RTF 178 is a one-hour internship course intended for students doing a second internship, i.e., those who have already taken RTF 330L. The purpose of this course is to provide professional internship experiences with television and radio stations, film, video, and new media production companies, governmental agencies and production units, audio recording studios, and new media industries. Students are responsible for securing their own internship position. Resources and position listings are available in the College of Communication Career Services (CCS) office, CMA 3.104 / (512) 471-9421.
At the end of the semester, you will be required to submit an Internship Report consisting of:
Introduction to historical, cultural, political, economic, and international characteristics of film, television, and other media in society. Required of all radio-television-film majors. Also taught as a Web-based course.
This course examines the context and significance of contemporary information and communication technologies and institutions. It offers an overview of the social, political and policy dimensions of these technologies, surveys their historical development and current uses, and highlights some of the significant social issues and conflicts they raise. Communication and sociological theory are used to make sense of the relationship between communications technology and social use, operation and development. Special attention is paid to dilemmas in contemporary communications policy and practice, such as protection of privacy and personal information, information ownership, free speech, and the role of communication in political processes.
Talk of globalization and media is all around us, in the news, in the education system, in college classes, and in the employment sector. We know that there are important connections between media, globalization, and international communication. Whether these connections are between business, government, activist networks, or for-profit/non-profit international organizations, global media has an important history and a current presence that must be better understood in order to help make us better global citizens and consumers. This class in geared to help you gain background knowledge on these issues by first exploring global media from a historical/theoretical context. From there we can critically apply this knowledge to help us evaluate current debates, events and issues in global media such as: What do we mean by global media? How is it analyzed now and how was it viewed in the past? What are the cultural, political, economic and social implications of the globalization of media? What has been the impact of new media technologies? What are the relationships between global media and social change, international development, activism, and social networking? We will explore these cultural, socioeconomic, and political dynamics that impact the complex nature of human communication through lecture, media screenings, discussion and group work.
This course will seek to build a multicultural history of cinema that surveys critical approaches (institutional, social, political, aesthetic, and technological) and stresses the relationship between films and context. It focuses on mainstream and alternative, North American and International, production and reception, and fictional and nonfiction cinemas in an effort to investigate the many voices and histories of film development.
This course addresses race and representation in historical perspective. It examines racial representations in relation to social structures, gender and national identities, and the workings of media industries.
This class is a historical survey of US radio and television broadcasting and related electronic media from the early 20th century to the present. We will watch and discuss representative programs and read academic texts, all the while maintaining a critical focus on the interactions between the broadcasting industries and technology, society, culture, politics and aesthetics.
This class focuses on the study of how meaning is structured and perceived through the aesthetics of audiovisual images. It also surveys the various modes used in narrative and non-narrative storytelling in fiction film and television.
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 one still photography project, one sound-designed still photo project and one sync sound digital video project.
RTF 319 is a course that introduces the fundamentals of art and design in the context of digital technologies. Projects are produced using both analog and digital media. A number of popular software programs commonly used in contemporary artistic practice are taught, including Adobe Illustrator, Adobe Photoshop, Frame Thief, Macromedia Dreamweaver. Material and production costs are typically around $200. This course is taught every semester.
RTF 330L INTERNSHIP IN FILM & ELECTRONIC MEDIA
The purpose of this course is to provide professional internship experiences with television and radio stations, film, video, and new media production companies, governmental agencies and production units, audio recording studios, and new media industries. Students are responsible for securing their own internship position. Resources and position listings are available in the College of Communication Career Services (CCS) office, CMA 3.104 / (512) 471-9421.
At the end of the semester, you will be required to submit an Internship Report consisting of:
- A weekly journal
- Work samples or a portfolio
- Your evaluation of the internship
- Your supervisor's confidential evaluation of your performance
FIRST CLASS DAY POLICY: Students must attend the first class day or they will be dropped.
RTF 331P *INTERNET AND POLITICS • JENNIFER BRUNDIDGE
The focus of this course lies at the intersection of Internet use and democratic/political life. Here, we will investigate connections between the Internet, traditional media environments, and various forms of political engagement. What is the impact of an increasingly rich online information environment on political knowledge levels among the public? How do different types of Internet use affect people’s willingness and ability to meaningfully participate in democratic processes? How important is social media in setting the public agenda? With reference to these and many other questions, we will of course have the opportunity to explore the impact of Internet use on the recent 2012 U.S. presidential election campaigns.
*Note: This course is open to non-RTF majors.
RTF 331P INTERNET CULTURES • MADHAVI MALLAPRAGADA
The Internet refers to a global network of interconnected computers. While Internet technology opened up new possibilities for communication, it was the development of the World Wide Web and the graphical browser in the nineties that made the Internet a popular and powerful tool for communication. Today, the Web is the most widely used part of the Internet and has dramatically transformed everyday life, culture, politics, business and communities. This course will critically examine the emergence and significance of Internet cultures in our world today. It will introduce you to the technological, financial, cultural and political aspects of the digital information revolution and Internet and Web-based media and communications. The course will deal with topics such as e-commerce, governance and regulation, online communities, homepages, blogs, videogame cultures, virtual realities, cyborg identities, multi-media applications, technological convergence, digital divide and transnational politics. It will interrogate the politics of race, class, ethnicity, gender, sexuality, nationalism, capital, community and technology shaping the practices of contemporary Internet cultures.
RTF 331T CREATING MUSIC & SOUND FOR FILM/VIDEO/GAMES • BRIAN SATTERWHITE
RTF 331T is a lecture/lab course designed to introduce students to concepts of music and sound for a variety of media with a primary focus on creating original music and/or sound tracks. We will work with Apple Logic Studio Pro and other resources in CMB Studio 4B. There will be no Windows software in this course.
REQUIREMENTS: RTF 331T requires some working knowledge of music - not necessarily formal training, but even playing in a band is helpful. It would also be very helpful to you if you have any experience with music and/or media software. If you do not have any experience in music, and music or media software, we should warn you that the course may prove to take up a lot more time than other courses AND that all this time will have to be spent in Studio 4B, unless you own a Mac running Logic Studio 7. Logic Studio 7 is rather complex. On the other hand, if you have a LOT of music and music/media software experience, we should warn you that you could be bored by the class pace, as many students will be totally new to the world of music software (though not media software). If you already know Logic and have been scoring films and/or games, this class probably will not teach you anything you don't know already.
RTF 333 INTRODUCTION TO SCREENWRITING • TOM WILLETT
RTF 333 will introduce you to screenwriting, and the primary forms which writing for the screen may take: features, shorts, television and documentary. We will explore the basic theory and formal aspects of story, structure and character which are essential to all forms of screenwriting. In lecture and sections, we will carefully examine each step of the screenwriting process - from the initial premise, through character exploration and treatments, to writing the first draft - then apply those steps to the development of your own scripts. The class will also focus on critically examining produced scripts and films from a screenwriter's perspective, in order to learn more about the craft.
RTF 335 TELEVISION GENRES • MICHAEL KACKMAN
This course explores the aesthetics, economics, and cultural implications of television genre. It examines the use of generic forms in the industry, issues of narrative form and visual style, generic hybrids, and genres as mechanisms for the exchange and circulation of cultural meanings. During the semester, we will explore a variety of approaches to genre, with particular emphasis paid to television westerns, soap opera, contemporary serial drama, and science fiction.
RTF 340 STUDIO PRODUCTION • DAN KNIGHT
This class uses the multi-camera studio to produce drama, music, or special events projects from script selection to screen. It provides the opportunity to develop skills such as lighting, sound, cinematography, script analysis, directing cameras and actors, and producing. Students work in teams, each team is responsible for at least one complete production. In addition each student serves in various crew positions for the other productions. This model is used on various program genres. Examples include: Saturday Night Live, Conan O'Brien, concerts, sports, daytime dramas, talk and game shows and sitcoms. The model is also useful for reducing the budget for interior photography on features or prime time dramas shot in HD.
RTF 341 AUDIO PRODUCTION: SOUND FOR PICTURE • TODD THOMPSON
Sound design/Editing to a pre-mix. Course will cover dialogue editing, creating sound elements, Foley, ADR, ambiences, working with music, effects, and preparing for the mix. Students will also be expected to do their own mixes of a student or professional film. These may be the final mix as stereo or may be a pre-mix for a professional mixer in a video non-linear editing system. If you could take only one audio class on your path to filmmaking, this would be the one.
RTF 341C SOUND DESIGN AND MIXING • STEVE DEGENNARO
Sound Design happens before production begins, through production and post. This is the mix class for those who see themselves in a career in audio post or those who just want a thorough understanding of the process. This class is a practical and theoretical exploration of the craft and esthetics of post-production sound with the goal of making you experienced and comfortable mixing in stereo and surround. It will cover editing, Foley and effects, ADR, processing audio, cleaning up sound issues, and experimenting with sound, music, and silence before and in the re-recording—the mix.
PREREQUISITE: Radio-Television-Film 337, 337P, or 341, or permission of the instructor.
RTF 342 GLOBAL MEDIA • SHANTI KUMAR
In recent years, the globalization of media has become a key issue of debate in many nations and cultures around the world. Yet, many discussions about globalization tend to obscure the often complex and contradictory relationships among global, national and local forces. In this course we will critically examine the role that film, television, video games, and other media play in shaping our sense of global, national, and local cultures and identities.
The goal of this course is to introduce you to a broad range of issues that are stimulating research in the field of global media studies. The first part of the course will focus on global media institutions, and the second part on audience uses of global media and issues of cultural identity.
RTF 342 MEDIA AND THE MIDDLE EAST • KARIN WILKINS
The objectives of this course are to encourage students to examine critically existing information about the "Middle East" in U.S. media, and to learn about the roles media play in the Middle East. The themes we will address include media and modernity; film, television, and news industries in national, transnational, and global contexts; and representation of the Middle East in US news and US popular culture.
RTF 343 ADVANCED DOCUMENTARY PRODUCTION • PAUL STEKLER
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 ADVANCED NARRATIVE PRODUCTION • KAT CANDLER
From script to sound design, students spend the semester completing an advanced video production (3 - 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 CINEMA LABORATORY • DEB LEWIS
Limited to 15 participants. In the cinema laboratory, we will make ten short films – some during class and some outside of class – with the emphasis being on making, taking risks and exploring the cinematic form on an elemental level. There will be failures and triumphs—all work strengthening and stretching our ability to express ideas and feelings through picture 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 and highly creative students are sought to participate.
Throughout the semester-long laboratory, we will sharpen our cinema-making skills through attention to process and experimentation in order to move to a higher level of precision in our work. We will take many exercises from the notebook of Robert Bresson, who 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.
“The cinema language happened by experimentation—by people not knowing what to do…. I always like to say that cinema without risk is like having no sex and expecting to have a baby… If you don’t take a risk then how are you going to make something really beautiful, that hasn’t been seen before?”—Francis Ford Coppola
Cinema Laboratory seeks self-driven RTF graduate students, upper level RTF undergraduates (especially those in their last semester at UT), Photojournalism students, and students from the School of Architecture and the Art School. There will be a Wednesday evening lab for those from non-RTF departments to learn RTF protocol and basic editing, camera and sound work.
Undergraduates registering for this class will need to acquire emailed consent of the instructor. Please contact Deb Lewis with questions regarding the Laboratory: firstname.lastname@example.org
RTF 343 DEVELOPING AN INDEPENDENT FEATURE • KAT CANDLER, KELLY WILLIAMS
This class is a case-study type course, based on the Professors' current project, which will focus on all of the Development and Pre-Production work they'll be doing in preparation for production in the summer. It is a consent course for both RTF undergraduate and graduate students (who will register under a separate course number), and it will be capped at 15 students total. To apply for consent, undergraduates must have upper-division standing, with a University GPA of at least 2.25, and either RTF 366K or RTF 367K.
All applicants must email a resumé and a statement concerning why they want to take the class to Kat Candler, email@example.com, before 5:00 on Friday, October 26th. Students accepted for registration will be notified by the RTF Advisors on Monday, October 29th, at which time they will be able to register for the class using normal registration procedures.
RTF 343 YOUR FILM: FUNDING TO FESTIVAL • GEOFF MARSLETT
If a film gets made in film school but nobody sees it, did it really get made?
This is a dilemma that aspiring film students and independent film directors and producers face everyday. Working tirelessly to complete a high quality film is only half the battle. You still need to figure out how, where, and when to present it. This class is designed to help students navigate the difficult, mysterious, and ever-changing process of getting an independent film seen and programmed. This is a process that begins before they shoot their first frame and often goes on for a year or two after they premiere.
In this production course all students will use their own projects (at various stages of production) to complete the various stages of promoting their work from fundraising through presenting the film.
In order to engage your intended audience, it helps to have a general idea who you are making the film for when you start making it. Making realistic goals, assumptions and plans for the film will allow the filmmakers to budget their time and resources appropriately. It will also help them determine how much money they could potentially raise and how to actually raise that money once they are ready to make the film. At this stage of the class we will explore different crowdfunding platforms and techniques to make the campaign successful. We will also cover all the technical aspects of setting one up. Concurrently we will cover many of the grant options available to both students and to independent filmmakers.
In addition to raising money you must build a fanbase. All students will learn how to set up a social media presence using Twitter, Facebook, websites, press coverage, blogs, etc. How big of a presence should my film have? How much will it cost? What can I do on my own? You will need a print campaign once you reach the exhibition stage of your project. Students will also learn what types of print materials they will need for festival runs and how to make these on a budget.
Where is that fanbase? Once you are ready where do you show your film? You need to learn which festivals are showing the type of film you just made. Target the correct festivals so you will get accepted and appreciated once you are there. We will also go over the application process, festival calendar, premiere status, costs, etc.
Finally, you show your film. How do you decide whether to attend or not? We will also focus on choosing which festivals to attend, how many representatives from the film should attend, and how to make the most of your experience once you are there. The festival experience can be both enjoyable and a good platform to launch or further your career.
- What's crowdfunding?
- How much money can I raise?
- Are these tax-deductible donations?
- Are there grants for making films like this?
- Should I use Kickstarter or Indiegogo?
- How do you get into a film festival?
- Is anybody going to want to see what I just made?
- How do I get someone in the industry to see my movie?
- How big is a movie poster supposed to be?
- Do I need to make business cards?
- I don't know anyone in the industry, what am I going to do?
- Are there any good festivals in Texas?
- How did you get a write up in that magazine?
- Do I need a twitter account for my film?
- What should I post on my Facebook page?
- Who is my fanbase?
- What's a publicist do for me?
- What's the cheapest way to host a website for this movie?
- Does anyone watch short films?
- What's a sales rep?
- Is applying to that film festival worth the money?
- Should I use Vimeo or Youtube?
- Should I even be showing my film online right now?
- Where should I premiere this film?
- Should my actors come to the festival with me?
- How many days should I spend at the festival?
- What do I do once I get there?
- Should I introduce myself to the panel speakers?
- What do I need to bring with me?
- How many festivals should I apply to?
RTF 344M 3-D ANIMATION • BEN BAYS
This is a production course which covers 3D modeling, surfacing, lighting and animation. We will use Autodesk Maya extensively, cover some Photoshop texture training, MatchMover for integrating our 3D work with live action footage and Unity for implementation in interactive environments. Along the way, we may use other pieces of software. In addition to class participation, there will be assignments of varying scope. These projects will involve using the computers. If you feel that you lack the necessary skills to do any of the assignments, please talk to me. I will be happy to work with you during lab times, but you will be responsible for putting in the extra work that is necessary to complete the assignments. Additionally, I will require that each student keep a production blog. This is how your work will be turned in.
RTF 344M INTERACTIVE MEDIA & GAME DEVELOPMENT • BRUCE PENNYCOOK, PAUL TOPRAC
The course will examine some of the basic principles of designing and creating a game with an emphasis on game architecture and logical structure of the story. It is intended for RTF students who have little or no background in computer programming and who would like to explore game creation. Topics will include – logical planning of a multi-threaded story, manipulation of objects and characters, interactive game play, screen management and other related technical issues. By the end of the course students will individually or in small teams develop some small games targeted at hand-held devices such as the iPhone.
Prerequisites: For radio-television-film majors, the following coursework with a grade of at least C in each course: Radio-Television-Film 305, 318 or 319, and six additional semester hours of coursework chosen from Radio-Television-Film 309, 314, 316, 317, 318, and 319; for others, upper-division standing and consent of instructor. For this course, students are not expected to have any formal training in programming, game development or game creation. However, skills such as drawing, story creation, sound design, graphic design, etc. will be of value. Meets with FA 360 and TD 354T.
RTF 344M VISUAL EFFECTS & MOTION GRAPHICS • BEN BAYS
This is a production course designed to introduce and expand your knowledge of the world of motion graphics and special effects. Credits, transitions, greenscreen, filters, masks, mattes, all sorts of things. In contrast to the animation course, this class will focus on advanced compositing and techniques to enrich your video, stills, typography and to get exactly what you want to see onscreen. You will not be required to draw anything (complicated). Consider this more of a course in design than art. We will take the elements of design: line, shape, value, texture, color, direction, size, perspective and space and add one more thing to them: time.
RTF 344M WRITING/NARRATIVE DESIGN FOR VIDEO GAMES • SHELDON PACOTTI
Additional hour(s) to be arranged. Course number may be repeated for credit when the topics vary. Special topics in digital media theory, design, or development. May include visual effects and motion graphics or digital media and digital art. Prerequisite: For radio-television-film majors, the following coursework with a grade of at least C in each course: Radio-Television-Film 305, 318 or 319, and six additional semester hours of coursework chosen from Radio-Television-Film 309, 314, 316, 317, 318, and 319; for others, upper-division standing and consent of instructor.
RTF 344N ADVANCED VISUAL EFFECTS • BEN BAYS
Students organize, research and create projects based on advanced compositing and visual effects techniques. Topics include Particles and Simulations, 3D animation, and Digital Matte painting.
RTF 344N 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.
*If interested, please read instructions to apply.
RTF 345 SOCIAL DOCUMENTARY • TBA
This course offers a conceptual overview of the forms, strategies, structures and conventions of documentary film and video. The course focuses on social documentary, or documentary that aims to construct arguments about the social world. Students will examine and discuss dominant and experimental modes of representation, important documentary movements and filmmakers, and a number of documentary genres. The aims of this course are two-fold. Students will gain knowledge of the current theoretical debates and dilemmas in documentary filmmaking, including questions of how to define documentary, what constitutes the ethical treatment of subjects and subject matter, and documentary's construction and positioning of its audience. In addition, students will develop critical thinking and viewing skills that will help them to conceptualize their own representations of the social world through audio-visual media.
RTF 346 INTRODUCTION TO EDITING • KAREN KOCHER; ANNE LEWIS
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, you will finish this course with increased confidence in, and understanding of, the seamless editing technique and the AVID software. We will also view and analyze film scenes to understand how editing contributes to meaning.
RTF 346C INTERMEDIATE EDITING • ANNE LEWIS; DAN STUYCK
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 347C BROADCAST AND CABLE MANAGEMENT • STEVE JENNINGS
This course is designed specifically to give an in-depth look at what is necessary to operate a broadcast station organization. The course will offer first hand information from the leading News Directors, Promotion Directors, Programming Directors, General Sales Managers, Production and Operation Mangers, and Chief Engineers in local television and radio companies. More specifically, the course will address the following:
- What does managing a leading news department entail?
- How do you promote your station?
- How does the revenue side of the business work?
- How do you attain syndicated programming for your station?
- What is involved in the negotiations for these programs?
- What does high definition television mean for broadcasters in the future?
Students will have the opportunity to interact with guest lecturers and hear how day-to-day operations work as well as learn about the unique challenges facing broadcasters in the future.
RTF 351C DIGITAL ANIMATION • GEOFF MARSLETT
This course will introduce the student to the art and mechanics of two-dimensional animation in film and in digital media. Weekly exercises will be required, with an emphasis on animation as personal expression.
RTF 351D 2D ANIMATION AND MOTION GRAPHICS • GEOFF MARSLETT
Students will use the basic 2D animation skills learned in the 351C Digital Animation and Graphics class to focus on the production of longer animated projects. Additional techniques including some motion graphics, stop motion, and advanced 2D will also be covered in class.
RTF 359 RACE, NATIONAL IDENTITY, & THE MEDIA • JENNIFER FULLER
This course analyzes the relationships between representation, race and national identity. Issues of gender power are also important to how this course deals with national identity and race. This course focuses on contemporary mass media, but also covers historical issues such as late-1800s advertising and early-1900s anti-immigration cartoons. The United States will be central, but not the only nation-state discussed in this course.
RTF 359 YOUTH AND SOCIAL MEDIA • CRAIG WATKINS
The rise of social media is one of the defining aspects of life in today's digital age. In this class we will consider a range of issues related to young people's use of social media. We begin by exploring the questions: what is social media and how does it differ from more traditional media platforms like television and print? In addition, the class will examine how expressions of human social behavior are evolving with the increasing use of social media. Are we more or less social today? The bulk of the work for the class will be hands on field experiments related to platforms like Facebook and Twitter. For example, students will conduct creative fieldwork that explores various activities in Facebook. More precisely, how are we using social media to navigate our news, entertainment, and information environment? How has the use of Twitter evolved and what do those shifts reveal about young people's engagement with social media. We will use a number of studies regarding social networks, media use, and the internet to inform our approach and analysis of social media. In addition to collecting original data students are expected to produce written reports and presentations based on their fieldwork.
RTF 359S GIRLS' MEDIA AND CULTURAL STUDIES • MARY CELESTE KEARNEY
This course introduces students to the critical analysis of women and media culture. Focusing primarily on commercial media texts mass produced in the United States, we will explore the dominant strategies used by the magazine, film, and broadcasting industries to represent women and women's issues, as well as to attract women consumers. In addition, we will examine how women participate in media culture via their roles as consumers and audiences, as well as fans of particular cultural texts. Although we will primarily examine media texts produced and distributed by the commercial media and entertainment industries, we will also explore how women have developed alternative media economies by creating their own cultural texts and practices.
RTF 365 MIGRATION AND MEDIA • JOSEPH STRAUBHAAR
This course will enable students to understand global media issues about traditional and digital media use, social inclusion, and migration from Latin America, Asia and elsewhere to the U.S. in both theoretical and concrete local terms, reinforcing the latter with participant observation and interview fieldwork in East and South Austin. We will cover theoretical material about globalization, cultural geography, migration, the relation between migration and media use, and digital inclusion that confronts migrants in Austin. We will examine Austin's social, cultural and economic history with a focus on how the sources of information, culture and media available to Latino and African-American residents have evolved and how those sources have been used by people and communities here, particularly Latino and other migrants. Students will read existing materials on this history as well as materials on research methods for interviewing people about their use of both new and traditional media. Students will observe and interview local organizations and people who are working with migrants, particularly on information, media and digital divide issues in the first half of the course. In the second half of the course, students will learn how to conduct family history interviews and do interviews with three generations of several families to see how their use of media and cultural resources has changed over time. Special emphasis will be placed on the impact of migration on this process.
RTF 365 NEW MEDIA LITERACY • KATHLEEN TYNER
Media literacy is the ability to strategically access, analyze, evaluate, and produce communication in a variety of forms. This course explores the expanding nature of literacy in a digital world. Through the use of new media tools and an awareness of the historical uses of literacy, students will explore concepts of multiliteracies and the way they have changed society over time. Relationships between alphabetic, electronic, social and digital media will be explored through crosscutting techniques that can also be used to analyze the content and contexts of a wide variety of media. Students will use promising practices and new tools in the field to expand their existing media literacy skills and to design innovative presentations and projects that take advantage of new media.
RTF 366D DIRECTING WORKSHOP • ED RADTKE; ANDREW SHEA
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 366K EAST AUSTIN STORIES DOCUMENTARY PROJECT • ANDREW GARRISON
The East Austin Stories documentary class is an intensive hands-on course in small format documentary video production. Student will produce two finished documentaries, one of which will be screened before audiences in East Austin in at least two locations, as well as streamed on the website.
RTF 366K FEATURE FILM WORKSHOP • STEVE MIMS
Feature Film Workshop Project is a production workshop class to produce a feature-length film based on an original screenplay. Students will comprise key roles in all departments: camera, sound, lighting, art and editorial and be credited for those roles. Principal photography is to occur during the month of February, editorial to occur during the balance of the term, with a first cut due at the end of the semester.
RTF 366K INTRODUCTION TO DOCUMENTARY PRODUCTION • HEATHER COURTNEY
This class introduces students to single-camera field documentary video production. Basic instruction will be provided on digital cameras and digital off-line editing. Individual exercises and group projects will be assigned throughout the semester.
RTF 366K NARRATIVE PRODUCTION • GEOFF MARSLETT; STEVE MIMS; ED RADTKE; PJ RAVAL; NANCY SCHIESARI
The class explores the expressive potential of sound and image through the production of digital video and 16mm 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 the advanced narrative classes.
RTF 367K PRODUCING FOR FILM AND TELEVISION • RICHARD LEWIS
RTF 367K 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. 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.
RTF 367P ADVANCED PRODUCING • TBA
Advanced Producing is a business oriented, hands-on, extremely practical, intimate class of only twenty students learning the parts of filmmaking that aren't writing, shooting, or directing. The very first class in Spring 05 set the bar very high for those that have followed by taking on a superb low-budget, digital film called CAVITE during its post-production as it prepared for SXSW. Over the next 18 months (and three more classes) it reaped critical acclaim, stormed the festival circuit, got a distribution deal, won the Someone To Watch Spirit Award, and shipped tens of thousands of DVDs. The Advanced Producing students received much recognition along the way as they learned the ropes. But that was just the start. Subsequent classes have pitched in on key post-production decisions then handled promotion, publicity and distribution sales for a series of other SXSW films including the documentaries JAM (2006), THROW DOWN YOUR HEART and OF ALL THE THINGS (both 2008). In 2007 the class garnered national coverage in the NY Times and LA Times for its involvement with a film that critically appraised Michael Moore called MANUFACTURING DISSENT, an international success story.
RTF 368S MEDIA STUDIES THESIS
Hour(s) to be arranged. Restricted enrollment; contact the department for permission to register for this class. Course number may be repeated for credit when the topics vary. Advanced media studies research. An independent research project based on primary data, resulting in a written summary of theoretical foundations, methodological approach, results, and a discussion. Restricted to radio-television-film majors. Prerequisites: Upper division standing and consent of faculty sponsor.
RTF 368S UNDERGRADUATE PRODUCTION THESIS • RICHARD LEWIS
For filmmakers wishing to create a narrative or documentary film that demonstrates and showcases advanced filmmaking skills.
The class is for DIRECTORS and PRODUCERS, and students should apply in two-person directing/producing teams that will work together to shepherd the project from beginning to end. From pre-production to sound mix, students will complete a short film or video project (under 12 minutes in length) with the most advanced equipment available to RTF undergraduates. Emphasis will be placed on storytelling, strong cinematic style, and production values. Teams must enter the class with detailed outlines or scripts, and the directing/producing teams are responsible for assembling their own crews.
Must be an RTF major with a University GPA of at least 2.25 and have upper-division standing.
Narrative directors are required to have completed one of the following courses before applying:
- RTF 343 – Advanced Narrative Production
- RTF 367L – Narrative Filmmaking – 16mm
Documentary directors are required to have completed:
- RTF 343 – Advanced Documentary Production
Producers of either narratives or documentaries are required to have completed:
- RTF 367k – Producing Film and Television
NOTE: If you are a director or a producer but do not yet have a collaborator, go ahead and apply and Prof. Lewis will do his best to match you up. You will have the final say with regard to who your collaborator is (i.e., no forced collaborations), but you must be in a director/producer team to be in the class.
Enrollment in this class is by consent. Consent will be based on both:
- Your experience level and/or quality of project synopsis
- The instructor's perception of your ability to complete the project (through final sound mix) by semester's end
Please e-mail Professor Lewis (firstname.lastname@example.org) with the following information for each two-person team no later than 5 pm on November 1. There should be ONE e-mail consent application for each TEAM. When e-mailing, please make sure the words “RTF 368s consent” are in the subject line.
s and position (producer or director)
- UT EID
- E-mail address and telephone number
- Anticipated dates of graduation (e.g. May '13)
- Complete list of production/screenwriting classes you have taken
and the names of the instructors for those classes
- Describe your writing / directing / producing experience and attach a SYNOPSIS of the film you intend to make in the class. Also note whether the script is to be written by an outside screenwriter (i.e., not the director and/or producer). Again be reminded that this class has a strict 12-minute running time limit.
Consent decisions will be made by November 5.
FIRST CLASS DAY POLICY
Students must attend the first class day or make prior arrangements with the instructor.
Students who do not attend the first class meeting may be dropped from the class.
IF YOU HAVE QUESTIONS
Contact Professor Lewis via e-mail: email@example.com, or drop by during his office hours:
CMA 6.134 on Mondays 1:30 – 3:30, Wednesdays 3 – 4.
RTF 369 ADVANCED SCREENWRITNG FOR FEATURE FILM •
STUART KELBAN; TOM WILLETT; BRYAN POYSER
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 on a weekly basis. Incompletes will not be given in this class.
RTF 369 ADVANCED SCREENWRITING FOR SERIES TELEVISION • STUART KELBAN
This course will explore how to write for series television, for both network and cable outlets, focusing on the 60-minute drama and the 30-minute sitcom. We will carefully breakdown each step of the TV-writing process -- from pitching to outlining, from drafting through revision -- then apply each step to the development of your own particular TV script. Students will learn the basic theory of story structure, character development, use of conflict, scene writing and dialogue for television. Each week, the workshop will mimic the "writers room" of a television show as much as possible, with the "writing staff" (the students) working together under the supervision of the "show runner" (the instructor) to develop each other's scripts. Each student will leave the course with: * a drama and sitcom "spec", based on a currently-running TV show; * and the outline for an original pilot. The complex business of TV-writing will also be explored, from the ins-and-outs of the television season, to landing your first gig on a writing staff.
RTF 370 THE FILMS OF ALFRED HITCHCOCK • TOM SCHATZ
This course traces the career of Alfred Hitchcock, focusing on the films that he directed as well as the social, cultural and industrial context in which those films were produced. While the general approach is historical (assessing Hitchcock’s films in chronological order, from The Lodger and Blackmail in the 1920s to Psycho and The Birds in the 1960s), the main thrust of the course is critical and analytical, combining various approaches – principally auteur and genre analysis; narrative, textual, and stylistic analysis; and theories of gender and sexuality – to assess Hitchcock’s films and his distinctive filmmaking style. In the process, we will trace Hitchcock’s development through nearly a half-century of filmmaking in England and the U.S., his changing status within the British and American film industries, and his changing stature within the critical and scholarly communities as well.
This course carries a writing flag, so most of your work involves critical and analytical writing. This includes three critiques, a research paper, and a final essay exam. There is also a good bit of assigned reading (roughly 30-40 pages per class meeting), and a required weekly screening.
RTF 370 INDEPENDENT AMERICAN CINEMA • ALISON MACOR
This course explores the transformation of independent filmmaking in the United States from the early twentieth century to the present day. We will discuss the social, cultural, formal, and industrial elements particular to independently produced, distributed, and/or exhibited narrative films with a specific emphasis on the economics of independent film. Screenings will include a range of features from genre and exploitation films to studio-based independents. The course will also examine independent filmmaking as it relates to Austin, Texas, and investigate how a few locally produced feature films broke out nationally. We’ll consider how these films serve as case studies for the changing independent landscape during the past four decades in particular.