At the end of the semester, you will be required to submit an Internship Report consisting of:
This course will consider Asian American film from a historical perspective, from the pioneers of the silent era, to the YouTube stars of today. Students will explore Asian American films from a number of cinematic genres (romance, melodrama, comedy) and forms (Hollywood, independent, documentary, experimental), as well as their attendant constraints and freedoms. Foundational to this course is the belief that film history can only be understood in relation to dominant social structures and the workings of the film industries and, as such, textual, reception and industrial analysis will all be employed. Key issues discussed will include: politics of representation in classic Hollywood cinema; the rise of Asian American independents; oppositional practices of Asian American spectatorship; intersections of race, class, gender and sexuality in Asian American films; exhibition and distribution strategies of Asian American film festivals; and transnational Asian (American) cinema. While this course will focus primarily on cinema, students will also have the opportunity to examine related forms of Asian American mediamaking, including the contemporary turn to web series and television shows like ABC’s Fresh Off the Boat.
Consumer culture, in a broad sense, is one of the fundamental ways in which people communicate to each other about themselves. This seminar is designed to familiarize students with the historical, sociocultural, political, and industrial aspects of global consumer cultures through critically examining their representations in the media. Organized thematically, this course uses a wide range of case studies to explore identity, ethnicity, class, gender, industry and nation through the intersection between consumption, media, and cultural studies.
Drawing on different critical approaches, we will investigate how consumer culture exemplifies changes as well as continuity over time through print media, radio, film, television, and, increasingly, social and creative media; how the industry strategically utilizes media to convey powerful messages to the consumers; and how emerging new technologies and social media contribute changes to culture in terms of production and consumption that influence our understanding of identity, agency, representation, social structure, and power relations. The goal of this course is to introduce students to a broad range of issues that are stimulating research in fields of consumer culture, media and global culture.
From its roots as a small, family-run advertising firm in the 1920s, The Walt Disney Company has grown into one of the largest media conglomerates of the 21st century. As a multi-national corporation whose products are consumed by hundreds of millions of people around the world each year, Disney is a major force in contemporary popular culture and one that has played an important role in shaping the development of the current media landscape. For many of us, Disney also has a personal resonance: the company’s films are often some of the first media products we consume as children and all of us are likely to have some engagement with a Disney product over the course of our lives. This course provides the opportunity to reconsider this corporate entity and its familiar products from a more engaged, critical perspective. This does not mean that you must abandon enjoyment of Disney products; rather the goal of this course is to teach you to think critically about Disney and its many “worlds” in order to better understand the larger media culture and industry of which it is a part.
We will examine how The Walt Disney Company and its subsidiaries produce, distribute, market, and monetize a vast array of products across multiple media platforms: from animated and live-action feature film to television, theme parks, video games, and toys. Moving chronologically from the 1920s to the present, we will study Disney’s aesthetic and business models, its approaches to narrative construction and representation, the ideologies of its texts, and its cultural resonance across different historical/national contexts. The course is divided into four units, each structured around a particular analytical approach to media studies, allowing us to examine Disney through a variety of critical lenses, including historiography, political economy/industry studies, feminist, queer and critical race studies, and audience reception theory. The course is therefore also designed to introduce you to multiple media studies approaches/methods.
This course investigates current debates about media use by children within larger historical, social and cultural contexts. We examine the way that media produced for and about children have been used for play, learning, and socialization. Using examples from a diverse archive of children’s books, film, television, and digital media, we analyze the tensions between adults’ visions of childhood and the authentic uses of media by children. We also study the production of new media by children as they explore their own interests and identities. In the process, we focus on recurrent efforts by adults to regulate media and play for children. Using project-based work, we explore innovative ideas for the production of new media products for children and their families.
This course is intended for anyone with a general interest in childhood studies, early childhood, education studies and child psychology, and does not require any prior experience in media studies.
Contemporary television is full of American horror stories, superheroes, fantastic worlds, and futuristic imaginings, but these popular forms have long genre histories. This course will explore the fantastic genres on contemporary television. We will analyze each of three major fantastic genres as a unit of this class—horror, fantasy, and science fiction—focusing on each genre’s expectations and assumptions, how we define the genre, what is specific to television for each genre, how it is shaped by its industrial and cultural context, and how, why, and when these fantastic genres overlap. The focus of this course will primarily be on American television since 2000, but earlier genre examples will be used often to place the contemporary moment in conversation with the past. Among the issues we will address include: What are the genre differences between Star Trek and Battlestar Galactica? How has our idea of fantasy television changed from Xena to Game of Thrones? What genre(s) are superhero shows? And ultimately, are discrete genres even useful for discussing contemporary television – and if not, what has replaced them? These are just some of the questions this course will grapple with as we analyze the fantastic genres and their historical, cultural, industrial, and televisual contexts. This class will include a screening.
Introduction to historical, cultural, political, economic, and international characteristics of film, television, and other media in society. Also taught as a Web-based course.
This course surveys the role of media in our society through understanding economic, social, political, organizational, ideological, and global contexts. We will discuss themes relevant to media representation, audience interpretation, and social consequences.
This course examines the historical development of media industries—film, radio, television and digital. Through lecture, section discussions, readings and screenings, we will investigate historical contexts (cultural, industrial, technological) in which media have been produced and consumed in the US and globally.
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.
This course is a survey of international film history for undergraduate students who seek an understanding of the history and aesthetics of the motion picture. On a weekly basis, it consists of two 75-minute lectures, one 50-minute discussion section meeting, and a screening of a feature-length film. All RTF majors interested in learning more about the development of the motion picture are welcome, regardless of concentration. The course will cover the history of the medium from beginning (Thomas Edison and the Lumière brothers) to the present, concluding with filmmakers such as Robert Rodriguez and Richard Linklater. While the history of cinema will be looked at from various perspectives (as a technology, an industry, an entertainment medium, and a mode of personal and national expression), particular attention will be given to the evolution and development of film’s formal elements. Several written assignments are designed to acquaint students with how research in film history is conducted; three exams are also required.
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 331M NEW MEDIA TECHNOLOGIES AND CULTURES • MADHAVI MALLAPRAGADA
The term “new media” is used very broadly and includes a variety of media forms, institutions and practices. Most commonly however, new media includes the Internet, the World Wide Web, social media, digital media, virtual games and online content. From a theoretical perspective, new media is viewed as offering a new paradigm in understanding how we communicate and in turn, how we create contemporary cultural forms. But new media, as this course will reveal, includes not only shifts in issues of media production, circulation, distribution and reception, it is also fundamentally changing how individuals and societies understand time, space, territory and inter-personal or inter-community relations. Some of the key aspects of new media that this course will focus on include digitality, virtuality, participatory cultures, interactive and social games, social media politic, intellectual property and privacy.
The goal of this course is to develop a critical approach to new media by thinking beyond “information” and inserting questions of power, discourse, ideology and cultural politics into our understanding of the digital era we live in.
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 ADV FUNCTIONS OF MUSIC IN FILM • 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 ANALYSIS AND CRITICISM • ALISA PERREN
What is television today? How is the television industry responding to dramatic technological, economic, and cultural shifts? How are changes in the TV industry impacting storytelling practices? What roles does television play in contemporary American society? In what ways are TV's aesthetics changing in the age of the iPads and HDTVs? How have representations of gender, race, and class changed due to television’s transformation from a three-channel mass medium to a niche-oriented, “anytime, anywhere" medium? How are the relationships between television producers and viewers evolving?
In this course, television’s formal traits, as well as its rapidly changing position as a cultural, social, political, and industrial force, will be explored. Over the course of the semester, we will examine a range of U.S. television programs through different critical lenses such as style, genre, and narrative. In addition to this examination of television texts, we will analyze its larger industrial context, as well as production and reception practices. We will also consider the ways in which TV presently is being transformed as it is converging with other digital technologies. Come prepared to engage – and debate– complex ideas and sophisticated arguments.
RTF 340 MULTI-CAMERA TELEVISION PRODUCTION • DAVID SCHNEIDER
This course examines the world of live television production with an emphasis on directing in the multi-camera environment. Students will learn all facets of the production process as it applies to live production. We will examine multiple genres including narrative productions such as sit-com or dramas as well as live music performance, talk shows, news broadcasts and other event type programming.
We’ll watch and critique examples of live, or live to tape productions with an emphasis on understanding the decisions made by the director. Lab sessions will involve hands-on experience in all crew positions and directing a variety of exercises.
Live, multi-camera production provides the challenge of realizing a vision for a program and effectively telling a story while dealing with the immediacy of live production. In this world there is no “we’ll fix it in post”.
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 HOLLYWOOD • SHANTI KUMAR
In this course we will examine the emergence of “global Hollywood” as an influential concept for understanding the ongoing changes in the US film and media industries in relation to other “national” and “regional” cinemas around the world. In the first part of the course we will examine the reasons why for most of the 20th century, Hollywood was predominantly invested in the domestic US market, and why foreign markets were peripheral to its business practices. We will also explore the various theoretical debates about Hollywood’s role in expanding and consolidating the power of American media corporations around the world. In the second part of the course we will focus on a new model of “global Hollywood” that has emerged in the 21st century where international markets are becoming more integral to the production, distribution and exhibition practices of US film and media as Hollywood’s revenues from international markets are now more than double the domestic revenues. At the same time, we will also analyze how the growth of domestic film industries in countries such as Brazil, China, India, Nigeria and South Korea and the globalization of their media markets has created a more diverse terrain of global cinema. In this overall context of globalization, we will explore how major studios, national and regional film industries, independent and alternative filmmakers alike are seeking new strategies for collaboration and competition. The course will include specific case studies focusing on globalization strategies such as international co-productions, changing techniques of storytelling to accommodate more diverse representations, and the convergence of cinema with new digital and mobile technologies to target newer, younger audiences around the world.
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 • TODD ROHAL
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 343N ADVANCED 3D PRODUCTION • BUZZ HAYS
This class will focus exclusively on student projects, exposing participants to several very different types of collaborations. All projects will be produced and edited in a group lab environment, in collaboration with fellow students and under the supervision of UT3D staff. Successful completion of the Intro to 3D class with at least a grade of B is required for registration.
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 INTRO TO 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 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 AMERICAN CINEMA OF THE 1930S • CAROLINE FRICK
Seen by many film historians and critics as the "Golden Age of Hollywood," 1930s cinema culture provides an excellent prism through which to discuss and analyze socio-cultural issues and the role of the American film industries to them. In this course, students will engage both with "classic" films produced by the major Hollywood studios as well as with the media created in an alternative economic context (e.g., government sponsored cinema, educational or training material, and itinerant filmmaking.) The class will combine screenings, lectures and readings to focus on a uniquely complex time in American film history.
RTF 345 WOMEN BEHIND THE CAMERA • LALITHA GOPALAN
This course looks at a range of international women filmmakers to explore how their film-work shaped, challenged, and transformed the cinematic medium. In this regard, we will look at their role in various film movements, understand their location in relationship to national cinemas, and map the mutually reinforcing relationship between their concerns and those of film theory, particularly feminist theory.
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 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 • BEN BAYS
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 • LANCE MYERS
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, INTERNET, & SOCIAL MEDIA • CURRAN NAULT
From its earliest incarnations, the internet has been celebrated as a place where bodily concerns such as race "don't matter." A sizable body of research and recent popular online trends have since since proven otherwise. This course gives students the vocabulary to critically articulate the relationships between internet technologies and embodied cultural practices of use that affiliate around "race." Topics range from early text-based internet identity tourism to the phenomenon of Asian American YouTube stars to the cultural discourses of "Black Twitter." This course adopts an intersectional politics and includes attention to gender as well as (dis)ability.
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 GENDER & MEDIA IN THE 1960S • KATHRYN FULLER
This course how gender was experienced, defined and challenged through media (TV, film, music, magazines, advertisements) by Americans in the 1960s. Readings draw broadly from US cultural history, television and film studies, cultural studies, and gender studies. We will examine 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; there will also be written tests, and brief in-class writing assignments. Screenings each week will provide illustrations and primary research sources. Students will develop final research and/or creative projects that apply historical and theoretical ideas and information learned throughout the semester. WRITING FLAG COURSE (Core Component 010)
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 CHILDREN, YOUTH, & MEDIA • KATHLEEN TYNER
In this course, students take an historical look at the uses of media and popular culture by children and teens. The course analyzes media produced about children, by children and for young audiences and their families. Particular focus is placed on recent trends in the uses of digital tools, cultural products, information and media produced by children and teens. The course also examines the way that media research has been used as a basis for policy, regulation and social movements that seek to both expand and restrict young people’s uses of media. Throughout the course, students will be asked to analyze, evaluate and creatively design media products intended for audiences of children and teens.
RTF 366D DIRECTING WORKSHOP • MIGUEL ALVAREZ; ANNIE SILVERSTEIN
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 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 • NANCY SCHIESARI; DEB LEWIS
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
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 368 IMMERSIVE MEDIA • DEEPAK CHETTY
This class will introduce basic concepts of “Immersive Media,” as it applies to virtual reality and stereoscopic 3D content. We will rely on basic production techniques regarding spherical photography as well as more advanced completely computer-generated techniques, as students move from creating content in the virtual (compute-generated) and photoreal realm. All content created will be intended for use on HMD (head mounted displays) such as the Oculus Rift or Samsung Gear VR.
Qualified students should have had some experience with 3D software—Maya, Unity, or another game development program. The class will primarily be using the Unreal Engine. Official prerequisite will be any one of the following classes and the consent of the instructor:
- 344M – 3 Visual Effects and Motion Graphics
- 344M – 2 Comp Graph for Film and Games
- 366M Introduction to 3D production
TO APPLY: Please state briefly (no more than two paragraphs) your interest in Immersive Media (VR, 360 Video, Game Development, Stereoscopic Visualization) and any relevant experience you might have creating or work with interactive media. Also, please list your proficiency with the following programs on a scale of 1 (No Experience) to 5 (Experienced):
- After Effects
- Unreal Engine
This information should be forwarded as an attachment to firstname.lastname@example.org. The early application deadline is Friday, October 30th.
RTF 368 UNDERGRADUATE SCREENWRITING THESIS • CINDY McCREERY
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 368S UNDERGRADUATE PRODUCTION THESIS • STEVE MIMS
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 369 ADVANCED SCREENWRITNG: FEATURE FILM • TOM WILLETT; J McALLISTER
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) • TBA
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 369 ADVANCED SCREENWRITING: TV SPECS • BEAU THORNE
Over the course of the semester, students will be writing a TV "Spec" script of an existing current half hour and hour-long show. Students will take an in-depth look at TV writing from the inside out where they will learn how to "break" an episode of show and also learn how a TV writer's room works.
RTF 370 MIXED RACE AND U.S. FILM & MEDIA CULTURE • MARY BELTRAN
What does it mean to cross racial or ethnic borders in our family and romantic lives in the United States, and how has media representation played a role in our ideas about such crossings? In this seminar we’ll explore this question through surveying critical and cultural studies scholarship on the evolving representation of mixed race in U.S. film, television, and celebrity culture. This includes borders crossed between the categories of black and white, between Mexican American and white in Texas and other Southwestern contexts, and all other permutations of what might be considered mixed race in this country. American histories, cultures, and identities have traditionally been understood through paradigms of racial binaries and borders. Given this tradition, characters of mixed racial heritage and interracial romances have served as powerful symbols within mediated story worlds, highlighting fault lines in the nation’s construction of race. Such characters and romantic relationships were often portrayed as tragic or pathological before and during Hollywood’s studio system era. Since that time, however, images of “mixed” characters, romances, and families have evolved dramatically, taking on a positive valence, while actors of mixed heritage are now likely to foreground this in their promotion. We’ll explore this evolution through discussions, screenings, and readings that examine mixed-race and multicultural characters, couples, and families in film and television, mixed-race performers and figures in the public eye, and the cultural and political implications with respect to past and contemporary notions of race and the increasingly diverse U.S. audience.