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Syllabus

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Winter 2014 Jesse Wolfe Adler 309 (912) 525-6419 M-Th 1:45-2:45p jwolfe@scad.edu ADLER 316 Tuesday / Thursday 8:00 AM - 10:30 AM

School of Entertainment Arts, Department of Film and Television, Savannah

FILM 431 - Film and Television Senior Project I: Preproduction Section: 03 CRN: 23361

SCAD Mission: The Savannah College of Art and Design exists to prepare talented students for professional careers, emphasizing learning through individual attention in a positively oriented university environment. Course Description: Students define the preproduction, production and postproduction stages of their senior projects. Emphasis is placed on analyzing the script, preparing a budget, determining a schedule, casting, identifying the target audience and deciding on a method of distribution. Students are expected to focus on very specific career goals, setting expectations and creating strategies. Prerequisite(s): FILM 320 or FILM 337. Course Goals: The following course goals articulate the general objectives and purpose of this course: 1. Students will explore the preproduction of the senior project film. 2. Students will write and revise a screenplay. 3. Students will complete a shooting script. 4. Students will complete a breakdown and analysis of a screenplay. 5. Students will schedule and budget a film. 6. Students will conduct auditions. 7. Students will create a professional quality production book including scripts, breakdowns, schedule, budget, locations, cast, crew and art department. 8. Students will create of a visual design of the film. Student Learning Outcomes: The following course outcomes indicate competencies and measurable skills that students develop as a result of completing this course: 1. Students will hone conceptual, preproduction and screenwriting skills. 2. Students will explore casting techniques and develop skills in directing actors in casting sessions. 3. Students will develop artistic and professional vision.

4. Students will clarify artistic goals and previsualization for an independent film production, hone both verbal and written communication skills.

Schedule of Classes:
Key events including assignments, projects due dates/exam dates: Class 1: Tue, January 7, 2014

Introduction and overview of the Senior Project process Course Syllabus Discussion of career and artistic goals, assignments, review of pre-production book materials Concept development workshop Asignments: Read How Not to Make a Short Film: Intro and chapter 1 (pages 1-23), also read Rea and Irving: Preface, Intro, and Chapter 1 (pages 1-22) Documentarians: Read Rosenthal: Preface, Intro, Chapters 1-3 (pages 1-24) Editors: In the Blink of an Eye, Pages 1-26 Writers: Your Screenplay Sucks , Part 1, Chapters 1-6 DPs: Mascelli, Chapter 1 New Media/Installation: If you are interested in mew media work, web series, installation, or experimental work please contact me for a list of directed reading. Choose an article from one of the following publications. It should relate directly to a specific interest in your field. Read it and be prepared to present a report on it. (Sight and Sound, Cineast, Film Comment, Film Quarterly, October, Artforum) http://www.cineaste.com http://www.bfi.org.uk/sightandsound http://www.filmlinc.com/fcm/fcm.htm http://www.filmquarterly.org/index2.html http://www.mitpressjournals.org/loi/octo http://artforum.com/film/ Read a review of a film you have screened recently. It should be written by an established critic from a noteworthy periodical, i.e. Manohla Dargis, A.O. Scott (New York Times), Jonathan Rosenbaum, Pauline Kael, Susan Sontag, Andrew Sarris. The review doesnt necessarily have to agree with your opinion of the film. Prepare 1 to 3 concise presentations on options for a Senior Project. Keep them brief and to the point. If you already have a script, prepare a half page treatment for presentation. Write an artists statement. Explain to me who you are as a film artist- why you came to film as a career choice, your influences and why they speak to you, and what you hope to do in the arena of film. Keep it brief and geared to a conceptual approach. page typed font size 12 single spaced Times New Roman or Arial font, standard Word document margins. (No name = no grade)

Class 2: Thu, January 9, 2014

Review and critique of assignments Due: Presentation of selected article of research Due: Brief written Artistic statement Students pitch story ideas

Class 3: Tue, January 14, 2014

Review and critique of assignments Due: Presentation of selected article of research DUE: Self-prepared overview of quarter with deadlines Discuss PREMISE and ARTISTIC VISION READING DUE: How Not to Make a Short Film, Munroe (Ch.2)

Class 4: Thu, January 16, 2014

Concept statement screen examples of SCAD/other student work for critique of conceptual objectives. In-class screenplay readings. Discuss PREMISE and ARTISTIC VISION READING DUE: excerpts from, Raskin, The Art of the Short Fiction Film DUE: Presentation of 3-7 possible concepts DUE: Self-prepared overview of quarter with deadlines

Class 5: Tue, January 21, 2014

Treatment workshop (-or- beat sheet, step outline) Discuss CHARACTER ANALYSIS In-class readings Assess and discuss non-director objectives. READING DUE: How Not to Make a Short Film, Munroe (Ch.3)

Class 6: Thu, January 23, 2014

Due: character analysis - or- scene analysis (DPs, Editors) Due: Presentation of developed treatments for two concepts (DPs, Editors). Reading Due: (Documentary filmmakers) Rosenthal, pgs 50-81

Class 7: Tue, January 28, 2014

Due: Presentation of selected final project treatment/objectives. In-class screenplay/treatment readings READING DUE: How Not to Make a Short Film, Munroe (Ch.4)

Class 8: Thu, January 30, 2014

Discussion on directing and and selected final projects In-class screenplay/treatment readings Reading Due: On Directing Film and (Documentary filmmakers) Rosenthal, pgs 82-128

Class 9: Tue, February 4, 2014

Pre-production book review In-class screenplay readings Due: In-class presentation of draft sequence outline (collected at beginning of class). READING DUE: How Not to Make a Short Film, Munroe (Ch.5)

Class 10: Thu, February 6, 2014

Due: first draft screenplays (10 copies collected at beginning of class). In-class readings ASSIGNMENTS CALCULATED FOR MIDTERM GRADE: ALL STUDENTS: Artists Statement & Music Temp Track; WRITER/DIRECTOR: First Draft Screenplay, Character Breakdowns DOCUMENTARY FILMMAKER: One Page, Treatment, Research Components PRODUCER ONLY: Preproduction Schedule, Financial Statement & Budget CINEMATOGRAPHER: Camera Tests, Location Tests, Video Storyboards EDITOR: Video Storyboard Editor, Postproduction Workflow Test, Video Genre Compilation, Scenes List FEATURE SCREENWRITER:Research Paper, Proposal, Character Study, Monologue Scene

Class 11: Tue, February 11, 2014

In class draft screenplay readings Midterm conferences: Critique of work in progress

Class 12: Thu, February 13, 2014

Due: Video sketch and temp tracks: discussion and critique In-class draft screenplay readings In class review of material READING DUE: How Not to Make a Short Film, Munroe (Ch.6)

Class 13: Tue, February 18, 2014

Video sketch and temp tracks: discussion and critique Casting and rehearsals workshop Pre-production: Crewing, budgeting, scheduling Reading Due: Rea and Irving, Chapter 6, Crewing, pgs 83-97 and Chapter 9, Casting, pgs 119-128

Class 14: Thu, February 20, 2014

Due: Second draft of screenplay In-class screenplay table readings and critique Reading Due: (Documentary filmmakers) Rosenthal, pgs 129-162 or- Rea and Irving, Chapters 3, 4, and 5

Class 15: Tue, February 25, 2014 Class 16: Thu, February 27, 2014 Class 17: Tue, March 4, 2014

Review and critique of video sketches, rehearsals and pre-visualization materials

Review and critique of video sketches, rehearsals and pre-visualization materials

In-class screenplay table readings and critique Production book workshop SHOOTING SCHEDULE AND EQUIPMENT REQUESTS DUE CASTING PREP DUE

Class 18: Thu, March 6, 2014

View audition tapes and critique (3 for each main role related interviews for Doc.s) FINAL: Due: Final draft of screenplay In Class script presentations and critique: Defense of materials. Reading Due: (Documentary filmmakers) Rosenthal, Part Three or- Rea and Irving, Chapters 1 and 8 Black Maria Film Festival Friday, March 7 - Trustee's Theater (FREE with SCAD ID) Promoting, illuminating, and advocating innovation in the art of the moving image. A great night of great short films in all genres.

Class 19: Tue, March 11, 2014

FINAL: ALL ASSIGNMENTS DUE FOR GRADING including Preproduction Books Final screenplay, and shot design In -class presentations and critique: Defense of materials. All assignments returned; review Senior Project II requirements Individual conferences with professor

Class 20: Thu, March 13, 2014

FINAL: ALL ASSIGNMENTS DUE FOR GRADING including Preproduction Books Final screenplay, and shot design In -class presentations and critique: Defense of materials. All assignments returned; review Senior Project II requirements Individual conferences with professor

Grading Opportunities:
Your overall course grade will be computed according to the following breakdown: Assignment Exercises and assignments for individual directives (see break down sheet) Weight 50%

15% Video sketch/Storyboards/Music Tracks

15% Secondary Project/Crew Work (including written report)

10% Timely and thorough completion of assigned course work/readings

10% Class Participation/Critique

Grading Standards Letter grade: A = excellent Letter grade: B = good Letter grade: C = * Letter grade: D = * Letter grade: F = failing

Range 90 100 % 80 89 % 70 79 % 60 69% 0 59%

*Refer to the student handbooks and departmental standards for minimal acceptance for passing grade.

Course Information:
Field Trip(s): Required: Black Maria Film Festival Friday, March 7 - Trustee's Theater (FREE with SCAD ID)

Promoting, illuminating, and advocating innovation in the art of the moving image. A great night of great short films in all genres. SCAD Presents: aTVfest February 6-8, 2014 SCAD Atlanta Award-winning producers, directors and writers present a series of informative and entertaining panels, discussions and workshops. SCAD deFINEART February 18-21, 2014 SCAD Atlanta http://www.scad.edu/event/scad-define-art Winter 2014 - SCAD Cinema Circle Screenings Optimized for your cinematic pleasure. 4k and 35mm projections with Dolby sound in Trustees Theater! FREE with SCAD ID. Public is invited. All films are introduced by SCAD Faculty and students. Discussion follows. Bonnie and Clyde (1967, Dir. Arthur Penn) January 11, 7PM The Sting (1973, Dir. George Roy Hill) February 1, 7PM Dog Day Afternoon (1975, Dir. Sidney Lumet) February 22, 7PM Lucas Theatre for the Arts -Film Screenings Restored prints of classic films in an art deco revival house. $5 for students. Harvey (1950, Dir. Harry Koster) Friday, January 24, 7PM Rear Window (1954, Dir. Alfred Hitchcock) Saturday, January 25, 7PM Amelie (2001, Dir. Jean-Pierre Jeunet) Friday, February 7, 7PM The English Patient (1996, Anthony Minghella)

Saturday, February 8, 7PM

Extra Help Session(s): Anyone who would like extra help is welcome to make arrangements during office hours. Extra help sessions are not intended as make up classes for sessions missed due to absence.

Extended Learning Opportunities:

Other Course Information: Course Protocol: An equal emphasis will be placed on the development of concepts and their technical implementation. Students will be evaluated and the final course grade determined as follows: Classroom activity including: (1) professional presentation of assigned work, (2) two or more practical exams based on the readings assigned for each class meeting and (3) thoughtful and appropriate participation in class discussions. Learning to meet deadlines is essential. Therefore, all assignments are to be handed in on time. The individual grade for missing an assignment deadline will be penalized one letter grade for every class it is late. All work must be typewritten; students are responsible for providing multiple copies of work presented in class. Students will provide the professor with one complete, non-returnable digital copy of their final package at the beginning of class 20. Students unable to develop and thoroughly define a viable senior project with a competent script package will not be permitted to pass this course. In order to receive a passing grade in this class the student must submit a completed script, completed production book, and, if Senior Project II is to be taken the following quarter, a production schedule with target dates. There will be no exceptions. Participation in class discussions and critiques are essential to develop the verbal presentation and persuasion skills needed for interaction with clients, employers, and colleagues. Journals: Students are REQUIRED to keep a film/video journal and to make daily entries in it. Entries may include, but are not limited to, observations on films and videos, books, ideas for set-ups, sketches, dialogue, general observations, etc. Students are required to keep this journal at all times, carrying it with them in the field and to class. Despite what you may have been led to believe by the Microsofts and Macs of the world, computers are NOT RELIABLE.

They will freeze up, refuse to print, garble your text, and worse. They are not your friends, and you should plan on these things happening to you. Back up often (treat yourself to a new flash drive if needed they are cheap). Print out hard copies of stuff. Do what you have to, but remember, the computer ate my homework is not an acceptable excuse for anything. Students are expected not only to be present for all classes but also to actively take part in group discussions and class functions such as the casting call. Class participation isnt simply talking its saying something thoughtful, engaging in dialogue, etc. Try to find a balance; the best students contribute to class discussions without dominating them. Come to class with something to say, or perhaps a question that arose out of our reading. Be engaged. A NOTE ON CRITIQUE: I encourage you to say what you think, not what you think someone might want to hear. However, addressing creative work can call for thoughtfulness and tact. While some people come up with ideas out of the thin air, others are likely to use aspects of their own lives as starting points, and criticism that isnt meant personally can be taken that way. I expect comments to be made in a considerate, helpful manner, and I wont tolerate meanness. Remember, we are trying to make good art here. Syllabus Addenda: The following changes are to be applied to any and all production classes and thesis films (undergraduate and graduate) in the department of Film and Television. There will be no exceptions. Any violations will result in an automatic failure of the student(s) involved. GUNS Any realistic depiction of a gun, whether or not the gun is real or a replica, whether the gun can fire real bullets, blanks, is disabled, or even if it is a toy, will require a licensed armorer and a police officer on the set. This rule applies even if the set is closed or the scene with the gun is shot in the studio.

Proof of payment to the licensed armorer and the police officer and exact hours employed must be provided by the student. Verifiable contact information for the armorer and the police officer must also be provided before any equipment is released to the student(s). MOVING VEHICLES There will be no moving vehicles of any kind involving actors in any shot unless separate production insurance is purchased that details the specific uses and shots involving the vehicle. This does not apply to any moving vehicles that naturally appear in the distance or background of a shot. However, if the film crew can be viewed by proximate traffic or if it in any way affects passing traffic, then an on-duty police officer(s) must be used to control that traffic. Proper permits for this situation must also be obtained. The department may decline the use of its equipment if the professor(s) determine that optimal conditions for safety are not met (e.g. a professional stunt driver (SAG), a properly rigged process car). In addition, any approved shot that involves a moving vehicle and/or a process car must employ as many on-duty police officers as the city recommends. There will be no portrayal of any violation of state law involving moving vehicles (e.g. seatbelt and helmet use). Proof of payment for the police officer(s) and professional driver(s) must be provided. Verifiable contact information for the police officer(s) and professional driver(s) must be provided before any equipment is released to the student(s). CHILDREN Any use of any minor in any production must be approved by the department. Issues that will be looked at include, but are not limited to: subject matter, the shots involving the minor(s), and a properly maintained professional environment on the set. A professionally maintained environment includes, but is not limited to, such issues as strict adherence to the hours a minor may work per SAG guidelines (including travel), safety of the minor, meal guidelines, and educational guidelines if filming takes place during the minors school hours. For each minor on the set, a parent or designated guardian must be present at all times. If a parent designates a guardian, then that designation must be obtained in writing. Proof of compliance to all of the above will be required before any equipment is released to the student(s). JIB ARMS/CRANES/DOLLIES Camera lighting and grip equipment owned by the college is not allowed to be used with unauthorized jib arms, cranes, or dollies. Such unauthorized and uncertified devices are not allowed to be used on productions without specific approval by the Professor and the Department Chair.

Course Materials:
Required Text(s): (For Producing and Directing students) How Not to Make a Short Film: Secrets from a Sundance Programmer Roberta Marie Munroe, Publisher: Hyperion (January 20, 2009) ISBN-10: 1401309542 Producing and Directing the Short Film and Video (4th edition) By David K. Irving, Peter W. Rea, Focal Press, ISBN-10: 0240811747 (For documentary oriented students)

Writing, Directing, and Producing Documentary Films and Videos By Alan Rosentahl, Southern Illinois University Press; 3rd edition, ISBN: Independent Filmmakers Manual (2nd edition) Wurmfeld / Laloggia; IFP/Los Angeles Focal Press, ISBN:0-240-80585-2 (For editors) In the Blink of an Eye, revised 2nd edition by Walter Murch, Silman-James Press, August 1, 2001, ISBN: 1879505622 Script Supervising & Film Continuity, MIller (For all students) On Directing FilmBy David Mamet Penguin Books, ISBN: 0140127224

Recommended Text(s): The Complete Film Production Handbook, Third Edition (Book & CD-ROM) Eve Light Honthane, Focal Press; 3rd edition; ISBN: 0240804198 In the Blink of an Eye, revised 2nd edition by Walter Murch, Silman-James Press, August 1, 2001, ISBN: 1879505622 Changing Direction: A Practical Approach to Directing Actors in Film and Theatre

by Lenore DeKoven, Focal Press (February 15, 2006), ISBN-13: 978-0240806648 by Lenore DeKoven, Focal Press (February 15, 2006), ISBN-13: 978-0240806648 Directing Actors by Judith Weston, Paperback, Publisher: Michael Wiese Productions (July, 1999), ISBN: 0941188248 Crafting Short Screenplays that Connect , 2nd Edition by Claudia H. Johnson; publisher Focal Press, January, 2005, paperback, ISBN: 0-240-80641-7 Script Supervising and Film Continuity, Third Edition by Pat P Miller, Focal Press; December, 1998; Paperback; ISBN: 0240802942 Periodicals most pertinent to the course include: American Cinematographer, Filmmaker, MovieMaker, Script, Cineast, Empire, FilmThreat, Film Comment, Film Quarterly, Sight and Sound, and Artforum/Filmforum

Required Material(s): Students are required to support the scale their production. During Senior Project I, students are responsible for notebooks and paper (white and appropriate colors) for screenplay and pre-production book; writable CDs for music temp track; mini-DV tapes and DVDs for video sketch, mini-DV tape for casting session, and various office supplies required for the completion of assignments.

University Policies:
Academic Integrity: Under all circumstances, students are expected to be honest in their dealings with faculty, administrative staff and other students. In class assignments, students must submit work that fairly and accurately reflects their level of accomplishment. Any work that is not a product of the student's own efforts is considered dishonest. Students must not engage in academic dishonesty; doing so can have serious consequences. Academic dishonesty includes, but is not limited to, the following: 1. Cheating, which includes, but is not limited to, (a) the giving or receiving of any unauthorized assistance in producing assignments or taking quizzes, tests or examinations; (b) dependence on the aid of sources including technology beyond those authorized by the instructor in writing papers, preparing reports, solving problems or carrying out other assignments; (c) the acquisition, without permission, of tests or other academic material belonging to a member of the university faculty or staff; or (d) the use of unauthorized assistance in the preparation of works of art. 2. Plagiarism, which includes, but is not limited to, the use, by paraphrase or direct quotation, of the published or unpublished work of another person without full and clear acknowledgment. Plagiarism also includes the unacknowledged use of materials prepared by another person or agency engaged in the selling of term papers or other academic materials. 3. Submission of the same work in two or more classes without prior written approval of the professors of the classes involved.

4. Submission of any work not actually produced by the student submitting the work without full and clear written acknowledgement of the actual author or creator of the work. Attendance and Personal Conduct: Only students who are properly registered for a course may attend and participate in that class. Students are expected to attend and participate in all scheduled classes and examination periods. Absences in excess of four class periods per quarter, or 20 percent of the course, result in the student receiving a failing grade for the course. Tardiness, early departure or other time away from class in excess of 15 minutes per class session is considered absence for the class session. The student's appearance and conduct should be appropriate and should contribute to the academic and professional atmosphere of SCAD. The university reserves the right at its sole discretion to withdraw the privilege of enrollment from any student whose conduct is detrimental to the academic environment or to the well-being of other students, faculty or staff members, or to the university facilities. Enrollment policies: Students are responsible for assuring proper enrollment. See the SCAD catalog for information on add/drop, withdrawals, incompletes, and academic standing. Midterm Conference(s): Each student enrolled in the course will have a midterm conference scheduled outside of class time with the professor. Students are expected to keep this appointment. Academic Support and Tutoring: Academic support for students at all SCAD locations can be found in MySCAD, under the Student Workspace tab, Department Directory, Academic Resources. Course Evaluations: SCAD offers students the opportunity to evaluate all scheduled courses during each quarter term. Student feedback is essential to continuously improve academic services at SCAD. Evaluations will be available the end of each quarter at the beginning of Week 8 and must be completed online by the Monday following Week 10. A sample course evaluation for on-ground courses is available here. In order to access course evaluations, the student should take the following steps: 1. 2. 3. 4. Log on to MySCAD Click on the Student Workspace Tab Locate the Course Evaluations link under My Courses channel This will bring up a page that says current surveys and lists all the courses that are currently available for evaluation.

For more information or questions, contact us at evaluations@scad.edu. Student Surveys: The SCAD Student Survey and the Noel-Levitz Student Satisfaction Inventory will both be administered in Week 6 of spring quarter . SCAD's office of institutional effectiveness is responsible for gathering and delivering survey results to decision-makers on campus. For more information or questions, contact us at surveys@scad.edu. Please refer to the college catalog or the student handbook for all college policies and procedures.