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RTF 178 RADIO-TV-FILM INTERNSHIP
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:
- A weekly journal
- Work samples or a portfolio
- Your evaluation of the internship
- Your supervisor's confidential evaluation of your performance
RTF 305 INTRODUCTION MEDIA STUDIES-WB • TBD
Introduction to historical, cultural, political, economic, and international characteristics of film, television, and other media in society. Also taught as a Web-based course.
RTF 309 COMMUNICATION TECHNOLOGY AND SOCIETY • TBD
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.
RTF 312C INTRODUCTION TO GLOBAL MEDIA • JENNIFER KANG
A world perspective on information, news, and entertainment communication systems; politics, technology, economics, and culture.
RTF 314 DEVELOPMENT OF MOTION PICTURE • CHARLES RAMIREZ BERG
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.
RTF 316 HISTORY OF TELEVISION & RADIO • ALISA PERREN
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.
RTF/COM 316M RACE, ETHNICITY, AND THE MEDIA • TBD
This course is designed to provide students with language and critical tools to understand and discuss racial and ethnic representation and production issues in U.S. film and entertainment television. We will survey the history and evolving representations of race and ethnicity in the entertainment media and related topics of concern to audiences, media producers, and scholars, while intersections of class, gender, sexuality, and citizenship will also be explored. Meets the Cultural Diversity flag requirement.
RTF 317 NARRATIVE STRATEGIES • TOM SCHATZ
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.
RTF 318 INTRODUCTION TO IMAGE AND SOUND • GEOFF MARSLETT
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 INTRODUCTION TO DIGITAL MEDIA • SUZANNE SCOTT
RTF 319 is an introductory course in the production and distribution of digital media content. The course will familiarize students with the basic tools and concepts necessary to produce content for new media environments. Students will be given the opportunity to produce and distribute a variety of content over the Internet.
The overall goal of the class is (1) to give students the opportunity to work and learn with each other while translating their ideas and creativity into digital media content; and (2) to help students develop an awareness of the social institutions that influence the production and distribution of digital media content. Students will be introduced to software-based techniques and principles for digital image composition, 2D and 3D static and motion graphics creation, audio and video editing and mixing, and principles of interactive media.
The course is divided into lecture (two 1.5 hour sessions per week) and lab (one two-hour session per week). Some lectures are intended to introduce students to various theories and histories of technological development while others are used to develop media production and communication skills. Labs are used to complete homework assignments and to give students a chance to work with their peers on projects.
RTF 324L CAREERS IN ENTERTAINMENT-L A
RTF 330L INTERNSHP FILM & ELECTRONIC MEDIA-L A
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, BMC 2.302 / (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 CULTURES • MADHAVI MALLAPRAGADA
RTF 331P VIDEO GAME PRODUCTION, CULTURE, AND CRITICISM • SUZANNE SCOTT
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 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 RACE/CLASS/GENDER IN AMERICAN TV • MARY BELTRAN
Television is one of the primary forums through which American notions of race, ethnicity, and citizenship have been constructed, in intersection with class and gender; this class explores the evolution of these dynamics in U.S. televisual representation. In addition to study of how racial and ethnic diversity has been represented in entertainment television since its inception and how various racialized and ethnic groups have participated in television production and consumption, scholarship on these topics and areas of theoretical and popular contention will be surveyed. Critical and cultural studies approaches will be emphasized.
RTF 336 SPECIAL PROJECTS IN RADIO-TV-FILM
In this course, the student undertakes intensive research, or a production or writing project in an area of special interest to the student. The course is developed and executed independently by the student under faculty supervision. The work must be equivalent to the work undertaken in a 3-hour credit course. A production project is possible ONLY if the student has access to equipment elsewhere-the RTF Department's equipment is NOT available for RTF 336 students. Assistant Instructors (PhD students) may not be faculty supervisors for RTF 336 projects. It is recommended that students work with Assistant Professors, Associate Professor, or full Professors.
RTF 340 MULTI-CAMERA TELEVISION 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 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 MEDIA AND EMPIRE • CAROLINE FRICK
Although empires have existed throughout human history, the inception of moving image and sound technologies occurred concomitant with the late nineteenth and early twentieth century iterations of global imperialism. Historical courses that investigate the intersections between film and empire often focus on Hollywood or other so-called national cinemas’ depictions of imperialist discourse, policy and action. Media and Empire includes a look at big-screen “imperial” narratives (e.g., Gunga Din, 1939 or Lawrence of Arabia, 1962) but will spend significant time on educational films, home movies of colonial expatriates, and state-sponsored propaganda. Historical exhibition practices, too, offer a prism through which to examine how European, U.S., and Asian empires utilized twentieth-century media to further socio-cultural, economic and political aspirations.
RTF 343 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 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 • PJ RAVAL
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.
Please contact Deb Lewis with questions regarding the Laboratory: email@example.com
RTF 343 DEVELOPING INDIE FEATURE FILMS • ANDY GARRISON
This class is a case-study type course based on the professor’s current project, a fiction feature film set in South and Central Texas and Northern Mexico near the border. The class will focus on the Development and Pre-Production work he and his team will be doing in preparation for production in the fall. 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 have taken either RTF 366K or RTF 367K.
All applicants must email a resume and a statement concerning why they want to take the class to both Andrew Garrison, firstname.lastname@example.org, and Stuart Kelban, email@example.com. Once students are notified that they have been accepted for registration, they will be able to register for the class using normal registration procedures.
RTF 343N ADVANCED 3D PRODUCTION • BUZZ HAYS
RTF 344M COMPUTER GRAPHICS FOR FILM AND GAMES • BEN BAYS
This course is a production-based overview of Maya, with a focus on modeling, surfacing, lighting, and particles. Topics include interactive environments and CG compositing and lighting.
RTF 344M INTERACTIVE MEDIA AND GAME DEVELOPMENT • RHETT BENNATT
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 • WILEY AKINS; 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
Video games and other interactive media increasingly require well-crafted storylines and strong characters. This workshop is designed to give aspiring game writers the skills, knowledge and techniques needed to write successfully for the games industry. Through the creation of original interactive games, students will focus on such fundamentals as premise, character development, story structure, and the creation of multi-level worlds.
RTF 344N ANIMATION THESIS (UNDERGRADUATE) • GEOFF MARSLETT
This class is designed for students who have already refined their animation skills and want to apply them toward making an entire animated short film. Each student (or team of students) will write and produce a 2-10 minute animated film for the class. They will be expected to write the script, develop the visual style, create animatics, character sheets, budgets and schedules, record audio, animate, and finish all post production of one single film. They will also be expected to support their classmates through discussions and work in progress screenings throughout the semester. All animation styles and techniques are welcome. Animation and sound design students are encouraged to enroll. Sound design students are as important (and hard-working) as the image students. Ideally, sound design students will already be attached to an animation team (or single animator) when you enroll, but if you are not, the instructor will attach you to a project after the class begins. If you are enrolling as an unattached sound designer please email the instructor so he is aware of this. Since this is a chance for advanced undergraduate students to make an animated project that shows off their potential, I expect everyone enrolled to have taken at least one of the other animation courses we offer (see list below)* or have taken a sound design class and to be comfortable with the basic techniques they wish to use.
Students can work in teams of 2-4 people. The teams must consist of at least one director/animator and can be up to 2 additional animators (or co-director/animators). The team can also include 1 sound designer. It is preferable that you form your team in advance of enrolling in the class. Animators can only be attached to one project in the class. Sound designers can be attached to 1 or 2 projects in the class.
If you are interested in creating an animated short film for festivals or for your reel, this is the class for you! If you have any questions, please email Geoff Marslett at firstname.lastname@example.org with the subject line "animation thesis question".
*NOTE: This is different than the pre-req listed in the course schedule. This is what’s actually required.
You are required to have completed one of the following animation courses (for animators) or sound design courses (for sound designers):
For animators, ONE of the following courses:
- Intro to 2-D Animation
- Advanced 2-D Animation
- CG for Film and Games
- Character Animation in 3D
- Visual Effects and Motion Graphics
- Advanced Visual Effects and Motion Graphics
- Capstone Game Development (if used animation)
For sound designers, ONE of the following courses:
- Audio Prod: Sound for Picture
- Sound Design and Mixing
RTF 344N CHARACTER ANIMATION IN 3D • WILEY AKINS
This is a production course designed to introduce you to the fundamental principles of character animation within the context of using Maya specifically. The course will cover some of the variety of tools used in Maya to create object movement and animation and how to use those tools to follow the basic conventions of animation.
RTF 344N GAME DEVELOPMENT CAPSTONE: 3D 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 3D games for mobile, online, and social technology platforms. Students will gain a thorough understanding of the 3D 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 LANDSCAPE AND CINEMA • LALITHA GOPALAN
Landscapes have surfaced in cinema since its inception, highlighting the long shadows cast by painting and photography on composition of panoramas and vistas. Yet, the film camera with its predilection for movement asserts its own singularity. This course particularly turns to post-war cinemas to explore how war, decolonization, and nationalism heralded a shift away from earlier forms of panoramas onscreen; ruins, debris, earthquakes, waste and so on, impinge on anterior concepts of the pastoral. Such a focus on landscapes, the course suggests reconfigures the scholarship on global cinemas that has far too long been considered under distinct categories such as national, new waves, festival, experimental, and art house films.
RTF 345 SOCIAL DOCUMENTARY • LAURA STEIN
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 • DON HOWARD, 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 346E ADVANCED EDITING • ANNE LEWIS; 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 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 347C HOW HOLLYWOOD WORKS-L A
RTF 348 DEVELOPMENT PROCESS OF FILM/TV-L A • KEREW-SHAW
RTF 348 NEW MEDIA/EMERG ENTERTAINMENT-L A • FINO, J
RTF 348 INSIDE THE MUSIC INDUSTRY-L A • WEBER, J
RTF 351C INTRODUCTION TO 2-D 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 ADVANCED 2D ANIMATION • BEN BAYS
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 MEDIA REPRESENTATION & CONSUMER CULTURE • KATHY FULLER-SEELEY
This course is a critical history of American advertising and consumer culture from 1900 to the present. It analyzes the many ways that companies, ad agencies, audiences, scholars and critics have studied the impact of advertising on media and American culture in print, broadcasting and in new media. Its an intensive reading and writing course, not focused on how to create advertising but how to historically and ideologically analyze it.
RTF 359 YOUTH AND SOCIAL MEDIA • S. 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 MEDIA ARCHAEOLOGY • CAROLINE FRICK
Romantic images of the archaeologist have been a component of cinema for over a hundred years. But what if Indiana Jones needed to search for old media – magic lantern slides or nitrate celluloid – instead of golden treasure? This course will cast students as historical explorers, focusing our quest to discover and better understand media as artifacts rather than just as narratives or “texts.” How can understanding radio, television, film and online video as physical objects that decompose (and even explode) over time complicate our understanding of the past? This class will focus upon the materiality of media within specific socio-cultural, economic and technological time periods, each with their own modes of historic, and futuristic, discourse. Topics will include studio preservation policy and national cinemas, the role of the archive and museum, high profile film restorations and even Martin Scorsese.
RTF 365D 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 • MIGUEL ALVAREZ; BRIAN SCHWARZ
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 • IVETE LUCAS
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 EXPERIMENTAL FILM PRODUCTION • ELLEN SPIRO
This course encourages students to break the boundaries of conventional film and video making by using inventive formal approaches, interventionist techniques and challenging content, as well as new and emerging forms of digital media. While the primary focus in student production will be using non-fiction content in innovative ways, students may combine genres and create hybrid forms, as well as using web-based platforms for interactive and digital media creation. Students will develop their own creative voice and point of view and are highly encouraged to produce work that defies standard genres and conventions.
Students will be encouraged to capture material through a variety of means (such as smartphones, cheap digital cameras and security cameras) and try different ways to process and edit it. We will also be discussing production topics such as working with video in multiple channels, alternative materials for projections, basic animation techniques, and connections between image and sound.
Works screened in class will include groundbreaking avant garde film, sound and video from the 1930’s to the present, including artists such as Stan Brackage, Shirley Clarke, Jonas Mekas, Maya Deren, John Cage, George Kuchar, Andy Warhol, Tony Oursler, Nam June Paik, Steina and Woody Vasulka, Sadie Benning, Shirin Neshat, Bruce Nauman, Ant Farm, Joan Jonas, Laurie Anderson and Bill Viola. Screenings of experimental works will be tailored to reflect the specific interests of students as projects develop.
Readings discussed in class will create a context for the production of experimental work, providing an overview of the history of video art and avant garde filmmaking. Readings will also explore a range of cultural, formal, political, and historical issues emerging from video art practice, experimental film and audio art forms.
This is a production intensive class. Students will produce short works every week during the semester, as well as a longer final project
RTF 366K INTRODUCTION TO DOCUMENTARY PRODUCTION • ELLEN SPIRO
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 • STEVE MIMS; 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 366M INTRODUCTION TO 3-D PRODUCTION • BUZZ HAYS
This gateway course, where students learn the theory and history of 3D, along with current production techniques and business/industry considerations, will include lectures, readings, and hands-on skill training. A final production project will allow students to work under the direction of the lead instructor, who will assign production and post-production duties and carry the project to completion. Pre-requisites for the course include RTF 305 and three additional hours of lower-division RTF coursework, and RTF 317 and RTF 318 with a grade of B- or better in order to be admitted.
RTF 367K PRODUCING FOR FILM AND TELEVISION • MICAH BARBER
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 • MEGAN GILBRIDE & CHRIS OHLSON
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.
This is the 2nd semester in a year-long Script-to-Screen Incubator. The two-semester sequence, a collaboration with the Department of Theatre & Dance, will serve a select group of RTF and Theatre & Dance directors, actors, writers, producers, editors, cinematographers, production designers, costume designers, sound editors and sound designers—as well as, possibly, students from other units on campus—including the School of Architecture, the School of Music, the Michener Center for Writers, and the Department of Advertising & Public Relations.
The spring production workshop is for advanced filmmaking/theatre students who wish to collaborate to create exquisite short-form narrative work. The class is also an Incubator for film-related intellectual property—and thus explores how the core creative components of the selected shorts can also serve as ‘proof-of-concepts’ for longer format versions of the ideas—be they television series, feature films, webisodes, video games or other transmedia.
Students chosen for the class—working with a pre-selected pool of student-created short screenplays (written in Part 1 of the Incubator)—will collectively and systematically break down the scripts, pre-produce them, produce them, and post-produce them. They will also, individually and collectively, map possible ways to expand/‘brand’ these short films into longer-form versions.
- Undergraduate: Must be an RTF major with a University GPA of at least 2.25 and upper-division standing.
- Graduate: Completion of the first year of the MFA Film and Media Production program or good standing in the MFA Screenwriting program.
Enrollment requires instructor consent, based upon: students’ experience level, work sample, collaborating ability, and a personal interview/‘pitch session’ with the instructor.
- Name/UT EID/Email address/Anticipated date of graduation.
- What role you are interested in filling in the class (i.e., Director, Producer, etc.). Students can apply for more than one position.
- A short sample of your creative (ideally film-related) work. Links to password-protected sites are recommended.
- A complete list of the film and/or theater and/or design/film-related course you have taken. Include names of instructors & TAs, and date enrolled.
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 (exceptions to this rule noted below), 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.
For information on how to apply, see http://rtf.utexas.edu/undergraduate/courses/thesis#Production
RTF 368S MEDIA STUDIES THESIS
Restricted to radio-television-film majors. 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. Upper-division standing and consent of instructor. May be counted toward the independent inquiry flag requirement. Hour(s) to be arranged. Restricted enrollment; contact the department for permission to register for this class.
RTF 368S UNDERGRADUATE SCREENWRITING THESIS • STUART KELBAN
This consent course is for dedicated screenwriters seeking a culmination of their screenwriting studies at RTF. Students will write either a feature screenplay, a television pilot (30 or 60 minute), or a revision of a previously completed script (feature or pilot). With instructor approval, students may work in two-person writing teams. The goal is for students to leave with a polished piece of writing that showcases their advanced screenwriting talents, suitable for competitions, grad school applications, or as calling cards into the professional world.
For information on how to apply, see http://rtf.utexas.edu/undergraduate/courses/thesis#Screenwriting
RTF 369 ADVANCED SCREENWRITNG: FEATURE FILM • TOM WILLETT
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: FEATURES (INDIES) • BRYAN POYSER
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 on a weekly basis. Incompletes will not be given in this class.
RTF 369 ADVANCED SCREENWRITING: TV PILOTS • BEAU THORNE
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 370 COMEDY IN FILM AND MEDIA • KATHY FULLER-SEELEY
This course explores theories of humor and comedy and applies them to media and performance from the early 20th century US to the present. Readings draw broadly from philosophy, cultural studies, cinema and TV studies, race, gender, sexuality, politics, psychology. We will examine producers, texts, performers and audiences across a wide variety of media -- television and film, literature, comics, radio, internet, live performance and other forms. The seminar will be focused on student group discussion and presentation of theories, texts, specific examples of applications, and findings. Students will develop research/and/or create projects.
RTF 370 FILMS OF SCORSESE • TOM SCHATZ
This course examines the films and filmmaking of Martin Scorsese, focusing primarily on his narrative fiction work (versus his fairly extensive documentary and more recent television output). We will trace Scorsese’s career chronologically, from his NYU student films in the 1960s to recent masterworks like The Departed and Hugo. We will examine and assess the development of his distinctive directorial style, his narrative and thematic interests, and his steady transformation from the innovative, renegade independent of the 1970s to his current stature as a veritable American (and Hollywood) institution. Our primary analytical approaches will derive from theories of authorship and genre, as well as stylistic, ideological, and textual analysis. Along with Scorsese’s evolving style and stature and his expanding body of work, we will chart the enormous changes in the American film industry during his career, thus situating Scorsese and his work within a larger historical context of the so-called New Hollywood.
This course carries a Writing Flag and thus will require a considerable amount of critical and analytical writing throughout the term, including several short responses/critiques, a major research paper and in-class essay final. There will be a good bit of reading as well, along with weekly required and recommended screenings.