Courses

Tarryn Chun - Justice & Asia class - photo by Barbara Johnston

Current students, visit insideND Class Search for more detailed information about credits, class meeting times, pre- or co-requisites, and cross-listings.

Courses with * fulfill the International/Identity requirement.

Spring 2022

Core Film Courses

FTT 10101/11101 and 20101/21101 and 20102/21101:  Basics of Film and Television  | James Collins

This class is designed to enhance your understanding and appreciation of film and television. It operates on the philosophy that the better we understand how film and television texts work, the more intelligently and perceptively we will be able to consume them, which is an invaluable skill to have in our media-saturated world. You will learn about the basic elements that distinguish films and television programs from other aesthetic forms, such as editing, cinematography, sound and set design, and how these components work together to develop stories and characters. We will also work with interpretive frameworks that uncover deeper meanings and patterns in film and television, such as genre theory, the idea of authorship, political economy, and ideological analysis. Finally, you will acquire the skills and tools needed to write your own educated analyses of film and television texts. The class screenings present a range of films, from Hollywood classics to independent and international films, as well as television shows both old and new. This course is required for all concentrators in Film and Television. Taught every semester.

FTT 30202/31202: Global Cinema II | Edward Barron

This course traces the major developments in world cinema from the post-WWII era to the present. The course will examine the shifting social, economic, technological, and aesthetic conditions of this period, especially the demise of the Hollywood studio system, the rise of new technologies and auxiliary marketing outlets, and the increasing globalization of cinema. The course will not be limited to Hollywood filmmaking, but will also look at various international movements, including Italian Neorealism, the French New Wave, and recent Asian cinemas. Taught every spring semester.

Core Television Courses

FTT 10101/11101 and 20101/21101 and 20102/21101: Basics of Film and Television  | James Collins

This class is designed to enhance your understanding and appreciation of film and television. It operates on the philosophy that the better we understand how film and television texts work, the more intelligently and perceptively we will be able to consume them, which is an invaluable skill to have in our media-saturated world. You will learn about the basic elements that distinguish films and television programs from other aesthetic forms, such as editing, cinematography, sound and set design, and how these components work together to develop stories and characters. We will also work with interpretive frameworks that uncover deeper meanings and patterns in film and television, such as genre theory, the idea of authorship, political economy, and ideological analysis. Finally, you will acquire the skills and tools needed to write your own educated analyses of film and television texts. The class screenings present a range of films, from Hollywood classics to independent and international films, as well as television shows both old and new. This course is required for all concentrators in Film and Television. Taught every semester.

FTT 30455:  Critical Approaches to Television | Matthew Payne

This course offers an introductory survey of the primary critical approaches used to analyze television, and thus serves as a foundation for other TV-specific courses within the major. Through an examination of pioneering and contemporary studies of television, we will explore how television has been analyzed as a communication medium, a technological apparatus, a commercial industry, and a cultural forum, as well as a form of recreation, education, and social bonding. We will also consider critical approaches that focus on how television shapes our personal identities and values. While examining methods developed to study TV production, reception, and texts, we will explore such concepts as publicness, liveness, quality, art, and representation. In addition to discussing how television was analyzed in the past, we will consider how both television and TV studies have changed as a result of globalization, industrial convergence, digital media, and participatory culture. Usually taught every semester.

Core Theatre Courses

FTT 10720/20720:  Collaboration: Introduction to Theatre  | La Donna Forsgren

Collaboration: The Art of Making Theatre explores the roles of the artists who create the material world in which a performance exists, and most importantly, the collaborative nature of those relationships. Students will be challenged to understand the thinking behind the work of the designers, writers, directors, and off-stage personnel who bring stories to life on stage. Incorporating hands-on projects as well as lecture/discussion formats, students will experiment with storytelling through the visual elements of scenery, costumes, lighting, etc. Collaboration: The Art of Making Theatre is an excellent entry point to the Theatre Concentration. Taught every semester.

FTT 30715:  World Theatre II: Text and Performance Across Cultures  | La Donna Forsgren

This course examines world theatre history from 19th century popular entertainment performance practices to the present. Students learn techniques of script analysis, performance analysis, and independent research as tools for analyzing theatre from the literary, aesthetic, and historical perspectives. Throughout, the course emphasizes the importance of cultural context and historiography to understanding the creation and transformation of theatre as an art form. Each semester will be a stand-alone course and can be taken in any order. Students are encouraged to enroll in adjacent semesters. At least one semester of this sequence is a prerequisite for the upper-level electives required to complete the major. Taught every spring semester.

Electives

Mary Celeste Kearney's Gender & Rock class

FTT 20651: Acting: Impulse and Action | Siiri Scott

This course is intended for actors and directors who work in any medium: film, television or theatre. Students will learn to create and truthfully inhabit imaginary circumstances through exercises and structured improvisation. This laboratory style classroom instruction uses Viola Spolin's technique for refining awareness of the actor's impulses through exploration and focused experiments. No prerequisite is necessary, but to ensure equitable representation from all sides of the department, advance approval by the instructor will be required.

FTT 21001:  Acting: Process | Carys Kresny

Acting: Process introduces the student to the core techniques of acting for the stage. The course engages both the analytical and the creative mind as students use research and analysis to support their physical, vocal, and imaginative approaches to creating compelling scripted and improvised scenes. Students will rehearse and prepare scenes outside of class (with a partner and solo) for in-class performance. All students must see two live theatrical performances and turn in a reflection for each. 

FTT 21006: Playwriting | Anne García-Romero

This course is designed to introduce students to creating original work for the theatre. The course will explore the writing process as well as models from contemporary U.S. theatre with the aim to present a variety of paths toward creating new, vibrant plays. This is primarily a writing course. In addition, by reading and discussing ten separate dynamic play texts, we will analyze dramatic writing. Weekly writing exercises, movement work, visual arts approaches, improvisation techniques and collaborative discussions will create resources for rich play material, which each student will eventually use in a final scene, presented in a public reading at the end of the semester.

FTT 30013: Shadow Puppetry & Modern Performance |  Marcus Stephens

We will explore the rich cultural history of shadow puppetry and its translation into modern theatrical performance. Through lectures and workshops students will shepherd their ideas from the classroom to a final public performance.

FTT 30021: Voice and Dialect | Siiri Scott

In this course students will learn the principles of vocal production for acting in any medium. The class will use physical and vocal exercises to explore the relationship between alignment, respiration, and relaxation. Articulation and phonetics will be emphasized throughout the coursework. In addition to learning the standard dialect rules of American English, students will research and analyze the sounds and ethnographic influences of several dialects, as well as perform short monologues and/or scenes in those dialects. Students can expect to work on three to five dialects throughout the semester.

FTT 30025: Ars Robotica | C. Kenneth Cole

From Shelley to Kubrick and beyond, robots have played a pivotal role in film, television, and theatre. This course will examine and reflect upon the ways in which non-human constructs are used on the stage and screen and how they inform us of what it means to be human. Warning: Interaction with automatons is expected.

FTT 30103: Europe Through Film | Donald Crafton

What can we learn about Europe by exploring its cinema? Based on an extended version of the Institute's film series each semester, the content of this course will focus on the relationship between contemporary European cinema and the European ideas and realities it finds compelling in terms of social and imaginative power. The course will include some history of cinema, but emphasis will be laid on using cinema as a way of stimulating questions about the nature of Europe today. Open to students of all years and majors. One credit.

FTT 30150: Decolonizing Gaming: Critical Engagement Through Design and Play  | Ashlee Bird

This course aims to change the way you think not only about the way that we play games, but also about the way that video games teach their players to behave within their digital worlds. This course will encourage students to reflect on and utilize their lived experiences as players, and utilize these experiences to locate themselves within their analysis and writing as well as their design practices. This course will undertake an intensive, interdisciplinary focus on the history of video game development, representation in video games, and the languages that digital games work in as well as decolonial theory and diverse theories of design. This class will engage with a variety of scholarly texts, video games, media posts, videos, and design exercises, in order to illustrate the ways in which video games have shaped the ways we play, think, and behave within their spaces. Students will be required to write and design around these lessons and address and push back against the problematic behaviors and colonial narratives around violence, race, gender, sexuality, and relationship to the land that these gamic languages and lessons have created.

FTT 30196: Theories of Media & Tech | Ranjodh Singh Dhaliwal

This course offers a multidisciplinary introduction to the vast variety of theoretical approaches used to understand media and technologies. From film, TV, and videogames to computers, internet, and social media, we will study different methods and concepts that help us understand our mediated condition(s) better. Moving historically and geographically, we will also encounter the many ways in which the term 'media' itself gets deployed and critiqued in scholarship across humanistic and social scientific disciplines. We will plug some of these (critical) theoretical understandings of media and culture into the longer histories of politics, philosophy, language, and literature, considering, for example, books as media technologies. And finally, we will ask what studies of media and mediation can do for our comprehension of the politico-economic, sociocultural, racial, and environmental crises surrounding us today.

FTT 30238:  Writing the Short Film | Terrance Brown

This course is an introduction to the theory and craft of dramatic screenwriting. The class explores how a script is developed from concept to final written form. Through lectures, film viewing, and weekly exercises, emphasis is placed on plot and story structure, the adaptation of ideas into cinematic forms, how to tell a story with images, character, plot, and dialogue development. Each student writes two short 8-12 page scripts developed within the context of the workshop. 

FTT 30410/31410:  Intro to Film & TV Production  | Ted Mandell

An introductory course in the fundamentals of shooting, editing, and writing for film and video productions. This is a hands-on production course emphasizing aesthetics, creativity, and technical expertise. The course requires significant amounts of shooting and editing outside class. Students produce short video projects using digital video and DSLR cameras and edit digitally on computer workstations. The principles of three-camera studio production are also covered. Material fees required. 

FTT 30420: Sound & Music Design for Digital Media | Jeffrey Spoonhower

Writer-director George Lucas famously said that “sound is 50 percent of the movie going experience.” Director Danny Boyle mentioned in an interview, “The truth is, for me, it’s obvious that 70, 80 percent of a movie is sound. You don’t realize it because you can’t see it.” Sound and music design for digital media is oftentimes an overlooked art form that is critical to the effective telling of a story. At its root, sonic design creates mood and setting. It engages the audience on a primal, emotional level, in ways that imagery cannot alone achieve. A cleanly recorded and creatively edited sound effects track can immerse an audience in a fictional, manufactured reality. Music, whether used sparingly or in grandiose fashion, can enhance or subvert the visual component of a film or video game to create cinematic magic. Through feature film screenings, video game play sessions, critical readings, video essays, and hands-on production assignments, you will gain a broader understanding and appreciation of sound design and learn how to direct the emotions of an audience through creative recording, mixing, and editing of sound effects and music. This is a hybrid critical studies and production course, and as such, you will "learn by doing" in both lecture and lab settings.

FTT 30443: Disney in Film and Culture | Susan Ohmer

The name "Disney" has achieved nearly mythic status in U.S. and international film and culture. For many, the name evokes treasured childhood memories of watching the The Lion King or The Little Mermaid or of discovering Mickey Mouse and Donald Duck for the first time. Among film scholars, Disney cartoons stand as some of the finest examples of carefully crafted, naturalistic, character-centered animation. For business majors and professionals, The Walt Disney Company has come to symbolize a modern, competitive corporation that seeks to leverage its stories and characters across a variety of media platforms in a global marketplace. While many love Disney films, and see Walt Disney as an American icon, his popularity and "American-ness" have sparked controversy in other countries and in various historical periods. This class examines Walt Disney, Disney films, and the Disney Company from a variety of perspectives that will help us understand both Disney's enduring popularity and the kinds of suspicions its work has raised. Our readings will draw from biographies of Walt Disney; histories of the Disney studio and of the animation industry in general; critical analyses of the films; and cultural studies of Disney merchandising, theme parks, and theatrical productions. Screenings will include the classic films of the studio era, such as Snow White and the Seven Dwarfs, Pinocchio, Dumbo, Cinderella, and Peter Pan, as well as more recent works such as Mary Poppins, Aladdin, and Beauty and the Beast. Requirements include weekly reading responses, exams, and an extended research paper. 

FTT: 30491: Debate | Susan Ohmer

Public Speaking and Debate is a skills-based course designed to prepare students for the real-world necessity of public speaking, while also cultivating the skills necessary to be competitive on the college speech and debate circuit if they so desire. Students will have the opportunity to join our Speech and Debate Travel Team and compete across the country in various events if they wish. The events range from 2-person team debates to individual persuasive speeches, to mock congresses, and even dramatic monologues! Team members are also eligible for scholarships for their participation. Day one of the course will be lectures and activities to allow students to become familiar with all competitive events as well as traditional public speaking for those students who do not wish to compete. We will dedicate day two to practicing the skills we learned the day before! Students will leave the course with an increased comfort with public speaking, extensive knowledge of persuasive speech, expanded analytical and critical thinking skills, and familiarity with the art of argumentation. 0 to 2 credits.

FTT 30635:  Drunk on Film |  Ted Mandell

Alcohol Use Disorder is a chronic relapsing brain disease. But when presented on screen, it's entertainment. Why do we laugh, why do we cry, why do we emulate fictional characters whose drinking habits result in a life of debilitating addiction? From James Bond to Jonah Hill, the psychology and seduction of alcohol on film, television, and online will be analyzed. Furthermore, what is the relationship between the manner in which alcohol use/abuse is presented on screen and the manner in which alcohol is used and abused on, for example, college campuses? Surveying recent film history, we will examine how alcohol is used in story structure, as a character flaw or strength, and as a narrative device in the story arc of films across multiple film genres (action/adventure, comedy, romance, etc). Why do characters drink, where do they drink, and how does the result of their "getting drunk" advance the narrative? We'll also look at non-fiction films that tackle issues of addiction, as a way of comparing character development in Hollywood films to the results of this same behavior in everyday life. Film materials will include weekly screenings outside of class, and academic articles relating to portrayal and analysis of alcohol use in film and television, including the business of marketing alcohol in print and television advertising. From the psychological perspective we will discuss the topic and process of social influence and how the presence of others influences our behavior. Questions of interest will include the following: what are the mechanisms by which group influence unfolds? How and why might we be persuaded? Does the manner, and if so how, in which alcohol use is portrayed in movies and the media reflect the processes and principles of social influence? Readings will include chapters on social influence, persuasion and academic articles evaluating the manner in which alcohol is portrayed and advertised and the effect this has on alcohol consumption. In addition, issues of addiction will be discussed - from understanding the basis of addiction to examining the efficacy of addiction treatment.

FTT 30708:  Performance Techniques: How to Act a Song  | Matt Hawkins

The intention of this course is to provide you with a context within which to understand the techniques of musical theatre performance and the foundational skills needed to personally inhabit these techniques. This course will give you the tools to "act a song." You will work on analysis and performance of five songs from the following categories: Golden Age, Modern, Rock, Pop, and any other kind of song you love. These songs are assigned by era sequentially so that we may simultaneously introduce the context of this material within the genre-at-large. You will also apply your growing knowledge of technique and context to intelligently observe and comment on the work of your peers within a structured setting. Throughout the course, we will incorporate short group exercises to better explore performance technique and promote a deeper understanding of the differences between traditional script/text analysis and score/lyric analysis. There will be reflection papers due after the exploration of your songs. 

FTT 30730: The Big American Play: Pulitzer Prize Winners in Performance | Carys Kresny

A class for actors, writers, and scholars, The Big American Play will dig into theatre's role in the American conversation on race, class, and gender. Students will analyze scripts, research cultural contexts, rehearse scenes, and perform up to four public readings of selected plays. All students will participate in each approach at least once, then will have the option to focus on either acting or dramaturgy. Students will also curate a season of plays for the current American moment, choosing their ideal performance context for each event and articulating the vision that drives their choices. Pulitzer Prize-winning plays include musicals, comedies, dramas, and cutting edge experiments by diverse American playwrights like Suzan Lori Parks, Michael R. Jackson, Paula Vogel, Lynn Nottage, August Wilson, Annie Baker, Sam Shepard, Quiara Alegría Hudes, Neil Simon, and Zona Gale.

FTT 30801: Scene Design | Marcus Stephens

This is a beginner's course in basic scenic design techniques and hand drafting for the stage. This course will take the student through the process of design from how to read a script, research, presentation, rendering, basic drafting, and if time allows, model building. No previous experience necessary. Materials fee TBA.

FTT 30890: Media Industries: History, Structure, Current Issues | Christine Becker

How do the contemporary film and television industries work? How can an analysis of the "business of entertainment" enable a greater understanding of contemporary media aesthetics and culture? This course will explore these questions by focusing on the structure, practices, and products of America's film and television industries, and students will engage with academic readings, screenings, trade publications, current events, guest lectures, and written and oral assignments in order to understand the activities of the film and television industries. By the end of the course, students should be able to understand prominent practices employed by media conglomerates and independent companies today, recognize the ways in which industrial structures and practices can shape media products, and examine how television shows and movies are influenced by business strategies. The course should be especially beneficial for students intending to pursue scholarly or professional careers related to film and television through its comprehensive overview of how these industries work, why they work as they do, and the broader practical and theoretical implications of media industry operations.

FTT 31005:  Theatre Production Workshop | Kevin Dreyer

A workshop course in the process of theatre production in which students assume a major nonperformance production responsibility including, but not limited to: stage manager, assistant stage manager, prop master, costumer, technical director or assistant director. This course can be repeated for up to four hours credit. Requires Instructor's permission.

FTT 31006: Directing: Process | Matthew Hawkins

Directing: Process is a class intended to help a director develop their own particular directorial voice or vision while encouraging their theatrical imagination. The class will focus on fundamental principles and tools in the fields of play analysis, acting, design, and staging. To be considered for the class, please email Matt Hawkins, mhawkin2@nd.edu, and "make your case" for why you want to be in the class.

FTT 31018:  Production and Performance | Matthew Hawkins

This course is open to students interested in becoming involved with specific performing/non-performing roles on a departmental production. This research-driven course will examine the history of the production and research prior performances and the significance of the play in the overall scope of theatre history. Additional areas of research include dramaturgy of the production, historical context of the story, historical sources and innovative performance techniques, etc. This research will support the work of the designers and performers, as members of the class work to implement their research in an finished production. The course also seeks to teach the students all of the lesser known aspects of bringing a play and a musical into performance.

FTT 35501:  FTT Internship  | Christine Becker

Students who successfully complete at least two of the following courses, FTT 10101/20101, FTT 30410 or FTT 40890, may be eligible for an internship at a television station or network, radio station, video production company, film production company or similar media outlet. Interns must work 10-15 hours per week and compile 150 work hours by the end of the semester (120 hours for the summer session) to obtain three credits. Interns will complete a project, mid-semester progress report and a final evaluation paper. NOTE: This course does not count as an upper level course toward the FTT major. 1 to 3 credits.

FTT 35505:  Paths to Entertainment Industry  | Christine Becker

It's commonly said that there is no set path to a career in the media and entertainment industries the way there is a path to working in, say, accountancy, law, or medicine. But a more accurate description would be that there are many paths because there are so many different jobs one could pursue in film and television, and each can have multiple routes of getting there. This course will help enrollees aiming to pursue entertainment industry careers understand all of the job options and paths available to them. Students themselves will be charged with developing resources that describe these jobs and paths, which will subsequently be made available to future generations of students for career discernment and development. Guest speakers from the industry will also be welcomed in to illuminate particular areas of the industry.

FTT 37600:  Notre Dame Film Society | Christine Becker

The Film Society is a film screening group that meets on Sunday nights in the Browning Cinema to watch an independent, international, or classic film. Students can take the course for either zero credit or one credit S/U. Those taking it for one credit will have a minimum attendance and writing requirement. Contact the sponsoring professor for more information. NOTE: This course does not count as an upper level course toward the FTT major.

FTT 40006: Filming the Economy  | Olivier Morel

In one of the very first films in the history of cinema by Louis Lumière (1895), we see employees leave a factory at the end of their work day. The work place remains out of the frame. Could it be that “work,” that showing people at work, has long been a cinematic taboo? This question lies at the origin of this course. While the subject of “money” was featured in movies very early on, in recent history it is only around the late 1980s that we see the economy take center stage in cinematic creations. From social films revolving around the work place by the Dardenne brothers and Ken Loach, to countless movies about Wall Street, to movies describing the economic dynamics behind environmental crises, or films about white collar crime, and more, our class will explore the ways in which filmmakers have used an “unfilmable” complex and cinematically boring discipline in order to turn it into calls to action and entertainment. Call to action? Entertainment? These questions will lead our studies and discussions as making a film on the economy ultimately interrogates the very essence of cinema.

FTT 40012: Seriality and Multiversality | James Collins

This course will trace the evolution of "expanded textuality." We’ll begin by investigating how serialized narrative emerged in the nineteenth century, focusing on how new delivery systems reached reading publics, and how new forms of story-telling emerged in the process. Once we’ve established that critical framework, we’ll look closely at two interconnected phenomena -- quality television seriality and the conglomerate-driven multiversality which generates adaptations, re-boots, re-makes, sequels, prequels, fan fictions, adaptations, etc.

Featured texts will likely include: Watchmen (both the graphic novel and the HBO series); The Many Saints of Newark and the ongoing Sopranos renaissance; No Time To Die and the history of Bond; Alcott, Armstrong, and Gerwig’s Little Women; the Marvel Cinematic Universe (WandaVision, Black Widow, the new Hawkeye Disney + series, and maybe even Eternals), Jenkins' The Underground Railroad … to be continued…

FTT 40023:  Musical Theatre Minor Capstone  | Matt Hawkins 

A capstone of the Musical Theatre Minor is a 3-credit course. The capstone will be project based and individually designed toward the student's interest. The specifics of the capstone will be agreed upon between the student and the instructor and ultimately approved by the instructor. The chosen topic for the capstone project is intended to reflect the student's interest in Musical Theatre and how it relates to their studies in the Minor. See instructor for details. Departmental Approval is needed to register for this course.

FTT 40027: The Hyphenated American: Contemporary Culturally Inclusive U.S. Theatre* | Anne García-Romero

Contemporary U.S. theatre ought to value equity, diversity, and inclusion by more consistently producing works that reflect its culturally complex society. This course is designed to introduce students to theatrical texts by contemporary Latinx, African-American, Asian-American, and Native American playwrights. Many of these playwrights' works engage with a variety of cultural experiences that complicate definitions of U.S. society. This course will examine the trajectory of culturally inclusive U.S. theatre from the late 20th century to the present. The course will also consider how U.S. regional theatres work toward greater equity by including diverse voices. Students will be expected to read plays and analyze them using methods provided. The course aims to provide students with tools for reflection to develop their own analytical and creative responses to contemporary U.S. theatre.

FTT 40045/41045:  The Coen Brothers: Authorship and Contemporary Hollywood | Matthew Payne

The Big Lebowski. No Country for Old Men. Fargo. For more than 35 years Joel and Ethan Coen - a. k. a. the Coen Bros. - have been busy crafting their own enigmatic and idiosyncratic oeuvre that incorporates slapstick comedy, Judaism, dark humor, pastiche, nihilism, irony, and the meaning of life. This upper-division seminar examines their creative filmmaking partnership by analyzing the majority of their Hollywood projects. In particular, we will deconstruct their narrative strategies by attending to their creative choices regarding editing, cinematography, lighting, mise-en-scène, etc., and we will examine their films’ major thematic concerns. We will also discuss how their work complicates auteur theory and genre theory as theoretical frameworks for understanding film authorship that defies easy definition and categorization.

FTT 40121: Writing the Feature Film | Terrance Brown

This workshop focuses on the theory and craft of dramatic writing as it applies to feature screenplays. Through lectures, film viewing, and weekly exercises, emphasis is placed on plot and story structure, the adaptation of ideas into cinematic forms, how to tell a story with images, character, plot, and dialogue development. Students should come to class with 2 ideas for a feature script in hand and be prepared to develop one idea into the first half of a feature length screenplay (approximately 60 pages) at a minimum.

FTT 40125:  Writing the Half-Hour Comedy  | Terrance Brown

This workshop focuses on the theory and craft of comedic writing as it applies to original half-hour screenplays. Through lectures, film viewing, group projects and weekly exercises, emphasis is placed on plot and story structure and the intentionally comedic expression of student ideas. Students will explore classic half-hour comedy pilots (script and screen) with an eye toward identifying and evolving the concepts of comedic character development and story arcs. Students should come to class with an expectation to write frequently and collaboratively in order to create two original half-hour television episode scripts.

FTT 40416: Advanced 3D Digital Production | Jeff Spoonhower

Building on the concepts and techniques introduced in FTT 30416: 3D Digital Production for Animation and Video Games, this course delves deeper into the production and study of computer graphics and animation. In Advanced 3D Digital Production, you will explore advanced concepts such as complex object and character creation, digital sculpting and painting, keyframed and motion-captured character animation, and more. You will continue to master the industry-standard 3D application Autodesk Maya, as well as learn Autodesk’s sculpting application, Mudbox. You will produce digital artifacts such as character models, virtual environments and props, and short animations that may be used in graduate school and industry job application portfolios. To help critically inform your creative production work, you will study the aesthetics, history, and cultural relevance of computer graphics and visual effects through a variety of reading, writing, and screening assignments.

FTT 40426:  Israeli-Palest Conflict: Films  |  Atalia Omer

What is the Israeli-Palestinian conflict about? How did it start? How might it be resolved? Some interpretations rely on claims of ancient hatreds. Others invoke sacred and biblical narratives as their authority for claims to a land deemed holy by many different religions. Still others underscore the ills and legacies of settler colonialism and indigenous accounts of historical presence. Some invoke international law and human rights to make their claims. This course will explore these arguments surrounding the Israeli-Palestinian conflict through screening and discussion of cinematic representation, narrative argument, and documentary films. Multiple genres provide powerful tools to introduce students to multiple perspectives, conceptions of history, experiences of injustice and grievances and loss, and imagining peace and justice. Each screening will be paired with relevant and interdisciplinary reading material. The students will emerge from this course with a detailed and complex understanding of the Israeli-Palestinian conflict from the present dating back to the late Ottoman period, the British control of historic Palestine, and the definitional moment of 1948 which is marked both as Israeli independence and the Palestinian catastrophe (the Nakba).

FTT 40428: Girls' Media & Cultural Studies* | Mary Kearney

This course introduces students to critical analyses of girls' media culture. During the first half of the semester we will focus on constructions of girls and girlhood in intellectual theory, popular discourse, and media texts (particularly U.S. film and television), paying attention to shifts in such constructions as a result of sociohistorical contexts and the rise of feminist ideologies. The second half of the semester will be devoted to exploring the media and cultural practices of female youth, examining the expansion of girls' culture beyond consumer-oriented activities, such as magazine reading and music listening, to those involving media production, such as filmmaking and blogging. In addition to problematizing girls' sex and gender identity through intersectional explorations of age and generation, and vice versa, we will pay special attention to how issues of race, class, and sexuality impinge upon the formation of girls' identities, female youth cultures, and the representation of girlhood in popular culture.

FTT 40452: Disney & Transmedia Adaptation | Susan Ohmer

The Walt Disney Company has a long history of adapting literary works for the screen, beginning with Snow White, The Reluctant Dragon, Bambi and Cinderella.  Since the 1990s, however, the company has expanded its adaptations beyond “page to screen” to move into transmedia adaptations that extend narratives from literature into animated and live action films, theatrical productions, television, theme park rides and streamed serial narratives.  This class will examine the trajectory of Disney’s approach to adaptation, beginning with the earliest page to screen productions and extending into more recent reworkings such as literature to film to theatre (Mary Poppins and Frozen); literature to film to theater to live action (The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King); literature to film to live action to theme park attraction (Jungle Book, Mulan) and film to novelization to streamed serial (Star Wars and The Mandalorian).  We will pay particular attention to the transmedia journey of Dodie Smith’s 101 Dalmatians from magazine serial to novel to animated and live action films, to a UK and Canadian television series, and most recently a prequel story in Cruella.  Film analysis will be informed by readings in adaptation theory, transmedia studies, and musical theory. 

FTT 40502/41502: Media and Identity* | Mary Kearney

This course focuses on critical analyses of identities in media culture. Taking a cultural studies approach, we will interrogate theories and popular discourses of identity while exploring how particular identities are constructed, negotiated, resisted, and transformed within media culture. Our primary questions in this course are: What is identity? How do our identities inform our various relationships to media culture? And, how does media culture impact the construction of our identities? Our particular sites of analysis will be media representation (narrative, performance, aesthetics), media production (industries and political economy), and media consumption (reception practices and audiences). We will examine a broad array of media forms, including film, television, the Internet, games, and popular music. Traditional demographic identities, such as gender, age, race, sexuality, and class, will be central to the course, although other identities, including geographic and lifestyle identities, will be examined also. We will strive toward critical analyses that understand identities as constructed, not inherent, and intersectional, not autonomous.

FTT 46000: Acting Pedagogy & Practice | Siiri Scott

This course introduces the advanced Acting student to various methods of Acting training. In addition to directed readings, the student serves as the teaching assistant for Acting: Process or Acting: Character under the supervision of the instructor. The student is expected to attend all class meetings and supervise weekly rehearsals outside of class. 1 to 3 credits.

FTT 46010: Media Production Pedagogy & Practice | Ted Mandell

This course gives advanced production students an opportunity to develop skills in production management and mentoring. In addition to directed readings, the student serves as a teaching assistant for a lower division media production course. Responsibilities may include assisting with equipment demonstrations, helping to manage production schedules and workflow, and serving as a mentor during production and post-production. 1 to 3 credits.

FTT 48000: Thesis & Undergrad Research | 

Research and/or thesis development for the advanced student. 1 to 3 credits. Departmental Approval required.