2017 - Fall

Undergraduate Courses – Fall 2017

FOR CLASS DETAILS, INCLUDING TIMES, CLICK ON "FIND COURSES NOW" ON THE REGISTRAR'S PAGE.

INTERNSHIPS
NON MAJOR COURSES
LOWER DIVISION COURSES
UPPER DIVISION - MEDIA STUDIES COURSES
UPPER DIVISION - PRODUCTION & SCREENWRITING COURSES

UTLA - SEMESTER IN LOS ANGELES PROGRAM (listed on separate site)


INTERNSHIPS

RTF 330L INTERNSHIP IN FILM & ELECTRONIC MEDIA
The purpose of this course is to provide professional internship experiences with television and radio stations, film, video, and new media production companies, governmental agencies and production units, audio recording studios, and new media industries. Students are responsible for securing their own internship position. Resources and position listings are available in the College of Communication Career Services (CCS) office, CMA 3.104 / (512) 471-9421.

At the end of the semester, you will be required to submit an Internship Report consisting of:
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  • A weekly journal

  • Work samples or a portfolio
  • Your evaluation of the internship

  • Your supervisor's confidential evaluation of your performance

To register: http://moody.utexas.edu/students/radio-tv-film-internship-courses

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 owfn 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

To register: http://moody.utexas.edu/students/radio-tv-film-internship-courses


NON-MAJOR COURSES

RTF 301N   CONTEMPORARY HORROR CINEMA • LALITHA GOPALAN

Don’t expect gore and guts!  Rather, our collective endeavor during the term turns towards viewing films that envision extraordinary events and everyday perturbations that persist to unsettle us; time-bending narratives that turn our dreams into nightmares.  The course acknowledges our continued fascination with scenarios that taunt and provoke us to explore the ethics of viewing what is unbearable.  The queue of films includes works by both established auteurs and emerging directors from contemporary world cinema.

The course introduces you to a range of reading strategies and writing skills befitting college education.

RTF 301N   EXPLORING CHILDREN’S MEDIA • KATHLEEN TYNER

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.  Although media is central to the course, it does not require prior experience in media studies. NON-MAJORS ONLY.

RTF 305 INTRODUCTION TO MEDIA STUDIES-WB • JOE STRAUBHAAR

Introduction to historical, cultural, political, economic, and international characteristics of film, television, and other media in society. NON-MAJORS ONLY.

RTF 306 INTRODUCTION TO WORLD CINEMA HISTORY - WB & In-Person • CAROLINE FRICK

Love the movies? Join us and explore how the movies developed from a circus amusement to multinational industry as well as how film can be understood as socio-cultural, technological, aesthetic and economic artifact. Global in scope, this course will sample a variety of “national cinemas” in order to compare and contrast how moviemaking developed uniquely in different parts of the world. We will also address how decades of popular and critical attention to the glamour and gossip surrounding Hollywood movies has affected our understanding of “American” cinema. The course fulfills VAPA requirements, and is designed for non-RTF majors who have not taken previous coursework in film or media studies. Both an in-person and web-based version of this course are being offered in Fall 2017. NON-MAJORS ONLY.

RTF 322C FILM HISTORY TO 1960 • CHARLES RAMÍREZ BERG

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

RTF 344M INTRO TO DIGITAL MEDIA PRODUCTION-WB • BEN BAYS

Animation, Visual Effects, Digital Painting and CGI are used to produce digital content for a variety of media including films, animation and interactive formats like video games and VR/AR.  This course is an interactive, online experience designed to teach you the foundational Digital Media Production tools: Photoshop, After Effects, Adobe Animate (Flash) and Maya. Through creative hands-on challenges, you will apply digital media tools and techniques to a variety of tasks in the pipeline of production from concept, storyboard, layout to compositor, VFX, CG and interactive design. In the end, you must choose:  Will you become a generalist across all digital media production, will you specialize in one discipline or will you define a new role in digital media production? OPEN TO MAJORS AND NON-MAJORS. PRE-REQUISITES WILL BE WAIVED FOR ALL UPPER DIVISION STUDENTS.

RTF 347C  THE BUSINESS OF HOLLYWOOD • ALISA PERREN

What is going on in the media industries today? What kinds of issues and challenges are entertainment industry professionals dealing with? This class has two key goals: First, students will learn how the media industries operate, gaining a sense of the “big picture” of the contemporary film, television, and digital media landscape. Large-scale issues being faced by those working in the entertainment industry – including the impact of conglomerate ownership, regulation, globalization, and digitization on creative practices and work roles – will be addressed through readings and class discussion. Second, students will hear from a series of guest speakers coming from Hollywood, New York, and Texas about the range of career opportunities available in the entertainment industry today. While some of these speakers work in production (writing, directing, editing, etc.), other guests will include attorneys and talent agents, as well as development, production, and marketing executives. OPEN TO MAJORS AND NON-MAJORS.


LOWER DIVISION COURSES

RTF 307 MEDIA AND SOCIETY • JENNIFER McCLEAREN

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.

RTF 308 DEVELOPMENT OF FILM AND MEDIA • SELENA DICKEY, TIM PIPER, LESLEY WILLARD

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

RTF 317 NARRATIVE STRATEGIES AND MEDIA DESIGN • PETE KUNZE

This class focuses on the style, structure and storytelling strategies in a wide range of media forms, from narrative films and television series to documentaries and videogames.

RTF 318 INTRODUCTION TO IMAGE & SOUND • DEB LEWIS

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.
 

UPPER DIVISION - MEDIA STUDIES COURSES

RTF 321C HISTORY OF AMERICAN TELEVISION • ALISA PERREN

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

RTF 322C FILM HISTORY TO 1960 • CHARLES RAMÍREZ BERG

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

RTF 323C SCREENING RACE • JENNIFER McCLEAREN

This course is designed to provide students with the 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 media producers, audiences, and scholars. While a variety of theoretical and methodological approaches will be reviewed, critical and cultural studies approaches to film and television criticism will be emphasized. This course carries UT’s Cultural Diversity flag and meets the Moody College of Communication’s Communication and Culture requirement. It focuses on the representation of African Americans, Latinos, Asian Americans, and American Indians/Alaskan Natives in narrative film and television, as well as on Middle Eastern/Arab, Jewish, and European American representation and the construction of “whiteness.”  In addition, intersections of class, gender, sexual orientation, and citizenship with race and ethnicity in mediated representation will be explored.

RTF 324C INTRODUCTION TO GLOBAL MEDIA • SHANTI KUMAR

This course critically examines the role that film, television, video games, and digital media play in shaping our sense of global, national, and local cultures. It focuses on the role of global media institutions in society, and also examines how diverse audiences use global media to negotiate with issues of cultural identity in everyday life. The goal of this course is to introduce students to a broad range of issues and debates in the field of global media studies.

RTF 326C  TECHNOLOGICAL CULTURE • SHARON STROVER

This course asks big questions about the relationship between technology and culture, including how technology influences and is influenced by social factors and forces, and how US culture has framed technology through ideas about progress, convenience, determinism and control.  The course will examine the design, development and use of several communication technologies through a technology studies framework, and consider contemporary problems and conflicts at the intersection of technology and culture.

RTF 345  CHINESE AUTEURS • LALITHA GOPALAN

Film theory follows cinephilia. Long canonized by film festivals and cherished by cinephiles, the ‘new cinemas’ from Taiwan, Hong Kong, and the People’s Republic of China continue to revise our taste and   assumptions of what is cinema: long takes and slow motions   reanimated; relationship between mise-en-scene and realism rearticulated; links between film and politics redirected; connection between film style and directors reaffirmed and so on.  To explore these various aspects, we will be primarily viewing films by Taiwan based auteurs, Hou  Hsiao-hsien, Edward Yang, and Tsai  Ming-liang; references and viewings of films by auteurs from Hong Kong and China will serve to understand the substance of the term 'Chinese Auteurs.'

RTF 347C  THE BUSINESS OF HOLLYWOOD • ALISA PERREN

What is going on in the media industries today? What kinds of issues and challenges are entertainment industry professionals dealing with? This class has two key goals: First, students will learn how the media industries operate, gaining a sense of the “big picture” of the contemporary film, television, and digital media landscape. Large-scale issues being faced by those working in the entertainment industry – including the impact of conglomerate ownership, regulation, globalization, and digitization on creative practices and work roles – will be addressed through readings and class discussion. Second, students will hear from a series of guest speakers coming from Hollywood, New York, and Texas about the range of career opportunities available in the entertainment industry today. While some of these speakers work in production (writing, directing, editing, etc.), other guests will include attorneys and talent agents, as well as development, production, and marketing executives. OPEN TO MAJORS AND NON-MAJORS.

RTF 359 RACE, INTERNET, & SOCIAL MEDIA • CURRAN NAULT

RTF 359  RACE & DIGITAL MEDIA CULTURES • CRAIG WATKINS

This course considers the complex ways in which race continues to evolve and matter in the contemporary world.  While race certainly continues to matter how we think about race in the era of digital media grows more complex.  This course will consider four distinct areas and what they reveal about race, social change, and social and economic inequality.  Part One takes a look at the evolution of the digital divide, with a particular focus on how shifts in the adoption of technology—computers, the Internet, and mobile—are remapping participation in digital life.  Part Two explores the fascinating shifts that are happening in the realm of media and cultural representation with a specific emphasis on the user-generated content produced via social media channels.  Specifically, the course probes how YouTube has evolved to become a site for the production of counter-narratives that expand our notions of race.  Part Three considers some of the current and critical debates about racial and economic inequality in the innovation economy.  Digital media culture significantly shapes our knowledge economy and has serious implications for how we think about issues of diversity and inclusion in that economy.  The final section of the course, Part Four, explores the terrain of civic and political life.  In this section we consider recent data trends as well as prominent social media-driven political initiatives that compel a reconsideration of the future of racial politics in the age of digital media culture. The primary course assignment is a collaborative effort that will culminate in a final research report that the students and instructor will produce examining many of the key themes addressed during the semester.  

RTF 359S GENDER AND MEDIA CULTURE • CURRAN NAULT

RTF 359S  THE SIXTIES: GENDER & MEDIA • KATHY FULLER-SEELEY

This course looks at 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.

RTF 359S  DOCUMENTING DIFFERENCES • CURRAN NAULT

This course will explore the theory, history, practice and poetics of minority documentary. With a particular emphasis on Asian American examples, students will engage documentary as a vital practice of minority activism and self-representation/preservation. Students will be introduced to influential documentaries across a wide range of styles and modes (poetic, expository, observational, participatory, reflexive, performative), and will explore critical topics in documentary production and reception: fictions of realism, authenticity and objectivity; propaganda and persuasion; histories of ethnography and orientalism; questions of documentary ethics; narrative/formal strategies of activist resistance; autobiographical documentaries and the politics of self-representation; mockumentaries and the undoing of truth. Class assignments will combine written and creative work, and students will have the opportunity to create their own short documentary or documentary prospectus for their final project.

RTF 365  GLOBALIZATION & SOCIAL CHANGE • WENHONG CHEN

What are social media doing to us? And we to them? Drawing on literatures from media studies, sociology, communication, and management, this course invites students to engage in critical analysis of the causes, patterns, and consequences of using social media in a global context.  Building on cases from diverse cultures and nations, the course provides a rich comparative perspective. The course has three components. We start with major debates on the role of communication and media technologies in network society, globalization, and transnationalism. In the second part, we focus on how macro social forces and institutions such as state and market shape the development of social media and other new communication technologies. We explore how social inequalities and cultural differences affect digital divides. In the third part, we investigate how social media and other new technologies have facilitated changes in politics, organizations, networks, as well as media and culture.

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.

COMM 370/RTF 389  SENIOR FELLOWS SEMINAR: MEDIA AND POPULAR CULTURE • SHANTI KUMAR

Drawing on the current debates in media and cultural theory, this course provides in-depth analyses of a wide range of issues in media and popular culture-- such the changing nature of production and consumption in digital culture, representations of race, gender, class in the media, and the growing centrality of regulations and surveillance in everyday life. The goal of this course is to help students develop the theoretical and methodological skills necessary to critically evaluate the reciprocal relationship between media and popular culture in the 21st century. This course will be structured in a seminar format similar to graduate-level or honors courses. Advanced undergraduate students interested in learning more about graduate school, or graduate students seeking a more introductory approach to advanced theoretical materials are especially encouraged to enroll in the course. Class is capped at 15 students.

This course is structured in a seminar format similar to honors courses. Advanced undergraduate students interested in learning more about graduate school, or graduate students seeking a more introductory approach to advanced theoretical materials are especially encouraged to enroll in the course.


UPPER DIVISION - PRODUCTION & SCREENWRITING COURSES

RTF 333 INTRODUCTION TO SCREENWRITINGCINDY McCREERY

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 337 AUDIO VISIONS • KAREN BERNSTEIN

Exploring storytelling and new non-fiction forms in the audio realm, from the personal to the political, in short and long form.  Students will hear from well-known radio producers and show hosts about using your microphone as a camera, writing for radio, use of music and sound effects, and developing a signature vocal style.  Students will be required to draft short and long form pieces in script form, working with class guidance and critique, to produce and edit final versions of both. Emphasis placed on developing and editing one’s creative vision and reportage for news, blog and/ or digital series. Final long and short form pieces will be curated on an Audio Visions' SoundCloud account and the PrX radio exchange, openly shared with public radio stations around the world.

RTF 341 AUDIO PRODUCTION: SOUND FOR PICTURE • ANDREW GARRISON

Great audio is the difference between pretty good and excellent. Great audio is often invisible. Great audio is a combination of creative of thinking, knowing the tools, and understanding how audio works in storytelling. This is the first-level class for audio, a perfect starting point for people who want to know how to better use audio in their projects as well as for those who may be thinking about audio as a lifelong craft. You will learn production mixing, basic post techniques, and the ideas behind them.  This will include recording on location using both high-end and low-end recorders, especially recording dialog, set and location problems and protocol, basic sound editing, mix prep, and scratch mix. You will become familiar with the operation and use of the Sound Devices 633 mixer/recorder and 744T recorder, other production mixers, microphones on location and in the studio, and wireless systems. Most importantly, you will practice microphone placement and recording, and you will practice using sound as a creative element in storytelling.

RTF 343 ADVANCED NARRATIVE PRODUCTION • ANDREW GARRISON; MIGUEL ALVAREZ

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 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 INTRO TO 3D ANIMATION • BEN BAYS

3D modeling, surfacing and animation software like Maya and Blender (among others) allows authors, directors, creators and designers considerable freedom and flexibility to realize even the most fantastic vision. This hands-on production course explores different aspects of 3D animation, including but not limited to modeling, surfacing, lighting, simulation and performance. We will use state-of-the-art software, tools and techniques to produce a variety of media from 3D models, to game simulations to animation to visual effects for film.

RTF 344M INTRO TO DIGITAL MEDIA PRODUCTION-WB • BEN BAYS

Animation, Visual Effects, Digital Painting and CGI are used to produce digital content for a variety of media including films, animation and interactive formats like video games and VR/AR.  This course is an interactive, online experience designed to teach you the foundational Digital Media Production tools: Photoshop, After Effects, Adobe Animate (Flash) and Maya. Through creative hands-on challenges, you will apply digital media tools and techniques to a variety of tasks in the pipeline of production from concept, storyboard, layout to compositor, VFX, CG and interactive design. In the end, you must choose:  Will you become a generalist across all digital media production, will you specialize in one discipline or will you define a new role in digital media production? OPEN TO MAJORS AND NON-MAJORS. PRE-REQUISITES WILL BE WAIVED FOR ALL UPPER DIVISION STUDENTS.

RTF 344M  INTRO TO VISUAL EFFECTS AND MOTION GRAPHICS • WILEY AKINS

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 FOR INTERACTIVE GAMES AND MEDIA • SUSAN O'CONNOR

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

RTF 344N  ADV VFX/MOTION GRAPHICS • BEN BAYS

Students organize, research and create projects based on advanced compositing and visual effects techniques. Topics include Particles and Simulations, 3D animation, and Digital Matte painting. Students must have taken RTF 344M -Visual Effects or RTF 344M - Comp. Animation and 3-D Modeling in order to take RTF 344M - Advanced Visual Effects.

RTF 344N  2D CAPSTONE • PAUL TOPRAC

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

RTF 346  INTRODUCTION TO EDITING • KAREN KOCHER; DON HOWARD

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

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 366D DIRECTING WORKSHOP • ANDREW SHEA; YA'KE SMITH

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

RTF 366K CREATING A WEB SERIES • MIKE AKEL

This is a hands-on production course designed to create an original web series. Throughout the semester students will write, shoot and edit 3 episodes for season 1 of their show. The production teams will consist of three students and each person will get to direct at least one episode. The class will conclude with a professional feedback screening from Austin’s own ROOSTER TEETH producers!

RTF 366K INTRODUCTION TO DOCUMENTARY • NANCY SCHIESARI

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 MUSIC FILM PRODUCTION • PJ RAVAL

Students in this course will create music videos, short-form music documentaries and a live music/film performance. This is an intensive production course that will require ongoing creative work. Film students without music experience and music students without film experience are welcome in the class. We will work with original music, local musicians and/or creative commons copyright-free music to create innovative music videos. We will discover local subjects for music documentaries. We will screen and analyze music videos and films by directors who are also established feature directors, including Mark Romanek, Martin Scorcese, Ondi Timoner, Michael Apted and Michel Gondry featuring artists such as R.E.M., Laurie Anderson, Lady Gaga, Arcade Fire, Bjork, OK GO, Pearl Jam and others. We will have in-class visits from local music video and music documentary directors and producers including Bradley Beasley (Flaming Lips) and Karen Bernstein (Lou Reed, Ella Fitzgerald).

RTF 366K NARRATIVE PRODUCTION • DEB LEWIS; STEVE MIMS; AMANDA GOTERA

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 3D 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.  *This class is open to students from other departments, who may not have completed the RTF pre-requisites. For further details, please contact the program director at don.howard@austin.utexas.edu.

RTF 367K PRODUCING 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 367Q  SCRIPT TO SCREEN • SCOTT RICE

Script to Screen takes students behind the scenes of the 2018 film WHITE BOY RICK, a crime drama starring Oscar winner Matthew McConaughey. By studying the movie’s true story, early scripts, shot lists, storyboards, shooting schedule, early edits and even exclusive behind the scenes footage from the Cleveland set, students will garner insight into the making of a major Hollywood feature. Script to Screen also gives students practical instruction on producing their own projects including web series, shorts, commercials and indie features. From guidance on pitching to the ins and outs of founding a production company, Script to Screen is an essential “how-to” for students who are serious about producing and directing.

Prerequisites: Upper Division standing and either RTF 367K (Producing I), RTF 366D (Directing Workshop) or RTF 333 (Intro. to Screenwriting). Non-majors will not be allowed to add this course. If you do not meet the prerequisites you may seek admittance by contacting the instructor.

RTF 368 CINEMATOGRAPHY • JOHN FIEGE

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

RTF 368/388P IMMERSIVE MEDIA PRODUCTION • DEEPAK CHETTY

This class introduces basic concepts of “Immersive Media” as it applies to virtual reality and stereoscopic 3D content. Relying on basic production techniques regarding spherical photography as well as more advanced completely computer-generated techniques, students create content in the virtual (computer-generated) and photoreal realm. All content created is 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 use the Unreal Engine.
Official prerequisites* include any one of the following classes and the consent of the instructor, Deepak Chetty:

  • 344M – 3 Visual Effects and Motion Graphics
  • 344M – 2 Comp Graph for Film and Games
  • 366M Introduction to 3D production

*Interested students who lack the prerequisites, may contact Deepak Chetty for more information.

RTF 368C/388P ADVANCED DIRECTING • ANDREW SHEA

This course is designed to bring together advanced directing and acting students in an environment that will foster mutual growth and understanding of the director/actor dynamic in the filmmaking process. The class will work closely with Lucien Douglas's Acting For The Camera course in the Department of Theatre & Dance. Each student will direct or co-direct a Dogme-style film in which the Theatre & Dance actors play the leading roles. We will adhere to a production code that is a modified version of the Dogme 95 Vow of Cinematic Chastity. The goal will be to create collaborative, performance-based works that emphasize simplicity and ingenuity in image and sound choices.

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 SCREENWRITNG: SCI-FI/HORROR • BEAU THORNE

This workshop class will focus on horror and science fiction writing - two genres that have provided opportunities for countless new writers in the film industry. Each student will write a feature-length horror or science fiction screenplay and provide weekly notes on their classmates’ work. In addition, we’ll make a semester-long study of the current trends in each genre, reading and analyzing the biggest hits of recent years.

RTF 369 ADVANCED SCREENWRITNG: WRITING TV PILOTS • STUART KELBAN

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 SCREENWRITNG: WRITING TV SPECS • FELICIA HENDERSON

This course explores writing for series television. Over the course of the semester, students will write "spec" scripts of an existing half hour comedy and hour-long drama. The class will take an in-depth look at TV writing from the inside out, learning how to "break" an episode and how a TV writer's room works.