       ADAPTATIONS IN FILM / TV • MAYA PEREZ 

This course will explore the opportunities and challenges of adapting stories from one medium to another for the screen. Through case studies of successful adaptations, students will examine techniques for transforming novels, short stories, articles, video games, plays, and even real-life events into compelling screenplays. Students will engage in class discussions and write several adaptation treatments from assigned source materials.

RTF 347C        INTRO TO THE MUSIC BUSINESS • JOHN PEYTON 

May count toward the Media & Entertainment Industries Minor.                                                                         

What is the distinction between a manager, agent, publicist, promoter, or A&R? We will delve into record deals, music contracts, concert riders, intellectual property (IP), TV and film sync licensing, terrestrial and satellite radio, as well as the impact of AI and the metaverse on the music industry. What implications does streaming have for record labels? How did Fyre Fest come about? We are currently in an era where young entrepreneurs can establish a business in their twenties and subsequently sell it without obtaining a degree in business or finance. Students will acquire the skills to plan, coordinate, and manage their own small music business in their chosen avenue. We will explore artist management and representation, focusing on the development of recorded music and the significance of the touring business for contemporary artists. Additionally, we will delve into the business aspects of concerts and music festivals, teaching students how to book, market, and produce shows. Each session will tackle a different aspect of the music industry. Numerous special guests will share their success stories and entrepreneurial journeys, followed by an open Q&A session with the students. 

RTF 347D        THE BUSINESS AND CULTURE OF DISNEY • LESLEY STEVENSON 

May count toward the Media & Entertainment Industries Minor.                                                                                     

This topical exploration of theory and history in film and media studies takes an industrial approach focused on The Walt Disney Company and its prominence as a purveyor of narratives, consumer products, and dreams in global popular culture. Disney’s strategies for producing and marketing culture across film, television, theme parks, music, digital media, and more have allowed it to shape the imaginations of consumers across the globe. It has developed specific ways of doing business that have allowed it to adapt to economic, technological, and social changes. It has also cultivated specific ways of thinking about creativity, storytelling, corporate authorship, and participatory culture to support these media endeavors. The result has been a universe of coordinated cultural products that sustains intense fandoms and other consumer lifestyles. By looking critically at both the business and culture of Disney, we can understand not just the power wielded by the company, but also the way that power shapes—and is in turn shaped by—the everyday lives of creators, capitalists, and consumers alike.

RTF 347E          ADVANCED EDITING • CHRIS ROLDAN 

This course is a further elaboration of the principles and techniques of editing students will have encountered in RTF 346, building a broader technical background for professional development. We will discuss aesthetic, technical, and practical approaches to editing and consider how they might best apply to some (provided) editing challenges. In particular, we'll concentrate on the development of editing styles that are appropriate to a range of material and creative solutions to editing challenges. Taught using AVID software.

RTF 347F         GERMAN CINEMA 1918-45 • JETTE GINDNER

This course explores the history, theory, and aesthetics of German cinema from 1918 until 1945. The first section of the course screens classics of 1920s/early 1930s Weimar Cinema, such as Nosferatu, The Cabinet of Dr. Caligari, Metropolis, Pandora’s Box, M, and Kuhle Wampe. Accompanying texts by Balázs, Eisner, Kracauer, and contemporary film critics introduce the transition from expressionism to New Objectivity and the arrival of film sound. Topics discussed include the aftermath of World War I, the rise of industrial mass production, and the New Woman. The second section analyzes National Socialist cinema, be it nascent Nazi aesthetics (Riefenstahl’s The Blue Light with Susan Sontag’s essay, “Fascinating Fascism”), propaganda (Hitler Youth Quex and Jud Süß plus Alain Resnais’s Holocaust documentary Night and Fog), or entertainment (The Great Love starring Zarah Leander). The final section screens anti-Nazi cinema made in Hollywood— by German filmmakers in exile during the early 1940s (Lang/Brecht/Eisler, Hangmen Also Die! and Lubitsch, To Be or Not to Be) and landmarks of contemporary American cinema, such as Inglourious Basterds and American History X.  

RTF 347F        CINEMATIC CITIES: MUMBAI • ZELTZYN SANCHEZ LOZOYA

In this class, we'll explore the political, social, and artistic transformations of the global city of Mumbai from the early 20th into the 21st century. Films serve as documentation of the city's evolution from Bombay to Mumbai. Our study will delve into classic texts and film-texts such as Shree 420, Amar Akbar Anthony, Satya, and The Lunchbox. Through analysis of these texts, we'll examine how artists address themes of social inequality, justice, political upheaval, and violence, as well as architectural and cultural changes, and issues of race, gender, and sexuality within Mumbai's dynamic landscape.We'll examine questions such as: Who claims space within the city, and how? How does film create an archive of the city? What languages does Mumbai speak, and what sounds define its identity? How do buildings, people, plants, and animals interact with and in the city? Who gets to script and map the city and to what political and social effects? Our analysis of films will be complemented by theoretical, creative, and historical readings. Active participation in discussions is expected from students in this advanced cultural and cinema studies course.

RTF 359         ITALIAN CINEMA-ITA • VALERIE MCGUIRE

In this faculty-led, study abroad program, students learn about Italian cinema with a focus on its prestigious history of representing social realities and narrating real world issues. Through the lens of film, students explore contemporary European questions about social and environmental sustainability, climate migration, transformations in rural and industrial landscapes, and the role of culture in building community. While collaborating with 24FPS, a local community of filmmakers, artists, educators, and students from Liceo Toschi, the Fine Arts School in Parma, students learn about producing short location-shot stories that narrate different local realities studied through course films and speakers. Site visits include Pilotta Monumental Complex, the Guatelli Museum of Everyday Life, and the Museum of Parmigiano. Weekend excursions include a trip to Rimini to visit the Federico Fellini Museum, and Bologna, where students will tour the city and meet with archivists of the Home Movies Foundation and the Cineteca di Bologna.

RTF 359         ASIAN AMERICAN MEDIA CULTURE • MADHAVI MALLAPRAGADA

This course is designed to help us understand the role and significance of media such as film, television, radio, the Internet, and social media platforms as they relate to Asian Americans. We will examine a variety of media examples, from the early twentieth century to the present and focus on issues of images, representation, creative roles, industry trends, and production cultures. In our consideration of Asian Americans as media creators, distributors, producers, and audiences, we will explore the significance of mainstream, alternative, and transnational media contexts to contemporary media cultures.

RTF 359         APERTURES: FILM/PHOTO MEX • GEORGE FLAHERTY

Artists, intellectuals, and politicians have debated Mexico’s apertura since at least the early twentieth century. Apertura, ‘aperture’ in English, can mean an opening, like the lens of a camera. It can also mean the revelation of something hidden. This course explores aesthetic and cultural exchanges between photographers and filmmakers working in Greater Mexico. It considers representations of Mexican and Mexican American life and history, and how borders between Mexico, the U.S., and the world—as well as among media—are blurred or brought into sharper focus.

RTF 359S         CHICANA/O CINEMA • MIRASOL ENRIQUEZ

This course will investigate representations of Chicanas/os, both on-screen and behind the scenes of U.S. films. We will begin with a brief overview of representations of Mexicans/Mexican-Americans in U.S. film, from the silent era through the 1960s. The remainder of the class will focus on films made by, for, and about Chicanas/os from the 1960s/70s to the present day. Feature-length, short, experimental, narrative, and documentary films will be examined. While the majority of the texts we will be looking at were made by Chicana/o filmmakers, we will also be discussing key works by non-Chicana/o filmmakers who have made significant contributions to the representation of Chicanas/os on film. We will consider historical, economic, industrial, social, and political factors affecting access to and participation in the film industry, as well as the ways Chicanas/os are represented on-screen. Themes of particular interest include: the construction of racial, ethnic, national, and individual identity; the politics of representation; film as a tool for social change; the commodification of Latinidad; gender inequality in the Chicano movement, film industry, and the writing of film history; and issues of authorship and creative control.

RTF 366K         SOCIAL MEDIA PRODUCTION • BRIAN KALEH

Mine what you’re passionate about to produce your own original short-form content and engage with online communities who share your passion. Learn how digital entertainment companies and online content creators, like Austin-based Rooster Teeth, think about what they make, who they make it for, and where and how they reach their fans. You’ll hear how to collaborate with your audience in the creative process and explore the role of community in digital media. Creative and business executives from Rooster Teeth and elsewhere will be regular guests throughout the semester to share their experiences in the increasingly influential world of social media entertainment and consider how these lessons will impact the future of film / television production and fan engagement.

RTF 366K         NARRATIVE PRODUCTION • DEBORAH EVE LEWIS, MUSILA MUNUVE, EVA CHAITMAN, JAY THOMAS 

The class explores the expressive potential of sound and image through the production of digital video exercises and short films. It is an intensive workshop in visual storytelling and non-dialogue filmmaking. It is designed to build upon the fundamental production concepts and techniques that were introduced in RTF 318 and to prepare students for advanced narrative classes.

RTF 366K         DOCUMENTARY PRODUCTION • EM SHAPIRO

This class introduces students to the art of single-camera field documentary video production. Over the course of the semester, students will watch and discuss influential documentary films, but the main focus will be on creating their own projects. Through group discussions, hands-on lab sessions, short exercises, and a final documentary project, students will gain practical experience in every stage of the filmmaking process—from developing an idea to completing a short documentary.

RTF 366K         EAST AUSTIN STORIES • AUTURO JIMENEZ

Since 2000, as development and demographic shifts profoundly reshape neighborhoods of East Austin, University of Texas RTF students have made short documentary films about the communities, families, individuals, institutions, and businesses east of I-35. Taking the time to listen and build relationships can be a powerful part of the filmmaking process, for both the filmmaker and the documentary participants. We will practice the basics of production and non-fiction story structure.

Audio is half of your movie; arguably more than half since it exceeds the limits of the visible frame. It operates at a literal and subliminal level and gives the filmmaker access to deeper parts of the audience’s consciousness. Great audio is a combination of creativity and an understanding of both the science and the tools of the medium.  This is the first-level class for audio, a perfect starting point for people who want to know how to better use sound in their projects as well as for those who may be thinking about audio as a lifelong craft. You will learn production mixing, basic post techniques, and the ideas behind them.  This will include recording on location using both high-end and low-end recorders, especially recording dialog, set and location problems and protocol, basic sound editing, mix prep, and creating a basic mix. You will become familiar with the operation and use of the Sound Devices 633 mixer/recorder and Zoom H6 recorder, other production mixers, and microphones on location and in the studio. You will learn the science behind the tools, and cultivate an appreciation for sound as a creative element in storytelling. You will create mixes in Pro Tools for audio-only projects, as well as fully realized soundtracks synced to picture. 

RTF 366S          SOUND DESIGN AND MIXING • KOREY PEREIRA

Sound as a medium can create a sense of space, time, and set the mood of a film. This course will explore the post-production sound process for film, television, and immersive media.  We will develop a vocabulary for talking about sound, as well as provide practical hands-on training on each step in the post-sound process.  This includes sound editing, sound design, ADR and foley recording as well as re-recording mixing.  RTF 341C is the course for those who seek a career in post-production audio and for those who just want a thorough understanding of the post sound process.  A familiarity with Pro Tools or Non-linear editing is preferred, but not required.

RTF 367D         DIRECTING WORKSHOP • MICAH BARBER, YA'KE SMITH

This workshop 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 367K         PRODUCING FILM AND TELEVISION • SARAH WEBSTER, MICAH BARBER

This course will detail how things work in the supposedly noncreative side of the entertainment industry. The course will focus on the function and duties of a producer as he or she shepherds an idea through a project "life cycle": development, financing, pre-production, post-production, marketing and distribution. Lecture topics will mirror the project life cycle while students concurrently develop their own business plans/prospectuses for original film or television projects of their choosing. At the end of the semester, each student should have a complete and realistic business plan for a film or video project, one which is ready for presentation to entertainment industry contacts and financiers. Prerequisites: Upper Division standing.

RTF 368        DRAWING FOR DESIGNERS • JASON BUCHANAN

Improve your skills of visual expression and communication through the act of Drawing. In the course we will experiment with various drawing media, and examine the Principles and Elements of Design through conceptual and observational drawing.

RTF 368D          ADVANCED CINEMATOGRAPHY • 

This course is designed for students to explore the art of cinematography beyond the basic principles of camera and lighting. Students will film several assignments designed to help one understand the cinematic tools used to create an overall visual approach to storytelling. A close study of film genre will also be emphasized as well as aesthetic and technical topics such as color, texture, lens continuity, and aspect ratio. We will also explore practical on set strategies and challenges. Undergraduate students are strongly encouraged to take 343 Advanced Narrative Production or equivalent as a prerequisite. Undergraduates who have not previously taken 366K Intro to Narrative Production will not be admitted.

RTF 368P         PRODUCING SHORT FILMS • KELLY WILLIAMS

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 369          ADVANCED SCREENWRITING: ANIMATION • JUAN GUTIERREZ

Combine your love of animation with the craft of storytelling! Develop and write an original animated feature film screenplay, and receive structured support along the way. This course will function like a writing workshop: you will read and provide constructive notes for your classmates' work and receive feedback from your peers. We'll also study a range of animated films

RTF 369           ADVANCED SCREENWRITING: TV PILOTS • KATHERINE CRAFT

Each student will create a brand new television show (30- or 60-minute, network or cable) from the ground up: researching the setting and historical moment, inventing the characters and relationships, and ultimately designing the conflicts necessary to propel a show through multiple seasons. Students will then distill all of this work into a single showpiece episode - a pilot - that demonstrates the artistic and commercial potential of the new show. We’ll also be looking at a range of produced pilots (both aired and unaired) and discussing what makes the best of them work.

RTF 369           ADVANCED SCREENWRITING FOR FEATURE FILM • STUART KELBAN

In this class, students will complete a feature-length screenplay (90-120 pages) by the end of the semester. In addition, they will read and comment on their classmates' work.

RTF 369          ADVANCED SCREENWRITING: INDIES • TOM WILLETT

This workshop class is focused on writing screenplays designed for micro-budget, independent production. As students write their own feature-length scripts (90-120 pages) throughout the semester, they will study and analyze completed micro-budget films and their production methods. In addition, they will read and comment on their classmates' work.

RTF 369          ADVANCED SCREENWRITING: SHORT FILMS • TOM WILLETT

What makes a successful short film? For starters, a great script! Hone your skills and understanding through writing three short scripts and rewriting at least one of them. In addition to instructor feedback, you will receive and give peer support, reading and commenting on your classmates' work. You may choose to produce these scripts in RTF production classes or for projects outside of UT.

RTF 369          ADVANCED SCREENWRITING: WRITER'S ROOM • CINDY MCCREERY

Students will act as a television writers' room to create and write an entire season of original television. The class will partner with David Schneider's Multi-Camera Directing class to produce the pilot and several additional episodes of the series. 

RTF 369P         SCRIPT TO SCREEN: MOVIES • SCOTT RICE

Script to Screen takes students behind the scenes of Oscar winner Matthew McConaughey’s films. By studying script drafts, shot lists, storyboards, early edits and even exclusive behind the scenes footage, students will garner insight into the making of a major Hollywood feature. Script to Screen also gives students practical instruction on producing their own projects including web series, shorts, commercials, and indie features. From guidance on pitching to the ins and outs of founding a production company, Script to Screen is an essential “how-to” for students who are serious about producing and directing.

RTF 377H/393Q          PHILOSOPHY OF PLAY • BYRON FONG

This advanced-level course takes a theoretical approach to the concept of “play,” which it grounds with video game analysis. Play has been a topic throughout the history of philosophy. Plato argued it should be used in education through playful dialogues. Schiller wrote that we are at our “most human selves” during moments of play. Huizinga believed it was the foundation of culture, itself. Today, play is more prominent than ever, but it has not necessarily yielded the liberatory results that these philosophers hoped for. Not only have video games become one of the most important media industries, but also “gamification” has entered nearly every aspect of life: dating apps, fitness trackers, and work environments. This course challenges students to articulate and examine theoretical questions around play. Driving questions of the course includes: What does “play” mean in different moments in history or cultural contexts? How do we perceive and react to play in video games? How does play affect notions of “subjectivity,” “agency,” and “freedom”? And how does play modulate our perception of time and space?

RTF 377H/389         MEDIA IN POPULAR CULTURE • SHANTI KUMAR

Digital Game Industries Courses - Open to RTF Majors

DGI 322       GAME USABILITY ANALYSIS • BEN BAYS

Usability, or the measurement of how easily a user can accomplish their goals in a product or service, is a tenet of user experience design which can be transposed onto video games.  In this course, students will "play" a variety of different games, examining, evaluating and analyzing the different dimensions and components of the experience then articulating their analysis in terms that are actionable in game development. 

Sports Production/Broadcasting Courses - Open to RTF Majors

SPB 322       STORYTELLING IN SPORTS PRODUCTION/BROADCASTING • JORDAN LEVIN

In this topics course, students will explore the art and execution of storytelling across all forms of Sports Production, including live event broadcasts. From the classic pillars of sports journalism to ABC’s pioneering flagship “The Wide World of Sports” to ESPN’s landmark “30 For 30” series to the most memorable calls in sports history, storytelling has been the consistent thread that has enraptured audiences to sporting events, the athletes who pursue immortality, and the arenas in which they compete. Appreciating and understanding core sports narrative strategies and their underlying spiritual foundation, along with the unique opportunities and challenges arising from live, real-time storytelling, is critical to learning how to create successful sports productions and broadcasts.

SPB 370       REMOTE FIELD PRODUCTION • DAVID SCHNEIDER

SPB 370       STUDIO PRODUCTION • DAVID SCHNEIDER

This course offers an in-depth exploration of studio-based sports production, focusing on the skills and techniques needed to create professional live and live-to-tape content. Students will gain hands-on experience in directing, technical operations and show production while working with industry-standard equipment. Through collaborative projects, they will develop expertise in designing rundowns, the overall workflow of a professional studio. 

Emphasizing both creative storytelling and technical precision, the course prepares students for roles in sports media, from studio producers to on-air hosts. Guest speakers and real-world assignments will provide insight into industry trends, while lab sessions and critiques will refine students’ ability to produce compelling, polished sports programming.

INTERNSHIPS

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NON MAJOR COURSES

Note: In addition to courses listed below, which are open to non-majors, there are courses listed on this page that count toward minors in Media Studies, Media and Entertainment Industries, or Latino Media Arts & Studies.

RTF 301C        COMICS AND CARTOONS • BEN BAYS
Open to BOTH RTF Majors & Non-RTF Majors. 

Students "trace" (har har) the history, techniques, conventions, themes and cultural spaces of comics and cartoons through hands-on skills-building projects (drawing). The artistic traditions of the middle ages gave rise to the cartoon, a form of mass media illustration and text which embraced non-realism, caricature and satire. The form has evolved across cultures, through history and alongside technological advances to its modern digital form. From panels, pages, gags, serials, covers, scripts, characters, layout, lettering, FX to much more.  Explore the legacy of comics and cartoons by creating them. 

RTF 301I          FUNDAMENTALS OF FILMMAKING • CHRISTIAN MEOLA

Restricted to non-radio-television-film majors. 

Are you a fan of movies and have always been curious about how they're made? Are you a creative person who wants to try making a film for the first time? Have you made films in the past, but want to get better at your filmmaking abilities? Welcome to Fundamentals of Filmmaking! This course introduces the fundamental principles of film, television, and digital production, which include core creative concepts and techniques in audiovisual storytelling, as well as the logistical and practical stages of the filmmaking process, from pre-production through production and post-production. Learn how to make a movie while studying the art of other people's work.

RTF 303C        INTRO TO MEDIA AND ENTERTAINMENT INDUSTRIES • LESLEY STEVENSON
Fulfills a social & behavioral sciences core curriculum requirement. May count toward the Media & Entertainment Industries Minor. 
Open to BOTH RTF Majors & Non-RTF Majors. 

Using Hollywood as our primary focus, this course surveys the social, cultural, political, and economic contexts within which entertainment media are produced, distributed, and monetized. We will both survey the breadth of companies and stakeholders involved in shaping film, television, and digital media content and consider key challenges being faced by industry professionals today. A special focus will be placed on how media workers are navigating changing technological, economic, creative, and regulatory conditions in the streaming era.

RTF 304        STORY STRUCTURE FOR FILM AND TELEVISION • TERESA WARNER
Restricted to non-RTF majors.

In this introduction class, students will be given the fundamentals of story structure for Feature Films and Television. This will include analysis of three act structure, character development and the language of screenwriting.

RTF 306        INTRO WORLD CINEMA HISTORY • LALITHA GOPALAN

The course fulfills VAPA requirements, and is designed for non-RTF majors who have not taken previous coursework in film or media studies. Love the movies? Join us and explore how the movies developed from a circus amusement to multinational industry as well as how film can be understood as socio-cultural , technological, aesthetic and economic artifact. Global in scope, this course will sample a variety of “national cinemas” in order to compare and contrast how moviemaking developed uniquely in different parts of the world. 

RTF 321I        FILM & MEDIA TO THE PRESENT • CASEY WALKER

This course examines the historical development of media industries—film, radio, television and the road to digital. It uses a “circuit of culture” approach to study production, distribution, receptionin historical context. Through lecture, discussions, readings and screenings, and research projects, we will investigate historical contexts (cultural, industrial, technological) in which media have been produced in the US and globally. Most of our focus is on the US, but we will compare/contrast when possible.

RTF 329C         DIGITAL MEDIA PRODUCTION - Web-Based • BEN BAYS
Open to BOTH RTF Majors & Non-RTF Majors. 

Animation, Visual Effects, Digital Painting and CGI are used to produce content for a variety of media including live-action film, classical and 3D animation and interactive formats like video games and XR.  This course will teach you the industry standard tools and practical techniques of digital media production, no experience necessary.  The course is self-paced, non-linear and offers a variety of options.  Students choose their area of interest from a large array of assignments covering topics like concept art and previsualization, color correction and post production, animation and simulation, compositing and visual effects or CGI and interactive game design (and more).  Will you become a generalist across all digital media production, will you specialize in one discipline or will you define a new role in digital media production? Choose your own path and the instructor and a team of TAs collaborate with you. No prior knowledge of digital media production required.  Mac or PC. No software purchase required. This course offers both access to instructor guidance and the ability to complete assignments at your own pace. 

RTF 344M        WRITING INTERACTIVE GAMES/MEDIA • NATHAN CUTIETTA 
Open to BOTH RTF Majors & Non-RTF Majors. 

Interactive storytelling is a form of dramatic writing, just like theater or television. What makes the medium unique is that the author does not control the story; the audience does. Creatives have only just begun to explore the storytelling possibilities of this field. In this class, you will begin to develop the skills & knowledge necessary to write for interactive mediums such as video games, digital media, VR, and augmented reality. Your final deliverable in this course - a narrative design document - will serve as a writing sample for your portfolio. A limited number of seats are open to non-majors.

Digital Game Industries Courses - Open to All

LOWER DIVISION

DGI 302       DIGITAL GAME INDUSTRIES• BEN BAYS

UPPER DIVISION

DGI 322       GAME USABILITY ANALYSIS • BEN BAYS

Usability, or the measurement of how easily a user can accomplish their goals in a product or service, is a tenet of user experience design which can be transposed onto video games.  In this course, students will "play" a variety of different games, examining, evaluating and analyzing the different dimensions and components of the experience then articulating their analysis in terms that are actionable in game development. 

Sports Production Courses - Open to All

Sports Production/Broadcasting Courses - Open to RTF Majors

LOWER DIVISION
SPB 301       INTRO TO SPORTS PRODUCTION/BROADCASTING I • DAVID SCHNEIDER

This introductory course offers a comprehensive overview of the fundamental principles and practices involved in sports production and broadcasting. Designed for students with little to no prior experience in the field, this course covers essential topics such as live sports coverage, camera operation, video editing, storytelling, and broadcast journalism. Through hands-on practice and theoretical instruction, students will gain the skills necessary to produce and broadcast high-quality sports content. The course will also explore the evolving landscape of sports media, including digital platforms, audience engagement, and the ethical considerations in sports broadcasting.

Students will have access to professional-grade video camera equipment, tripods, and editing software, providing them with the opportunity to apply what they learn in real-world scenarios. By the end of the course, students will have produced their own sports broadcast segments, demonstrating their ability to capture and present sports events effectively

SPB 302       INTRO TO SPORTS PRODUCTION/BROADCASTING II • JORDAN LEVIN

Success in the world of sports production, broadcasting, and media is heavily dependent on blending an understanding of production practices, engaging storytelling, and developing a strong and specific pov and sensibility. This course will build on the fundamental principles and practices learned in the Introduction to Sports Production and Broadcasting l course, strengthening video editing skills and storytelling, establishing professional post-production protocols and media management processes, developing audio segments for the podcasting medium,  and working collaboratively on feature stories, all while deepening an awareness of the current sports media and business landscape.

UPPER DIVISION
SPB 322       STORYTELLING IN SPORTS PRODUCTION/BROADCASTING • JORDAN LEVIN

In this topics course, students will explore the art and execution of storytelling across all forms of Sports Production, including live event broadcasts. From the classic pillars of sports journalism to ABC’s pioneering flagship “The Wide World of Sports” to ESPN’s landmark “30 For 30” series to the most memorable calls in sports history, storytelling has been the consistent thread that has enraptured audiences to sporting events, the athletes who pursue immortality, and the arenas in which they compete. Appreciating and understanding core sports narrative strategies and their underlying spiritual foundation, along with the unique opportunities and challenges arising from live, real-time storytelling, is critical to learning how to create successful sports productions and broadcasts.

SPB 370       REMOTE FIELD PRODUCTION • DAVID SCHNEIDER

SPB 370       STUDIO PRODUCTION • DAVID SCHNEIDER

This course offers an in-depth exploration of studio-based sports production, focusing on the skills and techniques needed to create professional live and live-to-tape content. Students will gain hands-on experience in directing, technical operations and show production while working with industry-standard equipment. Through collaborative projects, they will develop expertise in designing rundowns, the overall workflow of a professional studio. 

Emphasizing both creative storytelling and technical precision, the course prepares students for roles in sports media, from studio producers to on-air hosts. Guest speakers and real-world assignments will provide insight into industry trends, while lab sessions and critiques will refine students’ ability to produce compelling, polished sports programming.

SPECIALTY COURSES

STUDY ABROAD WITH MOODY

RTF 336      SPECIAL PROJECTS IN RADIO-TELEVISION-FILM   

This course gives students the opportunity to do independent research or creative projects. These are developed and executed by the student under the supervision of a faculty member. (Note: Students cannot use departmental equipment to complete these projects.) May be taken twice for credit. May be counted toward the independent inquiry flag requirement. Hour(s) to be arranged. Restricted enrollment; review instructions.

Prerequisites:

• Upper-division standing
• Approval from a faculty sponsor
• Approval from the Department Chair

RTF 368S - UNDERGRADUATE MEDIA STUDIES THESIS

See thesis page.

UTNY

The New York City experience amplifies creative energy, professional opportunity and world-class arts and culture. Live, work, and learn as you explore and engage through UTNY’s connection to companies, people and prospects. Business, government, and technology merge with entertainment, fashion, and media in this global epicenter.

UTLA

Spend a semester in Los Angeles to jump-start your career in the entertainment industry. Open to all UT Austin students regardless of major, the UTLA program is a chance to get hands-on training at an internship, take classes taught by industry insiders, and explore new career paths to set yourself up for success after graduation. Learn about UTLA courses.