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CINEMA DEPARTMENT COURSE LEVEL STUDENT LEARNING OUTCOMES BY COURSE
CINE 18 American Cinema – Online A. Summarize American film history from the silent era to present day movies. B. Compare how the developing technology in film relates to its evolving aesthetics. C. Interpret the basic technical and critical vocabulary of motion pictures. D. Evaluate the changing economic structure of the film industry. E. Assess the different genres, film grammar, and editing and lighting styles used in films and rate how successfully these techniques are employed. F. Appraise their role as moviegoers and increase their ability to watch films critically. G. Examine how the tools of camera angles, lighting, editing and sound manipulate how we feel about a filmed subject. H. Distinguish and contrast the styles of different filmmakers. CINE 18 American Cinema: A Telecourse A. Acquire a working knowledge of American film history, from the silent era to the present day. B. Recognize and use the basic technical and critical vocabulary of motion pictures. C. Understand how the technology of the cinema relates to film art. D. Gain a fundamental background in the economic structure of the film industry. E. Learn to define the genres, styles, story, story structures, etc. And recognize them in films. F. Analyze, compare and contrast the contributions of the various elements of a film and evaluate the contribution of each. G. Question their own role as passive spectators, and increase their ability to watch films actively and critically. H. Enhance their ability to think, speak, and write critically in an increasingly visual and technological culture.
CINE 19 New Political Documentary & Emerging Media – Online A. Evaluate the significance of the effects of digital technology on the creation, distribution and uses of contemporary cinema in the context of film history. B. Describe the characteristics of the evolution of digital media technology and their cultural impact as it relates to more traditional cinema. C. Evaluate the significance of mobile cinema and the impact of multi-platform technologies on film form and aesthetics. D. Analyze in depth a diverse collection of public media, including, but not limited to full-length political documentary, short-form nonfiction film and nonfiction mobile cinema content. E. Assess the specific criteria relative to the examination of the documentary form. F. Identify methods for evaluating documentary film and mobile, multi-platform cinema, and apply historic and aesthetic understanding to the analysis of specific films in writing and discussion. G. Apply skills and knowledge gained to enhance critical understanding and perspective of the importance of the relationships between traditional cinema and new media forms. H. Propose and implement a research project and/or critical study related to the course topic. CINE 20A Film History: Evolution of Film Expression A. Explore the history of motion pictures in their social and historic context during the second half of the 20th century, examining significant films and filmmakers and assessing their contributions. B. Differentiate film's unique language of images and sounds from other language systems. C. Demonstrate ability to discuss/write about films employing critical approaches that facilitate the expression of their own responses. D. Appraise and choose wisely what is offered in media. E. Value the cultural works of the past and present. CINE 20B Film History: Contemporary Film Expression A. Appraise and assess the history of motion pictures in their social and historic context from the second half of the 20th century to the present.
B. Compare and contrast significant national cinemas and filmmakers and assess their contributions to world cinema. C. Appraise the evolution of film genres, aesthetics, and techniques. D. Analyze and evaluate the film experience by discussing and writing about films. CINE 21 Introduction to Film Studies A. Define the basic vocabulary of film production and film theory. B. Analyze the aesthetics of filmmaking. C. Recognize and classify different film genres. D. Demonstrate general film literacy and appreciation. CINE 22 The Documentary Tradition A. Define documentary films, distinguish them from fictional cinema, and question the nature of cinematic realism/reality, point of view/objectivity. B. Examine and compare concepts of documentary as they have evolved over the course of film history, and recognize the impact of changing technologies on the theory and practice of non-fiction filmmaking. C. Compare and contrast different approaches to documentary (reportorial, advocacy, cinema verite, propaganda and re-enactment).
D. Identify and select significant works in the field, and apply historic and aesthetic understanding to the analysis of specific works, in writing and discussion. CINE 23 Selected Topics in Film Studies The outcomes will vary with the topical course subject. CINE 23A Films of Alfred Hitchcock A. Describe the characteristics of the evolution of motion picture aesthetics and their cultural impact as it relates to older historical and more traditional art forms (theater, visual arts, etc.) reflected in the work of Alfred Hitchcock. B. Describe and evaluate the significance of Alfred Hitchcock in the larger context of film history. C. Analyze in depth the contemporary and historical social context of Alfred Hitchcock's films on the British and American national cinemas and their impact on the cultures of England and the United States well as the international
influence of his work. D. Assess the specific criteria relative to the examination of the works of an auteur director. E. Identify methods for evaluating Hitchcock's films, and apply historic and aesthetic understanding to the analysis of specific films in writing and discussion. F. Apply skills and knowledge gained to enhance critical understanding and perspective of the importance of Alfred Hitchcock as an auteur director. G. Propose and implement a research project and/or critical study related to the course topic. CINE 23B Focus on Film Noir A. Describe and evaluate the significance of American Film Noir in the larger context of film history and in relation to American society and culture in the post World War II era. B. Analyze in depth the social historical context of Film Noir from its origins in "hard-boiled" detective literature and 1930's gangster films through its "neonoir" cycle. C. Assess specific criteria relative to the examination of Film Noir (including theimpact of the Production Code) while exploring the question of the debated status of Film Noir as a unique film genre. D. Analyze different methods for evaluating Film Noir and apply formal visual knowledge of mise en scene (including lighting, camera angles, etc.) to specific films. E. Apply skills and knowledge gained to enhance critical understanding and perspective of the importance of Film Noir historically -- from its classic form to its expression in contemporary “neo-noir” films. CINE 24 Basic Film Production A. Produce a completed Super-8mm and digital film. B. Understand and implement the elementary principles of professional motion picture production. C. Communicate effectively in the language of cinema. CINE 25 Narrative Filmmaking A. Analyze the roll of editing both narrative and non- narrative.
B. Demonstrate command of editing principles in a short film. C. Identify the functions of a wide variety of motion picture editing systems D. Describe the various steps in the film editing process. E. Describe the various steps in the digital editing process. F. Demonstrate the ability to apply motion picture editing vocabulary. CINE 30 Pre-Production Planning A. Understanding of the people, locations, and tools required for a specific type and size of media project and how to calculate the cost for said project. B. The ability to put together detailed written budgets for a proposed film or video, working from a synopsis, screenplay, treatment or final script. C. Basic understanding of different legal documents associated with a film project, such as a crew deal memo, location agreement, talent release and municipal permits. D. Calculated and written four budgets for four different types of media projects,from development through completion of post production. This includes projects that post in motion picture film only, as well as electronic post production. E. Understanding of the personal skills and tools for seeking gainful employment on a media project and an understanding of what to expect while working in the entertainment business. Where and how to find a job. CINE 40 Film Exhibition A. Describe current practices in film exhibition locally, nationally and internationally, including screenings in alternative spaces such as museums and galleries. B. Summarize the historic background of film exhibition, from early commercial screenings to present day festivals. C. Propose a thematic idea for a film screening and compose accompanying program notes. D. Assess the specific technical requirements related to exhibition venue and format. E. Identify criteria for selecting films and develop materials related to judging process.
F. Create and distribute promotional materials. G. Prepare event planning timeline and budget. H. Apply skills and knowledge gained to produce City Shorts Film Festival. CINE 54 Cinematography & Lighting Upon completion of CINE 54, students will be able to set up, operate and use 16mm Cameras, Digital Video Cameras and basic lighting instruments with knowledge and safety. They will also be able to interpret and break down scripts for principle photography. CINE 56 Introduction to Digital Film Editing A. Identify and apply the basic technical and conceptual skills to edit a short film on a non-linear digital editing system. B. Describe and analyze the process involved in the post- production of a short film project. C. Articulate and evaluate basic aesthetic criteria specific to editing in the professional narrative, documentary and experimental cinematic forms. D. Identify, analyze and execute basic editing techniques in narrative, documentary and experimental forms. E. Identify and evaluation of shot content, framing and composition, camera movement and sound to be incorporated in the editing based on industry standards CINE 57 Experimental Filmmaking A. Analyze historical experimental film movements. B. Develop a personal, visual, cinematic aesthetic. C. Create short, non-narrative films using experimental techniques. CINE 60 Sound for Motion Pictures I At the completion of the course, students will be capable of recording and editing magnetic sound tracks, as well as utilizing sound libraries to make up these tracks. They will be able to perform all of the steps necessary to produce synchronized sound of professional quality. CINE 61 Sound for Motion Pictures II A. Professionally record film location sound using time-code based digital audio recorders in conjunction with film and digital cameras. B. Sync film location audio to picture, and edit sound tracks in digital audio
workstations. C. Plan and incorporate narration, ADR, Foley and musical score into the sound track of a motion picture. D. Plan and execute creative film-sound design in digital workstations. E. Create 5.1 surround sound and stereo final mixes destined for Cinema and DVD release. F. Understand and incorporate film-sound aesthetics into film-sound design. CINE 72 Nonfiction Scriptwriting A. Assess a nonfiction story idea and evaluate the essential components required to capably investigate, write and deliver a well-documented script to a targeted audience. B. Examine how earlier nonfiction cinema has influenced the style, syntax and structure of current nonfiction film trends. C. Procure, appraise and interpret a range of research materials and integrate these into a proposal, synopsis and script. D. Critique a draft of a script and propose in-depth suggestions on further research needs, content development and story structure, as well as script writing style. E. Compare a script-in-progress to a critically acclaimed nonfiction film in the same genre to measure the developing story's originality and timeliness.
F. Compose scenes that effectively reveal different and, at times, contradictory perspectives reflected in the content.
G. Evaluate the authenticity of research materials, as well as story content and the over all relevancy to the plot. H. Evaluate new media platforms in addition to traditional cinema venues to enlarge and diversify outreach efforts. CINE 74 Advanced Cinematography & Lighting A. Construct an image based on a clearly defined aesthetic concept grounded in formal and stylistic considerations. B. Compare and contrast the varied 16mm and digital cameras, and advanced lighting instruments and tools available for production. C. Evaluate and judge lens sharpness and resolution testing in motion picture
and digital video cameras. D. Demonstrate and practice hand-held and mobile camera movements. E. Plan and integrate synch sound with camera recording. F. Calculate the amount of electricity required for film production. CINE 75 Screenwriting A. Apply dramatic theory in writing for film and television. B. Employ and select material appropriate to a particular visual medium. C. Evaluate character motivation and psychology. D. Assess and employ methods of non-verbal communication in writing. E. Construct a film in written form. F. Dramatize the internal aspects of desired film content in the script by writing scenes and sequences. G. Summarize and define story elements in their relation to film from classically structured stories through anti-narrative. H. Apply their knowledge to the visual creation of character and cinematic methods for presenting exposition. I. Assemble screenwriting steps from concept, character creation, story, outline, and several revised drafts to a final screenplay by writing scripts. J. Organize content into a coherent, effective film script. K. Identify and write appropriate professional script formats. L. Analyze and critique student and professional screenwriting and films in terms of the above criteria. CINE 76 Advanced Digital Film Editing A. Identify and apply advanced technical and conceptual editing skills to complete a film with live action and composted images, titles, and a mixed soundtrack of a professional caliber which will be ready for entry into film festivals and industry distribution markets. B. Describe and analyze the process involved in the post-production of a long format film project and identify the interface between traditional and new technologies. C. Articulate and execute the advanced editor's skills to analyze and perform advanced editing techniques in narrative, documentary and experimental film
forms. D. Execute methods and organized work habits based in traditional industry procedures and process for long format projects. E. To identify the role of the editor working with the film director and/or producer. CINE 85 Advanced Screenwriting A. Assess a story idea and evaluate if it contains the essential components to develop into a three-act film structure. B. Organize character research with different story elements and integrate these into a synopsis and Step Outline. C. Critique a draft of a script and propose in-depth suggestions on story structure, character development and screenplay style. D. Compare a script-in-progress to a critically acclaimed screenplay in the same genre to measure the developing story's originality and structural coherency. E. Revise work to uncover the contradictions in characters and complicate the story's plot lines. F. Compose scenes that dramatize a character's unconscious intentions and subtext. G. Evaluate the emotional intent of each scene and its relevancy to the plot. H. Develop authentic character arcs within the plot's increased conflict. I.
Create a believable story world with its own clear and cohesive rules.
J. Describe plot and key themes (e.g. story pitches) and assemble these with other marketing materials to advance the completed script. CINE 90 Film and Digital Finishing A. Identify and analyze the production and post-production formats of a project to determine the appropriate correction, finishing and conversion processes required to successfully complete a digital or film project based on distribution requirements of the project. B. Construct a film/digital finishing work plan for a project from rough cut through exhibition. C. Evaluate, correct and enhance film/digital image quality using industry standard hardware and software. CINE 124A Film Production Workshop A. Describe an original film idea in written and verbal form.
B. Develop a short screenplay or treatment. C. Interpret a screenplay and translate into pre-production documents, including breakdowns, budgets, number of shooting days and shot lists. D. Differentiate roles on a professional film shoot and perform in a crew position. E. Evaluate observed film shoots and offer critique and analysis. F. Prepare a professional resume. CINE 124B Film Production Workshop A. Diagram preproduction documents to prepare a film shoot. B. Translate documents to a completed short film. C. Analyze and describe successful filmmaking strategies. D. Design strategy to promote the film project and filmmaker. CINE 126 Documentary Filmmaking A. Students will be able to define documentary as differentiated from other approaches to film, and to compare and analyze different approaches to documentary productions as practiced both historically and in contemporary filmmaking. B. Students will learn to assess and select subject matter, prepare a proposal, locate potential funding sources and assemble an appropriate film crew. C. Students will translate skills previously learned in cinematography editing and film sound to non-fiction production, and apply these in practice to the demands of documentary situations. D. Upon completing this course, students will finish (or have in rough cut for completion in an advanced class), a short 16mm documentary film which demonstrates their ability to plan a production, organize a proposal, assemble a working film crew and apply motion picture crafts and skills to non-fiction film making. CINE 131 Directing Motion Pictures A. Identify the responsibilities of the director. B. Interpret scenes for character analysis, "beats," and subtext. C. Differentiate various acting styles and techniques. D. Practice auditioning, rehearsing and directing actors.
E. Prepare a script for shooting. F. Arrange scene blocking with a cinematographer. G. Prepare the shooting schedule with an assistant director. H. Apply the continuity rules of shooting for the edit during the shooting of a short scene. I. Demonstrate editing ability by editing a short scene. CINE 136 Special Effects A. Explain the historical evolution of motion picture special effects. B. Analyze and describe the dramatic motivation of special effects shots in the context of narrative film. C. Distinguish the key special effects techniques that have evolved from the celluloid process into the contemporary digital special effects production process. D. Define terms and techniques of special effects production using digital toolset. E. Identify the essential steps required to create any special effects shot. F. Analyze the exact structural nature of any special visual effects shot. G. Understand and demonstrate the key features inherent in all digital animation/compositing programs. H. Plan and execute all steps from preparing and importing all media assets through the final render of a finished visual effect shot. CINE 170 Film/Video Work Experience A. Work responsibly under the supervision of an industry professional. B. Report on the knowledge and practical skills gained through the film/video work experience. C. Demonstrate the skills obtained in the practicum of the film/video work experience. CINE 175A/B Film/Video Independent Study A. Create or participate in a project employing skills in one or more areas of the art and craft of filmmaking or advanced film studies (critical writing) that will engage the student for an entire semester. B. Organize and prepare a project proposal subject to faculty approval.
C. Demonstrate their ability to apply media skills learned in previous Film Department courses. D. Produce a product mutually acceptable to student and instructor.
