Exploration of a topic (to be determined) not covered by the standard curriculum but of interest to faculty and students in a particular semester.

These four-week mini-courses provide specific areas of study not covered in depth in other courses. Examples: Production Management, Budgeting, Editing, Lighting, Location Sound, Videography, and others based on faculty and student interest.

In-depth examination of critical issues, aesthetics, genre, and authorship involved in electronic media and cinema. Topics range from television genres to film classics.

Theory and practice of effective television and radio performance. Closed circuit studio experience planning and presenting educational and commercial material.

In-depth examination of issues and practices involved in international television and film. Topics alternate from semester to semester. Examples include: Global Communication, Ways of Seeing, Comparative Systems, and British Cinema.

Participation in a discipline or subject related experience. Student must be evaluated by written or oral reports or an examination. Permission in advance with the consent of the department chairperson, instructor, and dean. Limited to those in good academic standing.

Offered through SUAbroad by educational institution outside the United States. Student registers for the course at the foreign institution and is graded according to that institution's practice. SUAbroad works with the S.U. academic department to assign the appropriate course level, title, and grade for the student's transcript.

Economics of the film industry. Financing of films, budgets, sources of funds, contracts. Securing distribution. National and international marketing of films. Film rental. Booking films for television or theater. Exploitation of ancillary markets.

Management principles and practices in electronic media; organizational structures, financial controls, revenue procurement, economic theory, management law, product development, and personnel administration.

Immersion in the principal programming functions of content development and acquisition, scheduling, and promotion. Survey of scheduling strategies and case studies, hits and misses. Research techniques to understand audience program preferences and choices.

Exploration of a topic (to be determined) not covered by the standard curriculum but of interest to faculty and students in a particular semester.

Introduction to the fundamental practices involved in the creation of effective audio for radio, music, television, film, and online media.

Review of disciplinary trajectories and expectations of professional entertainment media environments, with an emphasis on developing professional competency, networking skills and leadership etiquette.

Preparing and writing scripted dramatic material for small and large screen. Script evaluation, working as a professional writer, and the stages of script development.

Instruction will include new screenwriting theories, maturing conceptual models, and address developing and future trends in screenwriting procedures and best practices. Additional work required of graduate students.

Study and practice of the craft of feature film writing. Additional work required of graduate students.

Study and practice of the craft of comedy writing for television and film. Additional work required of graduate students.

This course teaches the student the craft of writing for television, focusing on construction of the one-hour drama. Students will pitch, outline and write an original dramatic television pilot and series ¿bible¿. Additional work is required of graduate students.

Screenwriting theory and the script development process: writing topics include story structure, genres, character development, dialogue, and script formatting. Business topics include pitching, writing script coverage, supervising development, and breaking into the industry. Additional work is required of graduate students.

Students learn to be creative producers and managers. They form ¿companies¿ and work with writers to rewrite. They provide development notes, create look-books, casting lists and develop other projects as they would in the real world. Additional work is required of graduate students.

Instruction will include new entertainment business theories, maturing conceptual models, and address developing and future trends in entertainment business procedures and best practices. Additional work required of graduate students.

Introductory overview of origins and dynamics of corporate structures, revenue models, content, distribution, and regulation in the television, radio, film, and interactive media industries.

Non-print media as art forms and social, political and cultural forces. Critical analysis of individual products of broadcasting and motion pictures in relation to the systems for which they were created.

Introduction to the law and policies that influence the telecommunications industries. Covers the policy environment, historical, and current developments.

Non-print media as art forms and social, political and cultural forces. Critical analysis of individual products of broadcasting and motion pictures in relation to the systems for which they were created. Additional work required of graduate students

Exploration of fundamental visual effects techniques using 2D compositing software to create fix-it-in-post, invisible, and creative VFX for live-action projects. Students will integrate VFX in pre-production, production, and post-production stages to create a short film. Additional work is required of graduate students.

Students write, design, produce, direct, and program projects specifically for television presentation. Additional work required of graduate students.

This class delves deep into the world of TV and Film Production Management, laying out the necessary steps and mechanics in pre-production and production which includes scheduling, budgeting, and producing. Additional work is required of graduate students.

Explore and perform both the management and technical aspects of the Post Supervisor role on film and episodic TV projects. Planning, budgeting, and scheduling will be examined. Workflows covered include: dailies, editorial, VFX, color, sound, and deliverables. Additional work required of graduate students.

Students examine the dynamic interplay between directing and acting for the screen, including script analysis, what to look for in auditions, and what good direction looks and sounds like. Additional work is required of graduate students.

Exploration of fundamental motion graphics and animation techniques for film and TV. Students will create a variety of 2D animation projects, including short films, music videos, explainer videos, personal branding, opening title sequences, and advertisements. Additional work required of graduate students.

Intermediate study and practice in creating fictional and nonfictional audio content for broadcast and online distribution. Additional work required of graduate students.

Focus on the evolution of TV and Film production forms, consideration of new theories, maturing of conceptual models and the clarification of procedures. Topics will focus on recent developments in the field. Additional work is required of graduate students.

The study and practice of the art of motion picture directing for film and single camera television content. Emphasis is on developing skills necessary to create festival-quality short works with public impact. Additional work required of graduate students.

Techniques of shortform moving image media such as commercials, promos, music videos, show openings, special effects, and high impact packaging. Additional work required of graduate students.

Students produce a recording of a musical performance in a 24-track recording studio. Topics include: Aesthetics of recorded sound, acoustics, psycho-acoustics, the multitrack recording process, mixing, microphone techniques, signal processing. Additional work required of graduate students.

Introduction to writing, designing, planning, and producing programs for radio, television, and film.

Introduction to theory and production of sound for television and film. Includes information processing, aesthetics, perception of sound, sound/picture relationship, analog and digital sound studios, production recording, signal processing, nonlinear editing and mixing. Additional work required of graduate students.

The theory and practice of producing music to underscore visual material. Additional work required of graduate students.

Student teams write, produce, and edit documentary projects. Additional work required of graduate students.

Business of communications industry focusing on management skills and their effective application. Additional work required of graduate students.

This advanced course challenges majors to cap their academic experience with a summative project in entertainment media not addressed by specialized tracks of study. Additional work required of graduate students.

Students develop and produce independent fiction or nonfiction projects to demonstrate mastery of advanced production practices in film, television, sound, music, and short form content creation. Additional work required of graduate students.

Advanced practice built around professional workshops, sponsored by the Center for Popular Television, and guest speakers. Students interact with professionals while working on their screenwriting portfolios. Additional work required of graduate students.

Independent and specialized practice in audio, including sound tracks for film or television; CD albums; radio drama; or spot announcements. Additional work required of graduate students.

Students propose independent film projects (fiction or documentary), and if approved, produce them using digital video and sound technology.

Participation in a discipline or subject related experience. Student must be evaluated by written or oral reports or an examination. Permission in advance with the consent of the department chairperson, instructor, and dean. Limited to those in good academic standing.

Students work in a professional setting for a minimum of six weeks. Students are responsible for online participation in discussions, selected readings, written exercises, a journal of observations, and a paper. Additional work required of graduate students.

Exploration of a problem or problems, in depth. Individual independent study upon a plan submitted by the student.

In collaborative groups, students develop and execute independent creative content to demonstrate mastery of screenwriting, entertainment business, and production practices. As individuals, students produce portfolios highlighting their comprehension of industry practices in their chosen field.

This course focuses on research practices in relation to entertainment media questions and problems. Students become critical consumers and evaluators of qualitative- & quantitative-based reports and metrics. Students apply methodological procedures to questions of particular interest. Additional work required of graduate students.

Exploration of a topic (to be determined) not covered by the standard curriculum but of interest to faculty and students in a particular semester.

Exploration of a problem, or problems, in depth. Individual independent study upon a plan submitted by the student. Admission by consent of supervising instructor(s) and the department.